Action by Simonetta Orsini

Action

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Summary

DIRECTOR Mimi Kohen GENERAL DIRECTOR Mercedes Quintana ASSISTANT DIRECTOR Lucía Barro Quintana EDITOR IN CHIEF Mariana Riveiro ART DIRECTOR Enrique de Azcuénaga PROOFREADING Adriana Kogan TRANSLATOR Diego Tunnard

12. Women in power. In this edition of S/O, three female leaders tell us their picks for action. 18. The roar of the motor. A group of riders take on Ruta 40 on classic bikes. 26. Julio Le Parc. Profile of the Mendoza artist, one of the most important contemporary creators of kinetic and op art. 32. Techno 360º. The advance of Virtual Reality puts us into surreal situations. How technology is advancing. 38. Carlos Álvarez Insúa. Our columnist reflects on action, reaction and how it relates to the watch industry. 42. Style for two. The best jewels and watches in this fashion editorial. 56. Adrián Brown. With a little store on Avenida Alvear, a chat with a fashion designer. 60. Underwater world. Extreme watches for divers, when the industry puts itself at the service of sport. 66. Paloma Cepeda. The star of Simonetta Orsini’s campaign gives us her style tips.

70. Magical realism. The photographer Steve McCurry travels the world to illustrate the new Overseas collection, the classic model from Vacheron Constantin. 76. In movement. Renowned journalist and marathon runner Daniel Arcucci tells us why he runs when he runs. 80. Stephen Forsey. A meeting with one of the brilliant minds behind the Greubel & Forsey project. 84. Eternal Romance. A look at the ties between sport and the major watchmaking houses. 90. A story about life. Interview with Javier Daulte, playwright, theatre director and novelist. 94. Lights, camera, action! The Swiss manufactory Jaeger-LeCoultre pays homage to the legacy of great film actors and directors. A tribute to the seventh art. 98. Red and black. The firm Montblanc turned 110 years old and celebrated it in Buenos Aires with a cocktail reception in its store on Avenida Alvear. 102. Flavours on wheels. The great chefs of the world tell us why joined in the food truck trend. 108. Skill and strength. Top five of the best 4x4s on the market.

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PRINTER Latingráfica CONTRIBUTORS Florencia Zielinski, Daniel Arcucci, Luciana Olmedo-Wehitt, Carlos Álvarez Insúa, Andrea Cukier, Gabriel Silveira, Jessica Mateu, Daniela Rossi PHOTOS Javier Picerno, Hernán Cristiano ILUSTRATION Carlus Rodríguez STYLIST Julieta Enríquez ASSISTANT STYLIST Laura Pace. MAKE-UP Juliana Giraldo for JC Agency with Maybelline NY products. MAKE-UP ASSISTANTE Rocio Marrodan for JC Agency. HAIRSTYLING Christian Di Petta for JC Agency with Alfaparf Milano products. MANICURE Laqueada for JC Agency. MODELS Julia Zanettini for Pink Models Management and Santiago Montero for Civiles Management. S /O is a publication of Simonetta Orsini S.R.L. The total or partial reproduction of the contents even mentioning the source is prohibited. The editors are not responsible for the opinions expressed by the employees, those interviewed or advertising messages. Intellectual Property Registration pending.

Editorial COVER WATCH Patrimony Traditionnelle World Time, Vacheron Constantin If travel is movement, then this is the perfect piece to represent it: a watch equipped with the World Time complication, which has been part of Vacheron Constantin’s watch heritage for some time. This is the Patrimony Traditionnelle World Time, with calibre 2460WT, bearing the Geneva Seal. This automatic mechanical movement stands out for its capacity to indicate the 37 time zones. With this model the firm returns with a complication that its is inexorably tied to the history of the Geneva manufactory and closed related to the subject of travel, as Jean-Marc Vacheron and his successors have gone all around the world to sell these exceptional watches. The manufactory has been active now for 255 uninterrupted years, and since it was founded in 1755 it wasted no time in starting to explore the corners of the world commercially.

one of the definitions of the world “action” is “to exercise the possibility of doing something”, and this may be one of the most interesting definitions. Action is potential, possibility, and it is also its result, its effect. It is moving, beginning, advancing. This edition of S/O pays tribute to all those who are in action, like playwright Javier Daulte, who after years directing plays decided to write a novel; the Mendoza artist Julio LeParc, still active at the age of 88; and Adrián Brown, a dermatologist who one day decided to follow his dream and start to design exquisite, stunningly elegant garments and dresses. Paloma Cepeda, daughter of the model Mariana Arias, put the brakes on her own glimmering modelling career to devote herself to her passion of design. And Daniel Arcucci, sports journalist and marathon runner, tells us why running is about much more than just movement. We catch up with a group of riders who decided to travel the length of the country along the legendary Ruta 40, and we pause to contemplate the stunning photography of Steve McCurry, a photographer who travelled the world to inspire Vacheron Constantin’s Overseas collection. Great chefs get on board a truck for a gastronomic trend that just keeps on growing: food trucks. And while we’re on wheels, we choose the most spectacular 4x4s on the market. Divers’ watches are the stars of the main article on the watch industry, and we have a summary of the partnership made between manufactories and the sports industry for their mutual benefit. The expert Carlos Álvarez Insúa chats to Stephen Forsey, one of the minds behind Greubel Forsey, the firm that with every step chooses to take a path of its own. The homage to cinema comes via Jaeger-LeCoultre and their ties with Charlie Chaplin. Because even silent film started by crying out the words “Lights, camera, action!!!” ¶ MARTÍN DE LEEUW Simonetta Orsini President

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THE PICKS In this edition, the women take up the reins: the co-owner of Pommery, the Centre Manager at Alcorta Shopping Centre and the CEO of Vizora speak about how they take to the road of action.

Whatâ&#x20AC;&#x2122;s your breakfast like, that moment when you start your day?

What physical activity do you do, if any, and why?

Which band, soloist, record or songs gets you moving and why?

What achievement (personal or professional) are you proud of?

Which personalities, past or present, inspire you?

The perfect city for a different journey and why.

An object (it could be anything from a pen to a mobile phone, a car, etc.) that makes your everyday life simpler.

How do you cope with change?

Which is your favourite superhero and why?

10.

What projects are motivating you right now?

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THE PICKS | Nathalie Vranken, co-owner and head of Maketing Division of Pommery.

1. Usually during the week there is no time for breakfast at home, it is at the station on the way to Reims or at the airport for any destinations of the day. But it is always the same ritual: just one large black coffee without sugar that I drink while reading the newspaper 2. I walk a lot; that is my only physical activity 3. U2’s The Joshua Tree. Legendary. 4. Refurbishing Villa Demoiselle in the Domaine Vranken Pommery in Reims. 5. My grandmother. 6. Venice is never the same but is so captivating. A walk in the street in Venice can never be a duplicate, you turn right or left and it is a new discovery. The season is also very important, it changes every thing But the really incredible place is always the next one. I am very happy to discover Buenos Aires 7. My notebook, definitely. I can’t live without it. I’ve had it for as long as I’ve worked. 8. Carefully. 9. Humans are much more interesting and I don’t believe in utopias. 10. The first one always getting through the day. After that, having the good idea of starting work on the Pommery experience 14. And starting the restauration of the château la Gordonne in Provence, a beautiful property.

THE PICKS | Mariana González, Center Manager, Alcorta Shopping.

1. My breakfast is the least relaxed thing you can imagine: toast and milky coffee on the run while I struggle to get my kids out of bed and into school, which is mission almost impossible. 2. Working out and running are what keeps me together, this is my “me time”. I try to do it at least three times a week. It improves my mood and state of mind, as well as keeping me in shape. 3. I have my Spotify list that I listen to when I work out or when I’m relaxing at home. Right now, what gets me going is “Vente pa’ca” by Ricky Martin. 4. My biggest achievement without a doubt are my two sons, Dante (9) and Ciro (6). They thrill me all the time. 5. I’m inspired by those characters from the past or the present who stand out in art for giving to others, for providing for someone else disinterestedly, in solidarity (a value that is increasingly rare.) 6. New York because it always brings surprises —and amazement! Also Venice, Florence or some little village in Italy for that romanticism. 7. Three objects: my mobile (not very original there). I feel naked without it, unfortunately. Lip balm. And I always carry hand cream in my bag. 8. I get on really well with change. I don’t fear it at all. A change always implies a challenge (in any aspect of life) and that gives me a lot of adrenaline. 9. I loved Agent 99 in Get Smart for her chic, elegant style. If I had to choose a superhero it would be Spider-Man, for his physical dexterity. 10. Today I’m moved by two things. On a personal level, seeing my sons so happy and growing up into good people. And on a professional level, to be able to continue positioning Alcorta Shopping as a fashion leader in Argentina and as a seedbed for new cutting-edge design brands.

THE PICKS | Milagros Brito, CEO of Vizora.

1. I drink some mate early, at 7am, before I take the kids to school. Then at 10, when I get back from working out, I have yoghurt with granola, veggie waffles with cream cheese and some fruit and vegetable juice. 2. I do CrossFit five times a week and go running now and again. I love CrossFit, because every day is a new challenge! You never know what you’re going to have to do. 3. The Killers, Daft Punk, and a bit of reggaeton is good fun. 4. My children are an achievement, I’m excited to see them growing up every day. Professionally, seeing projects that I dreamed of years ago now becoming reality and home to many families who enjoy them makes me happy. 5. Margarita Barrientos and all those who dedicate their lives to helping others. 6. Marrakesh. It combines a European city with the mystique of Morocco. 7. My diary, where I note down the things that pop into my mind and inspire me. 8. Life is change and I get on with the idea of adapting to the cards I’m dealt. I’m constantly looking for change, I don’t like to stay in my comfort zone. 9. Superhero? None… I’m more of a fan of antiheroes, like Bridget Jones. 10. The projects that get me going today are those with which I feel like I can leave a mark.

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A group of riders led by businessman Federico Bonomi travelled the length of the Argentine Route 40, covering the country from north to south on classic restored motorcycles. Whatâ&#x20AC;&#x2122;s it like to spend 90 days on the road, visit 23 provinces and cover 20,000 kilometres? TXT Mariana Riveiro

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ove of machines, the roar of the motor and the wind in your face. Something joins this group of riders led by Federico Bonomi. And that thing is so simple and yet so complex to explain to someone who’s never felt a classic motorbike between their legs, but it’s what led this group to go on a unique journey, crossing the country from north to south. The man responsible for this is the founder of the KSK clothes label, of Herencia Argentina and the home decoration store Casa Chic, among other ventures that include olive groves, a radio station and luxury hotels. He’s married to Cynthia Kern, his partner for life, with whom he had Luca, Mika, Fiona and Luigi, and with whom he shares most of his projects. On his left arm, Bonomi has a tattoo of two keys and a spark plug tied to a miraculous medal. In 1981, when he was about to turn 14, his father gave him a little Honda Express 50cc. And he’s never stopped riding. Today, there is an average of ten bikes in his fleet, but he’s always changing them. After completing various challenges, the bikes restored in the workshop of the Herencia Custom Garage that Federico set up in Martínez, a

few blocks from his offices, started a very special journey: to cover the legendary National Route 40 from start to finish. “We fixed up the bikes ourselves, always with good advice and help from the lads in the Herencia garage, we tried to improve them. They’re old and they need things fixing all the time, but that’s what’s special about them, they’re totally personalized,” says Federico. Of course this passionate man is not alone. The team is completed by Henry von Riesgo, Leslie Wise, Mariano Tattoo, Federico Lozada, Satán, Germán Karp and Frank Mammes, among others. “They’re lifelong friends, I’ve known some of them since I was a kid, others joined the group when we were older, I met them under different circumstances. A lot of us were brought together by a passion for motorbikes, others started to like it as they got older, there are now 25 of us and the group keeps getting bigger,” he says. This isn’t the first time they’ve gone on such an adventure. From the dry land of La Quiaca in Jujuy, and the hills of the seven colours, down to the lakes of Bariloche and the cold of the south, it all comes together: the rain, the extreme heat, hostile climate, mechanical problems, impassable roads,

On the road you’re you, one hundred percent, you don’t have time for distractions”. 20 S/O ACTION

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The motorbike is a physical and mental extension of myself, it takes me to places that I never thought I’d visit”. every problem bringing them together even more, turning the inconveniences into anecdotes to be told on their return home. They were accompanied at all times by the mobile workshop belonging to Pingo, the mechanic in the group and an expert in classic models. “Every day something would happen, I don’t think any of us left without a story to remember and tell but, personally, the best anecdotes were when we visited the rural schools. It’s a very enriching experience, you meet some incredible people, the children teach you things only children can teach you, in some villages they’d all come over to see the bikes, from the priest to the guy in the kiosk, it’s another world, it’s just amazing”, he says. There was always a social side to the project: along the way, the riders made donations to rural schools and first aid centres to help the neediest. The ties of camaraderie established in the group and what this group communicates every time they visit a place is very important to him. “On the road you’re you, one hundred percent, you don’t have time for distractions, you just think about the bike running all right, about how you feel to withstand all those hours on the road, physically and mentally. You think about the team, about

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everyone being OK. There are 20 or 30 of us on the road, and the camaraderie is always present, I think that ‘s the greatest value of the trip.” The journey will be recorded by Herencia Custom Garage, a documentary series on Discovery Channel. “It was several years ago that I had the idea to tour the 23 provinces with my friends, but before that we united two oceans, we set off from the Atlantic—from Uruguay—and we rode across Argentina, crossed the Andes, and we made it to the Pacific in Chile, and then we came back. That was just the beginning,” says Bonomi and explains that he finds it impossible to choose one landscape that made more of an impact than another, that the country is full of surprises. “Salta, La Rioja, San Juan, Mendoza… Truth is, I really think Argentina has it all; I can’t stick with just one landscape or place, I’m blown away again and again,” he says. This time, his favourite bike, “La Gorda”, a 1947 Harley-Davidson, stayed in Buenos Aires in the hands of Norbert, who gave her a tune-up. “La Gorda is special to me because I put her together to tour 23 provinces and it seemed like madness. The bike has no rear suspension, it’s very rustic and old; and yet, apart from a whole load of anecdotes, it always got me from A to B, it’s a bike that’s

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highly respected by all my friends who saw her incredible performance in places where it’s hard to believe that a motorbike managed to get through. She has all my respect!” says the Federico. The roar between your legs, the asphalt of Route 66 or of the legendary Ruta 40 with friends, always a different road, a challenge that keeps them

moving: “The motorbike is a physical and mental extension of myself, it takes me to places that I never thought I’d visit. Riding for me is synonymous with adventure, I don’t know what the road’s got in store for me, I only know that she’s always going to get me to the end,” he finishes, summing up the spirit of travel.¶

Zenith: Elegance on Wheels With a different style but the same passion, on 25 September over 50,000 smartly-dressed motorcyclists took to the streets of 550 cities to raise awareness of prostate cancer and raise funds to fight it. This simultaneous event was called the Distinguished Gentleman’s Ride and was founded in 2012, inspired by an image from Mad Men. In the scene, Don Draper appears on a classic bike wearing his smartest suit. The photo inspired the idea for the race, which is sponsored by Zenith, a manufacture more than accustomed to supporting good causes. To celebrate the success of the initiative, the watchmaker founded in 1865 launched the special edition Pilot Ton-up (5 pieces). Presented for the first time at Baselworld 2016, the Pilot Ton-up houses a legendary mechanism within its broad 45 mm diameter, aged steel case. It also boasts a vintage dial. A timepiece with a strong personality, originality and style, perfectly fitting the spirit of this cause.

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Montblanc 1858 Small Second and Hugh Jackman Crafted for New Heights Paying tribute to its manufacturing roots in Villeret, Montblanc presents a collection inspired by the legendary timepiece crafted by Minerva since 1858, and gives its vintage character a fresh, contemporary twist. Like its historic predecessor from the 1930s, this timepiece comes with a black dial, traditional-shaped hands and a large small-seconds subdial. Visit and shop at Montblanc.com

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The Line Thinks At the age of 88, Julio Le Parc is perhaps ones of the world’s most important kinetic art figures. He was recently commissioned by Hermès for their Éditeur collection. Here is a profile of the man who describes himself as an experimenter. TXT Luciana Olmedo-Wehitt

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Dislocate a space to recognize it. Integrate the city, all of it, with the work of art to feel its sounds and vibrations. Surrealism, creationism, stridentism, ultraism. Apollinaire, Huidobro, Kyn Taniya, Girondo: avant-garde poetry. All of them, and some others, revolutionized language, incorporating the rhythm of the cities in their verses and visually breaking their forms, escaping to the verticality of the letter that made writing twist and turn in the form of calligrams. That moving of everyday life into art that also includes the displacement of the gaze—forced now to look over the paper in a spiralled way—generating the necessary estrangement to be able to recognize oneself in it. Julio Le Parc’s paintings with optical games and kinetic installations and sculptures seek to cause similar sensations to those of the avant-garde poets. Through artificial lighting, the study of the aesthetics of movement, of mirror effects and their reflections, Le Parc reconciles us with the world by putting innovation at the service of creations that modify perception. Julio Le Parc was born in Mendoza en 1928. In 1943 he began his studies in the Prilidiano Pueyrredón National School of Fine Arts, though he soon gave up and went off in search of another kind of learning, one that would allow him to get an education from observing and studying the work of other artists. With this he started to think about the importance of the spectator, in how if she was removed from her passivity she would be capable of reencountering herself with camouflaged reality in a place out of place (a museum, a gallery, the street), question it and apprehend it. Le Parc picked up his formal studies almost a decade later, and in 1958 he gained a scholarship to continue his education in Paris, a city where to this day he lives and works. It was there in 1960 that he founded with Denise René, Victor Vasarely, García-Rossi, Francisco Sobrino, Hugo Demarco and other French artists the GRAV (Groupe de Recherche d’Art Visuel (Visual Art Research Group). The GRAV proposed a break with the prevailing artistic tradition, moving away from painting and closer to a more dynamic concept of the work of art. It fought to make from clashing points of view (the

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LA LONGUE MARCHE. SERIES 3, THEME 6

STRAIGHT

LONGUE MARCHE. SERIES 3, THEME 4

isturb, upset and disorder as a condition for thinking, for finding oneself. The works of Julio Le Parc, “artist experimenter” as he likes to call himself, and one of the leading op art and kinetic art figures, break down the barriers between spectator and art, immersing the former in the experience of the latter. They question the notion of author and invite you to develop a reflective, analytical attitude about the world we live in.

CONTINUEL-MOBIL, 1962, 1996

product of the sum of experiences) a practice that would make it possible to create collective works arising from debate and the pooling of participants’ ideas. This consequently eliminated the idea of a single author capable of creating a work of art that possessed an unrepeatable aura. The multiple kinetics that GRAV members created were conceived in a manner similar to industrial designs—mass-produced products that did not admit the existence of an original—except that, unlike industrial designs, they had no specific function, save their merely aesthetic attraction. The GRAV was dissolved a few years after its creation when, in 1966, Le Parc was awarded the International Grand Prize for Painting at the 33rd Venice Biennale. This individual recognition, as a painter and as an Argentine, meant a crisis for the postulates of kineticism in general and the GRAV in particular. His work had been awarded a prize independently of his belonging to the collective, and his nationality considered over a universal art. Although recognition came to Le Parc early (he exhibited in various European and Latin American museums and galleries in the 1960s) the oblivion into which kineticism was subsumed by art institutions for several years pushed his work from centre stage. It was in recent decades that the visionary, timeless character of his works has started to be revalued. So it was that in

2013 the Palais de Tokyo dedicated to Le Parc an individual exhibition that took up over 2000m². It was there at the Palais de Tokyo that Pierre-Alexis Dumas, Hermès art director and heir to the family that founded the label, saw his work and decided to invite him to participate in Hermès Éditeur, the joint development of a new edition of the Carré d’artiste, which prints on silk the work of a world-renowned artist. Le Parc is the first Latin American artist to be part of this initiative. On to the celebrated silk scarf of the French fashion house, which has previously featured the work of Josef Albers, Daniel Buren and Hiroshi Sugimoto, were printed variations of La Longue Marche (1974), one of Le Parc’s iconic works in which the colours twist and contrast, taking on multiple forms. Also in 2013, the Grand Palais exhibited his Oeuvres de lumière, while the Casa Daros-Latin America in Río de Janeiro exhibited Le Parc Lumière, which was then shown the following year in the Museum of Latin American Art of Buenos Aires (MALBA). This year Le Parc was awarded the Legion of Honour in France.

CURVE Influenced by geometric and abstract art, Le Parc developed and broadened the possibilities of the kinetic movement as a continuation of artistic experiences of the twentieth century, such as cubism,

MOBILE SPHERE JAUNE (2001-2014)

LA LONGUE MARCHE. SERIES 3, THEME 3

futurism, Dadaism and Bauhaus, where the work of artists like Tinguely, Calder and Duchamp paved the way for experimentation with movement and ductility of forms. Thus Le Parc became one of the first artists to pay special attention to the space where his creations were exhibited. The search for continuous transformation in works that constantly denoted a certain visual instability and which eliminated all possibility of an unequivocal interpretation became his trademark. To experience a Le Parc is to remove the veil from appearances that deform reality, that which cannot be seen because the ideology and chaos of contemporary metropolitan life disguise it, as Slavoj Žižek shows in his documentary The Pervert’s Guide to Ideology). If, as Žižek proposes, ideology is presented to us as containing a void and, therefore, avoids its questions, La Parc allows that void to be felt mentally and physically; he permits us to recognize it and fill it with meaning of our own. Many times this is possible thanks to the dialogue he specifies —though this doesn’t make it any less random—between two elements, such as light on acrylic, that allow the emergence of a third element capable of adopting a new materiality and giving rise to a unique situation whose significance varies according to each spectator. “We all have a margin of freedom in deciding how we subjectivize objective circumstances (…) how we react to them by constructing our own universe”, says Žižek. Le Parc’s interactive Works, his spaces, question the automation of society in changing the observer’s perception of herself and of the context, turning her into the protagonist and author of an artistic experience whose vestiges return to resonate in its reality and modify it. They allow us to develop that capacity that Charlie Chaplin shows in Modern Times in showing that when curiosity is awakened, the everyday becomes playful and its meaning multiple. In Six Circles in Contortion (1967), for example, the movement of various steel rings is activated with the flick of a switch and the circular forms change to the rhythm of their mechanical contortions. Other works of his encourage an even more active role from the spectator, inciting them to move, like in Mirror in Vibration: a polished metal plaque that, with the assistance of a motor, moves and takes on concave and convex forms so that the reflection of the observer is deformed, shrinking and expanding, depending on where she is. These trippy experiences, where technology is made to serve art, create a new (science) fiction; they constitute the origin of the Le Parc Park where, for over seventy years, we can perceive that side of the world that throws up effective, poetic results, one that disturbs and excites.¶

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BIG BANG UNICO

360 DEGREE VISION While Facebook and Google fight it out for supremacy in a billion-dollar industry, new developments and launches made 2016 the year of Virtual Reality. All you need to know about this technological phenomenon that promises to revolutionize how we interact with the world around us. TXT Andrea Cukier

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realise he’s there because they’re so immersed in a virtual reality experience. When participants are then asked to take off their visors and see Zuckerberg on the stage, they are all surprised that he is there. This photo went viral and aroused conflicting emotions. At each event this year the highlight has been the launch of something related to virtual reality, better known as VR. Optimists perceive VR as the next revolution: a technology that allows infinite possibilities for interacting and communicating. Others understand it as a great contribution to the arts, entertainment and education, as many students train with this technology to simulate real-life situations. However, its detractors predict that this is the tip of the iceberg and a step towards a dystopian future where people will isolate themselves from “real” reality to immerse themselves in their own world. This trend was reinforced at the last Tokyo Game Show, a Japanese conference that launched over one hundred games and VR content, a record for this convention. Whether for or against, virtual reality is not indifferent and, according to different studies, it is estimated that this technology will have made a billion dollars in earnings by the end of the year.

THE WAR OF THE WORLDS

t all started in January, at CES 2016 in Las Vegas. The Consumer Electronics Show is one of the world’s largest fairs, setting trends in technology and innovation. With helmets, visors, cardboard devices, earphones, controllers and special sensors, it was clear that VR is here to stay. The same thing happened the following month in Barcelona at the Mobile World Congress. The photo that illustrates this moment shows Facebook CEO Mark Zuckerberg walking among hundreds of visitors to the congress who don’t

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The concept of virtual reality as we know it now took shape in the early 1990s in the world of video games. Launches such as the Sega VR and Nintendo’s Virtual Boy aimed to transport the user inside the video games with rather precarious helmets. They were not successful at that time, but they sowed the seed that several decades later would bear fruit thanks to Google and Facebook. When Google launched Street View it had a major impact, as it offered the chance to see streets anywhere in the world, moving through whole cities at the click of a mouse. At the same time, mobile phone performance improved, including gyroscopes and accelerometers, that is, sensors that tell you whether you’re facing north, south, east, west, up or down. In 2010 the company Oculus Rift launched the first version of their VR glasses. The project attracted the interest of several engineers and two years later they launched a group funding campaign on Kickstarter that raised over two million dollars. So it was that the industry became interested in the technology and Facebook bought Oculus for two billion dollars. In early October, the company introduced a version

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VR IN POP CULTURE In the fashion industry, fashion films in 360 degrees have already been produced and labels like Dior, Balenciaga and Moschino have broadcast fashion shows that could be viewed as if we were in the coveted front row. Dior and Moschino created their own helmets: Dior’s was printed in 3D, while Moschino created a cardboard visor. Always one step ahead, last year Björk premiered her video “Stonemilker”, filmed in 360 degrees with wraparound sound. The Icelandic artist also created the exhibition Björk Digital, a series of virtual experiences in which the spectator could enter the singer’s body while hundreds of lights exploded all around, among other activities.

THE NEW TV

of Facebook for the Rift visor in which users could chat using animated avatars, share video online, take selfies or move through the simulated spaces in the virtual world. To compete with this announcement, Google created the smart phones Pixel and Pixel XL with the idea of making virtual reality more accessible. To do so it created the DayDream platform for immersive and multimedia games. It joined forces with YouTube and the New York Times and Wall Street Journal to offer 360-degree videos. Another much-awaited launch was the Playstation VR visor that Sony designed to be used exclusively with its console. The helmet has movement sensors and connects to the PS4.

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After 28 seasons on air, The Simpsons continues to adapt to the passing of time. Its creators decided to celebrate the broadcast of the 600th episode by recreating the famous sofa gag, with which each episode begins, for virtual reality, and designed a limited edition of 25,000 visors for fans of the show. Elsewhere, the Syfy channel launched Halcyon, an innovative hybrid science fiction series with fifteen episodes, five of which were recorded in 360 degrees. The series is set in the year 2040 and stars a detective from the VR Crimes Unit, investigating the first murder in real life that takes place within virtual reality, and the conspiracy that is discovered through this case. Sporting events are also trying to get on board: the opening and closing ceremonies for the Rio 2016 Olympic Games were available in this format. Not only that, but 100 hours of programming of different events was adapted for virtual reality. The events were recorded with special cameras, covered with lenses all over their surface, and designed specifically for Rio 2016. Although it’ll take a few more years until this idea is applied extensively or is available to many, all signs seem to point to virtual reality ceasing to be something of the future to become something very much of the present.¶

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Keep moving Some images, stories and vague concepts that I write based on one word suggested by S/O magazine: action

TXT Carlos Álvarez Insúa ILUSTRATIONS Carlus Rodríguez

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to play with the concept of action and its possibilities of administration I must visit the world of watchmaking and pause on one key word: escape. In a daring short cut I will note that escape wheel is the device that guarantees the uniformity of action; energy diminishes as it is released. Thus, the échappement will transform the current of rotation produced by a weight— or a spring—in a precise movement of rotation or oscillation that will govern the rest of the watch, generating seconds as it marks the tick tock of the watches that then, dividing it by 1/60 will give us the minutes, and dividing again by 1/60 will give us the hours.

The Sniper Now, let us talk of action: during a carnival we walk one Sunday afternoon along a deserted avenue. We walk slowly, we had too much to drink yesterday: hung over and tired. The almost blank mind only shows us the road. We are in action, we walk and we are heading for a bar two blocks from home for a black coffee. Someone hidden, furtive, arches his arm and from a balcony throws a water bomb at us which, with unbeatable precision, bursts on our heads. The first action is to stop walking, the second is to shake one’s head, the third is to search in vain for the balcony where the attack—believed to be in jest— came from, the fourth to insult furiously while looking at an empty balcony. Who acted? The comedian of the carnival? The soaked victim, stopping and insulting? What is interesting here is that in both cases

there was an action, but of a different nature, and here a concept of the policy can be applied: action and reaction. The first transgressing expected, regulated behaviour; the second, trying to punish—unsuccessfully—said socially agreed action. After this story, in which the person carrying out the action is a very rude person, I will state that I prefer—as a personal decision—action over reaction; as the latter, regardless of its violence, is by its nature passive. It does not come from us, but from that which happens to us as a result of a movement executed by a third party. It’s true that history is full of actions of transgression against the inevitable power and that, in these examples, the reaction is transformed into a strong biopolitic that isn’t at all passive. But these are processes that do not occur in the individual sphere, but in the relationships between subject and State. I suspect that the human psyche and also the body require, like watches, an escape wheel, their excess on occasions damages us or wrongs us, its absence refers to paralysis and panic. However, with prudence, the action must not be stopped: it is always good to wind up the watch night after night.

Walking and Thinking Now I can declare the action I most admire: walking. I am an old walker, sometimes I walk for hours around neighbourhoods, rural paths, hard shoulders. I’ve do this with enjoyment since I was a teen, with just a few previsions, good shoes, comfortable clothes and a small

rucksack with water, a book and a camera —for the last 12 years a Contax T2 35mm—with the film loaded, and another blank one. That is my equipment for going out for a walk. Sometimes with a destination, other times, no… I’ve had this habit since I was young, unconsciously; but as I reached about twenty, I read Darwin and Humboldt and this brought with it revelations. The German naturalists walked, they suspected that this action stimulated a sharp perspective, capable of contemplating nature as a whole and in detail. On the other hand, since I was very young, Nietzsche has drawn a map in my mind, and in a certain article— published in I don’t remember which philosophy journey—I discovered that, on occasions, Nietzsche walked around the Engadin, while teaching philology in Basel. Such endorsement made my desire to go out and walk seem less silly. And five years ago I read Of Walking on Ice by Werner Herzog. It is an admirable book in which Herzog thinks he can save the life of his genial master Lotte. I cannot help but quote these lines, for their moral and aesthetic beauty: “In late November 1974, I received a call from a friend in Paris who told me that Lotte Eisner was very ill and would probably die, to which I replied that cannot be, not now, German cinema couldn’t spare her yet, we must not allow this to happen. I grabbed a coat, a compass, and a bag with the bare necessities. My boots were ACCIÓN 40 S/O ACTION

so solid and new that I trusted them. I took the straightest route to Paris with the firm belief that she would stay alive if I went on foot.” With the emotion roused by Herzog’s irrational, supreme, challenging, affirmative act quoted here, I move away from the walks in which I suspect one of the most supreme actions of man. Just to finish with some references: the word comes from the Latin actio, and so “action” refers to the act of abandoning a passive role to do something. We can also affirm that “action” is the consequence of said activity. It is physics: action is the effect that an agent —whatever it may be— has on a given thing: the struggle of a combat, the plot of a film, the ticking of a watch, or a set of movements and gestures. A succession of facts or circumstances joined together, interacting with each other and causing the sequence which is, of course, an interlinking of actions.

In Physics Mechanics is based on the principle of stationary action through path integrals. A model of the curve of space-time around a source of gravity. Many matters of physics can be represented and resolved from the action principal: find the fastest way to get down to the beach to reach a drowning person… contemplate how the water, falling down the gradient, seeks out the sharpest descent: action reveals the fastest way to reach a destination.¶

Spring passion On a classic stage, Hotel del Casco, among flowers and the most exquisite creations from designer Adrián Brown’s summer collection, scenes from a spring weekend. PHOTOS Hernán Cristiano STYLING Julieta Enríquez

All jewellery by Simonetta Orsini. Dresses by Adrián Brown.

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Smoked taffeta natural silk dress. Watch: Montblanc, BohĂ¨me Date Automatic. Ring and earring set in yellow gold, emeralds and diamonds.

Hand-embroidered seersucker dress. Watch: Vacheron Constantin, Patrimony Traditionnelle World Time. Vintage earrings in pink gold and S/O ring ACTION diamonds. Pink gold and baguette-cut diamonds.

Marbled jacket, shirt and gabardine pants, Giesso. Sartorial backpack, Montblanc. Watch: Montblanc, Heritage Spirit Moonphase.

DevorĂŠ dress in natural silk. Watch: A. Lange & SĂśhne, Lange 1. Yellow gold earrings with South Sea golden pearls and yellow gold ring, golden South SeaACTION pearls and S/O diamonds by Jewelmer.

Hand-embroidered seersucker dress. Watch: Vacheron Constantin, Traditionnelle. Pink gold ring and baguette-cut diamonds, and vintage pink gold earrings and diamonds. Suit, shirt, tie and belt, Giesso. Watch: Vacheron Constantin, Patrimony Traditionnelle World Time

Natural silk dress. Watch: Cartier ClĂŠ. Set of earrings and ring in pink gold with semi-precious stones.

S/O ACTION Jacket, shirt and pants, Giesso. Watch: IWC, Aquatimer.

Organza model. Watch: FP Journe, Octa Lune. White gold and diamond rings and earrings. Vestido largo de seda natural magenta, con amplia falda y tajos. Reloj: IWC, Portugieser CronĂłgrafo. Anillo estilo Lady Di de oro blanco, esmeralda y brillantes. Aros de oro blanco y brillantes con diseĂąo de cascada.

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Broderie dress. Watch: Cartier, Calibre Diver. Pink gold earrings with flower design diamond. White gold rings and baguette-cut diamonds. Pink gold ring and baguette-cut diamonds.

Embroidered tulle dress with guipure lace and silk fringe. Suede sandals, Sette. Watch: Hublot, Classic Fusion chronograph. White gold bracelets with baguette-cut diamonds. White gold earrings and cascade diamonds.

S/O ACTION Jacket, shirt and pants, Giesso. Watch: Audemars Piguet, Royal Oak.

Vestido largo de seda natural magenta, con amplia falda y tajos. Reloj: IWC, Portugieser CronĂłgrafo. Anillo estilo Lady Di de oro blanco, esmeralda y brillantes. Aros de oro blanco y brillantes con diseĂąo de cascada.

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Gauze tunic. Underwear, Mon Caprice. Watch: Panerai, Radiomir. Pink gold earrings. Pink gold and diamond rings.

“FASHION HAS TO HAVE A SENSE OF HUMOUR” A dermatologist by profession, Adrián Brown worked in his doctor’s office until he started designing clothes, and today both activities live together in harmony in a quest for health and beauty. From his store in Galería Promenade, he tells us how for him fashion is fantasy, beauty and humour. TXT Florencia Zielinski PHOTOS Javier Picerno

drián brown wasn’t like any other child in Dolores, the city where he was born and where he lived until the age of seventeen, when he went to study in Buenos Aires. He had two certainties: that he was passionate about fashion and that he knew he wanted to be a doctor. Since the age of fourteen he had been sketching designs in his notebook, with his little sister as muse and model, while Vogue and other fashion magazines piled up at home. When he finished secondary school, he didn’t hesitate for a second and registered to study medicine, a career in which he specialized in dermatology. But for the last eight years he’s been dedicated to haute couture. Is there a conflict? Not at all. Far from being a case of Dr Jekyll and Mr Hyde, Brown harmonizes his two passions naturally, and organizes his areas of influence, his doctor’s office and his shop, in the radius of one city block, with Galería Promenade on Avenida Alvear at its centre. How do you combine your profession as a doctor with that of a designer? I’ve been doing aesthetic medicine for many years, and since I started designing, I’ve continued with both activities in parallel. At first I mostly worked in medicine, but when I started to show what I was doing in fashion, that started to gain dominance. Today, half the week I work as a dermatologist, and the other half as a designer. I mix the two together, because I understand that in the end, in both ways I’m helping people to look better. The vocation, the origin is the same: it’s an innate search for the beauty that lies in fashion and in medical work. When I chose medicine I was looking at the fashion world (and that still happens,

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sometimes) with a lack of commitment with other things in life. And because of my way of thinking I needed a more thorough education. Do you think that in medicine you found another approach to fashion? Totally. I realize that I function differently, I think what I do has something else to it. When I help someone to look good I’m helping with their state of mind, helping them to deal with many other deeper things that come into play if they don’t look good, like their immune system. It’s a cliché, but do you think beauty comes from within? If a person is not good on the inside, that shows on the outside. And no matter if I dress them up in a dress with embroidered taffeta, it wouldn’t do much good. Everyone wants to “decorate” themselves, but in reality inner beauty is consolidated through the work of human virtue. After doing that work, you put on a tunic, you go out, and you’re twice as stunning. As a designer and doctor you deal with similar matters… In this field there is a lot of ego, vanity, narcissism. And often a difference is generated between what I want and what the customer or patient wants. For example, in my office, the worst thing is struggling against ageing. And it’s something natural, chronological, the passing of time is what makes us human. And here, in the shop, a customer comes in who wants to show herself off, position herself socially or compete with someone. All of that is charged with a lot of tension. That’s why I

what my idols did, like Yves Saint Laurent, Dior, Oscar de La Renta, Balenciaga. The current collection has very romantic lines, ruffles… What are you working on at the moment? Yes, it’s quite feminine. I really like the outline cut at the waist, a wide skirt, covered sleeves, jewel neckline. For the autumn-winter collection I’m going to work with lamé, metallized fabrics, copper, gold and silver colours. Some really shiny pieces and others more sober, but that’s going to be the connecting theme. I’ll be presenting that in February.

prefer to stay on the creative side, not deal with customers so much. I try to stay backstage, behind Victoria, my wife, who’s like a filter to me, and my assistant Federico. Where do you find satisfaction? It’s strictly tied to creativity. When I present my collection, twice a year, I like to do it with music. At those times, the ideal image takes shape that I would like to pass on to the world. It happens in that instant. This year I sold eight dresses in a collection that went to good homes, to women who appreciated them, who knew how to carry them off, who enjoyed them and sent me photos of them, happy in their dresses. That helps me see that I helped them to be happy with that garment. What is the creative process like in your case? It works in different ways. It might start from an image, a painting, a fabric. For example, velvet inspires a medieval thing in me. Or lamé takes me back to memories of the 1980s. You retain images in your mind, inspiration comes from the unconscious. When you see the mark of a designer, it isn’t something that’s repeated. I have a style that dips in to that big bag of images that I’ve stored up over my life. I’m inspired a lot by the past, I’m always looking to the past, to

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How important are detail and perfectionism in your work? I’m very meticulous, but I used to be even more so. Now I try to see the whole and contemplate that. When I work on a face with laser, for example, now sometimes I might leave a little spot, because I think it looks aesthetic. I don’t go crazy over perfection anymore. It’s the same with a dress. Often I choose a more relaxed silhouette, more out of phase, or certain cuts that modify the structure a little. Before everything had to be symmetrical, but I chilled out over time. I’d go to the Colón Theatre to see the opera and I couldn’t listen; I’d be looking at everything. Now I try to attain a state of contemplation, lose the focus so that I can play the game of “no senses”. It’s been hard work for me, I tried to make it easier. What creative stage are you at now? I feel like I’ve crossed a lot of barriers. I started at the age of fourteen, dressing my sister, a friend of hers, my mother. I drew, we’d choose the fabric, we’d go to the dressmaker and she’d make it. The first thing we made was my sister’s dress for her fifteenth birthday. This year, in my last collection, there was a lot of ruffles, I made a reinterpretation of that dress, but with a different fabric. What was it like designing for your sister? I was a bit bossy. My sister, who was always like a muse, would go out in Dolores in some strange dresses, kind of dressed up, and everyone would whisper “Oh, she’s been dressed by Adrián”. It seems that although she got a lot of compliments, it caused tension in her that I was transferring onto her all that weight I had with fashion. A short while ago, a few days before I got married (I designed the dress she wore at my wedding), we had an argument and at one stage she said to me: “I always wore what you wanted me to wear.” That was harsh, but she was right.

Has anyone ever questioned your passion for fashion? People who know me have always understood the medicine and fashion thing, no one questions that. I find that I can do the two things perfectly naturally. When I was young, in fact, the design degree course didn’t even exist. If I’d wanted to go down that route, I would’ve had to go abroad. What you like to live in another country? Right now, yes, I’d like to live in Paris. I have a daughter who’s a year and a half and I think it would be nice to be able to take her to study abroad. I’d like to present my collection at Fashion Week. I love Paris, it inspires me. I can imagine myself living there. What is your greatest aspiration in fashion? I’d like to have my own atelier, that’s my dream. To have a place where I’m surrounded by people I trust where we can create as a team a marvellous garment. To be in the whole process, not just see a part of it. I’d like to attain that perfection, see that virtue transferred to the garment. I love Valentino, for example. His garments have a high degree of virtue, métier, craftsmanship, perfection. That’s what I’d like: to generate perfection. I’m always working on that, it’s what most concerns me. At

the same time, I don’t lose sleep over the idea of dressing anyone famous, that doesn’t interest me. What other activities do you do? I do psychoanalysis, it’s very important to me. I have a fairly spiritual life, close to God. I pray, I try to be in touch with myself. Since I was very young that’s something very important in me. In the morning, while Victoria and my daughter are asleep, I love to make mate and read the gospel. Or the I Ching, which I studied for eight years and is an incredible tool for introspection. If I need to give a twist to a situation, that always gives me something. I think that my search through self-analysis and through the study of human behaviour is what holds up everything else. To be above myself, perfect my behaviour and unfreeze my heart: that is what sustains my life. The rest dances away, it all works itself out. If you don’t have a reflective twist, everyday life is very boring and empty. This search allows me to laugh, to lose myself. It helps me to be creative, because fashion is ultimately an illusory thing. The dress has to have fantasy. If as a designer you don’t generate the fantasy, you’re nothing. The concept of minimalism, for example, I don’t get it, I think it’s so dull. To me, fashion has to have a sense of humour. ¶

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D DIVERS

Created so that nothing is impossible, these watches withstand the most extreme conditions nature can throw at them and tick away to the sound of adventure to explore the darkest depths of the sea. A selection of ideal watches for immersing yourself with.

JAEGER-LECOULTRE Deep Sea Cermet Chronograph

THE MASTER EXTREME COLLECTION EXISTS IN THREE different universes, Extreme LAB, Master Compressor and Deep Sea; each of them has their own personality and was made for adventure, whatever the surroundings may be: glacial temperatures, high altitudes or marine depths. This collection has been designed to withstand the most extreme conditions. The Chronograph Deep Sea case, made with reinforced cermet, a material formed from aluminium and ceramic particles, and then covered with a protective ceramic layer, boasts highly technical properties, being light, resistant and inalterable. This watch shows hours, minutes and the small second hand on three counters, as well as a highly legible power reserve indicator useful when underwater, situated above the central hands. The rotating bezel has been lowered to offer optimum legibility of time and chronograph indicators, essential for diving. This chronograph runs on a Jaeger-LeCoultre Calibre 75, an automatic movement with 340 pieces, 28,800 vibrations an hour, with 65 hour power reserve.

PANERAI

Luminor Submersible 1950 3 Days Chrono Flyback, Automatic Titanio – 47mm

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AS WITH ALL PANERAI WATCHES, THE MAIN sphere of reference is the sea and in the case of the Luminor Submersible 1950 it is the main reason for its creation. This model for professional divers is resistant to pressure 300 metres below sea level and is presented with a large Luminor 1950, 47 mm diameter case. The iconic case design, immediately recognisable by the device protecting the winding crown, is integrated with an element whose historic origins go back to the model created by Officine Panerai in 1956 for the Egyptian Navy: the unidirectional rotating bezel for calculating the time of immersion. The other function that makes this piece stand out is the flyback chronograph, also known as the “retour en vol”, which enables the chronograph hand that is already moving to be zeroed and instantly restarted by a single pressure, without it being necessary first to stop the hand and then to return it to zero. In the Luminor Submersible 1950 the push button which controls the stopping and starting of the chronograph is at ten o’clock, while the push button at eight o’clock operates the flyback function and zeros the chronograph hand after it has been stopped. To ensure the simplest and clearest possible reading, the chronograph minutes and seconds hands are both positioned centrally on the central dial and distinguished from each other by being different colours: the seconds hand is blue while the minute hand is rhodium plated. The colours chosen for the hands enhance the minimalist design of the black dial, with its dot-shaped hour markers and simple figures, and the small continuous seconds counter at nine o’clock. Two versions of this are available: one with a bezel made entirely of brushed titanium and the other with a special bezel of titanium to which a matt black ceramic disk has been applied.

IWC

Aquatimer Automatic Expedition Jacques-Yves Cousteau THE RUGGED CLIFFS RUNNING ALONG THE coast, where the glittering silver Pacific crashes onto the jet-black igneous rock, is probably the most typical view of the Galapagos Islands. IWC’s designers took much of their inspiration for the colour scheme of the Aquatimer Automatic in stainless steel from this meeting of the elements, their emblematic watch dedicated to the underwater world. The Aquatimer Automatic Edition “Expedition Jacques-Yves Cousteau” incorporates the same blue in the dial as the chronograph that bears the commandant’s name, and is equipped with the innovative external/internal rotating bezel with the SafeDive system. With a case measuring just 42 millimetres in diameter, the Aquatimer Automatic is the smallest member of the diver’s watch family and its dial offers a simple reading of immersion times. Water resistant to 300 metres, it has automatic winding and a power reserve of 42 hours. With the Aquatimer Automatic Edition “Expedition Jacques-Yves Cousteau”, IWC continues with its series of special editions in honour of the French underwater explorer and oceanographer and contributes, among other things, to the restoration of Costeau’s research vessel, the Calypso.

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AUDEMARS PIGUET Royal Oak Offshore Diver

AN AUTHENTIC EXAMPLE OF THE AUDEMARS Piguet Royal Oak Offshore Diver family was devised for deep water diving. This selfwinding watch with dive-time measurement and date is a faithful companion in adventure. Its 42 mm stainless steel case with glareproofed sapphire crystal and caseback with “Méga Tapisserie” pattern, rotating inner bezel with diving scale and applied indices, and white gold Royal Oak hands with luminescent coating. For easy viewing, the rotating inner bezel is silver with a black diving scale and zone from 60 to 15 minutes. With a selfwinding manufacture calibre 3120, powered by the natural movements of your wrist, this exceptional automatic mechanism combines functionality and accuracy with the highest aesthetic standards. It is waterproof to 300 metres and comes with black rubber strap and Audemars Piguet buckle.

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CARTIER

Calibre de Cartier Diver Blue THE CALIBRE DE CARTIER DIVER BLUE IS AN authentic diver watch created for submersions down to 300 metres. Designed with all the necessary comforts, its rubber strap adjusts to the wrist perfectly. The optimal precision of the unidirectional turning bezel and the time control displays in Super-LumiNova® on its blue dial make this a secure and precise instrument. Equipped with the 1904 MC mechanism, this watch has hour and minute functions, calendar indicator at 3 o’clock and small second hand at 6 o’clock. With a contemporary, sporting character, this watch is ideal for adventure and urban life.

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Distinct Heritage Paloma Cepeda was chosen to star in Simonetta Orsiniâ&#x20AC;&#x2122;s new graphic campaign. After her designer debut on the catwalk of Argentina Fashion Week, she talks about style and shows us how to combine the most stunning pieces from the jewellery collection.

PHOTO Marcelo Setton

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STYLING Jorge LeĂłn

t the age of 24, paloma cepeda has already earned her place in the universe of Argentine fashion. The daughter of renowned model Mariana Arias and photographer Marcelo Cepeda, she has walked the catwalk with the designs of various brands, worked on graphic campaigns and was one of the protagonists of the Benetton campaign until she decided to call time on her modelling career and devote herself to the thing she loves the most: design. After winning the “I, young fashion designer” competition organized by the University of Palermo, where she studies Clothing Design, she decided to launch her own brand with her partner and fellow student Francisca López León. In just four months, they had defined the collection, travelled to New York to buy the fabrics and planned the graphic campaign. Soon, FP (the initials of their names) debuted at Argentina Fashion Week with a monochrome design, with full volumes and straight lines, designed for an elegant woman with personality and self confidence. Having inherited her mother’s captivating beauty, Paloma starred in Simonetta Orsini’s jewellery campaign. We talked to her about style and fashion.

How do you put together a collection? What inspires you? Every collection we’ve done has been different. We try to start from an idea and get inspired by something specific, but as the process advances we intuitively move towards certain places until we have the final result. I think each designer finds their own way, there isn’t one right way to create a collection.

Growing up among designers and backstage at fashion shows must have left its mark. Your father is a photographer and your mother a model. Do you think that that had an effect on your chosen profession? I often ask myself the same question! I think it’s a world that I experienced a lot and got to know through them, but in time I made the decision to see it with my own eyes and I think I’ve made it mean something for myself.

How would you define your style? I think I’m classic and feminine. It depends a little on what mood I’m in, but in general I think I’m always in that area.

As a designer, you decided to stay behind the cameras, under the catwalk, in a space out of the spotlight. Do you prefer that reserved place, rather than being the centre of attention? It isn’t necessarily reserved, sometimes it’s harder, you expose yourself more in showing off your own collection than modelling someone else’s work. But it’s definitely the place where I feel most comfortable, it has more to do with who I am and what I like to do. How would you define your brand, FP? FP is a brand for strong, self-confident women. For women who aren’t afraid to show who they are and don’t need adornments or to hide behind a fashion or “what you have to wear”. How do you divide up the work with Francisca? We both do everything. There’s no division of labour. We design together and we do everything else together.

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You look a lot like your mother. Do you think that helped you to get started in your career, or did you find it hard to set yourself apart from her? A bit of both. I don’t deny that at all, I love it. But often it’s hard for other people perhaps to separate certain things. What’s the relationship like between you two? Does she give you tips? We’re very close. I’m lucky in that I can talk to her about everything and she’s always been a great friend, especially now that I’m older. We women grow to understand our mothers over time, and we learn to relate to them from a different place, at least that’s what happened with me.

In fashion, do you think that “more is more” or “less is more”? I always believe that “less is more”. What five items of clothing should always be in your wardrobe? A good coat, a pair of jeans, white shirt, some nice flat shoes, and above all, a pretty dress for day and night. What are your favourite accessories? I really like to wear a nice ring and I collect them all the time. I have a big collection of vintage rings from my grandmother and others that I’ve picked up over time. What is luxury for you? To me, luxury is learning to be happy with what you have and knowing how to enjoy the little things in life. What are your next projects? We’re putting together the winter show for FP and we’re really looking forward to opening our shop ¶.

STYLE TIPS Since Paloma is the star of the new Simonetta Orsini campaign, she chose her favourites from the collection and told us how, when and what to match them with. Simplicity is key.

I choose this to match with a pair of jeans and white shirt, or with a very sober black dress.

Iâ&#x20AC;&#x2122;d wear it every day as my only ring.

I think they work perfectly with the hair tied up, masculine style, to show off the earrings.

Ideal for wearing with a dress at night for a formal event. And as the only accessory, obviously.

I prefer to combine it with a coloured garment or with a summer dress. Also as the great protagonist. 69

Chronicle of a Magical Journey The prestigious manufactory Vacheron Constantin invited photographer Steve McCurry to share his perspective of the world to illustrate the new collection of a classic. Twelve stunning locations, one unique perspective and one travel companion: the Overseas.

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Paris Observatory Built in 1667, this is the oldest active observatory in the world and has witnessed the birth of new sciences like geodesy and meteorology. Its historic dome houses a telescope pointing to the sky.

“This was the first time I’d been in the observatory’s dome. This place was revolutionary in its time and today it’s still one of the biggest astronomical centres in the world. The Overseas trip is guided by the same curiosity about the world that holds up the walls of this place,” says Steve McCurry. 71

hat connects the paris observatory, the Red Square from the roof of the GUM in Moscow, the spectacular Crawick Multiverse in Scotland, the Moroccan city of Chaouen, the mystical Samarkand in Uzbekistan (a city where human activity is recorded since the late Palaeolithic) and Lalibela in Ethiopia, declared a World Heritage Site for its rock churches carved into the basalt rock on the hills? There are two sides to the answer: the first is that all these landscapes are the gorgeous manifestation of man’s intervention on nature. And second is that these and other locations were chosen for the Overseas trip, a journey full of mystique that sought to capture visually the perspective of US photographer Steve McCurry, author of the famous photo “Afghan Girl”, published on the cover of National Geographic in 1985. Dedicated to the travellers of the twenty-first century, the new calibres that renew one

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of Vacheron Constantin’s most legendary collections come with simple and complex indications, and an oscillating weight inspired by the wind rose, a great symbol of travel. The new generation of automatic watches is consolidated in five models equipped with the manufactory’s mechanisms (including three new calibres). All the models, both steel and gold, and from the simplest to the most complicated, are distinguished with the Geneva Seal, and come with interchangeable bracelets that guarantee comfort in any corner of the world. The collection not only consists of simple pieces that show hour, minutes, seconds and, in some cases, date, but also chronographs and ultra-thin watches.

Crawick Multiverse, in Scotland The complex is a jewel in the hills of the heart of the Dumfries region. The architect and artist Charles Jenks has transformed an old coal mine into a work of landscape art. Red Square in Moscow Perspective is everything. A privileged view of one of the most famous squares in the world from the roof of the GUM, a glass dome built in 1983 and made up of steel arches that extend over some 2.5 hectares.

“The square is crowned by colourful domes. When night falls, this view took on an even more magical dimension.” SM.

“I am pleasantly surprised at its ancient mysticism, despite being a new construction. You might say that these structures evoke a certain cosmic sentiment.” SM.

Samarkand, Uzbekistan. Located on a strategic point on the Silk Road and one of the oldest inhabited cities in Central Asia. It’s been Greek, Persian, Turkish, Mongolian and Iranian doing the heyday of each of these civilizations.

Chefchaouen, Morocco: tradition time For almost 100 years, the inhabitants have painted this small town blue. The inhabitants see in this tradition a way of highlighting beauty, like an ocean in the desert.

“I’ve visited a very similar city in India. There’s a poem that compares the blue city with the sky and heaven,” SM.

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Lalibela, Ethiopia Carved into a rock at the top of a hill in the thirteenth century, Lalibela was built as the “New Jerusalem”. Its eleven buildings symbolize the earthly and celestial universe of Jerusalem along with a trench representing the River Jordan. This curious place, dug into a rock with a roof at ground height, entices travellers to discover a world charged with simplicity and humility.

“I knew the place as I’d been there ten years before. Despite the passing of time, its timeless architecture is still as iconic and surprising as it was 2500 years ago,” SM.

“Lalibela stands out for its churches dug into solid rock. It’s a unique structure, unlike pyramids or medieval churches.” SM

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Beyond the finish line Daniel Arcucci is a columnist for the newspaper La Nación, he works in radio and TV and is the author of Mi mundial, mi verdad (“My World Cup, My Truth”), a book about the 1986 World Cup from Diego Maradona’s perspective. But there are two words that define him apart from his work: marathon runner. Here he talks about why he runs when he runs. TXT Daniel Arcucci

henever i’m asked why i run, and why I run so much, I go back to that November morning in 2012 which, funnily enough, is not the starting point. It isn’t the starting point because really I’ve been running for as long as I can remember, since I was a kid and loved football training, and managed to run ten kilometres without so much as realizing it, up and down the hills around my hometown of Puan. But I go back to that morning because it was different, because I was different. I was lying in bed. Sprawled, really. The sun was cutting into the room, through the cracks in the blind, but it was the shadows that were winning the battle. There was also a hubbub coming in, a murmur. Voices and footsteps, voices and footsteps. I had two choices: to close the blind completely, into the shadows, or get up and go out. Go out for a run. Go for a run away from despondency. Run until you drop dead. That. The why doesn’t matter; it’s the drive, that’s what matters. There’s always a pair of trainers. A pair of shorts and a t-shirt, too. The hard part is getting up and that was done. It was just a matter of not stopping and

I ran the Dubai Marathon with an Argentine shirt that said on the back ‘Dani, you’ve already won’.” going out. Going out for a run. I go out. I start by the railway tracks, just next to the Tren de la Costa, a couple of hundred metres from San Isidro station, down by the river. Before me a path opens up that seems infinite, although it isn’t. There is no finish line; it’s as long as your body can stand it. La Salle to the centre is the route and after a block I have my first encounter with a compact, happy group of runners, going down the hill on Roque Sáenz Peña. At the front of the pack is Luis Migueles, a star of the 80s, a former elite athlete, still the national 800m record holder and now a coach. He waves as he passes, our shouted surnames left hanging in the air. Seeing them encourages me and the momentum carries me across San Isidro, through the suburbs of Acassusso, Martínez, Olivos, La Lucila, Vicente López until I see the General Paz ring road. I don’t look at my watch to see how many kilometres I’ve done, but instead I turn and go on, now heading north, I pass through the same places and on I go, with the river to my right, and up ahead Punta Chica, San Fernando, Tigre. And I turn again. A

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few hundred metres from where I started, which isn’t the finish line, my calves give out on me. They stiffen like stone and leave me standing there. Exhausted, but happy. I look at my watch. It says I ran 27 kilometres. I’d set out to run until I dropped dead, but when my body told me to stop I felt more alive than ever. I hobble home, one leg asking the other for permission. On the way a phrase occurs to me that I know, I intuit, is inconclusive at that time: “I run when I feel bad, to feel good…” What came after that morning was a phone call to Luis Migueles. “What were you doing?” he asked me. “Running”, I replied. “I know, but how far and how?” When I told me I’d run 27 kilometres and why, he couldn’t believe it. He invited me to join his group, the Migueles Team. And from then on I didn’t just run, I learned to run. The 10K is, and was, just the beginning. The entrance to an activity that gets you socializing from the get-go. The 21K, later on, became a healthy, aspirational distance, one to grow into. The body starts to respond to the effort and the mirror re-

ocation of something you shouldn’t do, that can be done and that you want to do, but as a way of making up for lost time. They weren’t great times; but they were enormous experiences. The 3h46m58 it took me to cross the five boroughs of New York, from Staten Island to Manhattan, passing through Brooklyn, Queens and Harlem, or the 3h45m08 it took me to run from the most ancestral Tokyo to the most modern parts are nothing compared to the view of those cities from a place like no other way of seeing them. When you run a city, you don’t just tour it, you know it and you recognize it. That’s why I run, among other reasons. I run because running makes me happy, and it makes me feel young. I run because it makes me get over myself and beat myself every day (and yes, it’s a competition.) I run because one day it was an achievement for me to do 10km, 21, 42, and in the future it’ll be 100. I run because it makes me happy to arrive, I’m happy when I win, and I’m happy for those who make it and those who win. I run because I can do something that you can’t do in any other sport: compete with the best, in the same place… I could be a very good footbal-

I run because it makes me happy to arrive, I’m happy when I win, and I’m happy for those who make it and those who win.” flects back a rejuvenated picture. And then you go for more. You go for the revered marathon, the 42K becomes the challenge. My birthday is 5 September, but in 2013 I decided that I would celebrate my 50th on the 29th of that month, the day of the Berlin marathon, my first marathon. It was when I ran through the Brandenburg Gate, a couple of hundred metres from the finish line, that I felt I had truly entered a new world. That no sooner had I finished that long effort of 4 hours and 17 minutes, all that was left was to tackle one just like it, in a lower time. So I ran the Dubai Marathon in January 2014, with an Argentine shirt that said on the back “Dani, you’ve already won”, written and signed by Diego Armando Maradona. No sooner had I run through the finish arch in 3 hours 43 minutes (my best time to date) than I was planning the future: the New York marathon, in November of that year, then Tokyo in 2015. Yes, 42 kilometres twice in barely three months, but not as a prov-

ler, but I’ll never get to play in the World Cup with Messi; I could be a great racing driver, but I’ll never compete in Formula 1 with Lewis Hamilton; I could be an excellent tennis players, but I’ll never set foot on the clay court at Roland Garros at the same time as Nadal; but I can run on the same day, in the same place and along the same circuit as Kimetto, or any other Kenyan genius who beats the world marathon record. Running is the most democratic sporting activity in the world. That’s why I run. Because one day I decided to run until I dropped dead, but when I got to the finish line I was more alive than ever. And because, after so many kilometres covered, I managed to finish that phrase from the first day, which wasn’t the starting point: “I run when I feel bad, to feel good… and I run when I feel good to feel better.” ¶

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THE VISIONS OF STEPHEN FORSEY The latest edition of the SIAR—Salon International Haute Horlogerie Mexico— gave the Watch of the Year award to the Signature I, a model of ineffable simplicity whose secret is that it reveals its interior with genial impudence: whether you look from the front or the back, the calibre runs before our eyes. A conversation with one of the watch’s creators. TXT & PHOTOS Carlos Álvarez Insúa

he city is gridlocked. almost despairing, I get out of the taxi and jump on the metro. I know I’m going to arrive late. At ground level everything looks chaotic in Buenos Aires. I phone Mercedes Quintana to let her know that I’ll be arriving at the Four Seasons library 15 minutes late. She says “OK, Stephen’s running late and he hasn’t got any interviews after you.” The news takes my stress levels down, I start to look forward to the imminent meeting with Stephen Forsey, one of the brilliant minds of extreme contemporary watchmaking, and also a charming person who with Robert Greubel invents watches that challenge logic but confirm the unlimited possibilities of micromechanics with scientific rigor. We’re now seated, drinking espresso and mineral water. Carlos Álvarez Insúa: Hello! Back in Buenos Aires! SF: Yes, delighted to be here, we’ll have time for a good long chat. CAI: Greubel Forsey is a unique brand. I suspect because it brings together two apparently contradictory values, tradition and radical avant-garde. SF: Yes, it’s curious. We always want to invent something new, but we’re deeply tied to the tradition of the mechanical watch. CAI: Let’s talk about the history of the company.

SF: Robert and I conceived GF in the mid 1990s. We both had a lot of background. He’s Alsatian and the Greubel family has a strong watchmaking tradition. He had always been dedicated to creative design, and then he continued his watchmaking studies in Switzerland. On the other hand I’m from London, where I went to school thirty years ago. When I finished, I started to restore antique watches. Eventually I moved to Switzerland and continued my work there. In the early 1990s I met Robert and towards the end of the decade we started working together. We made complicated watches—especially minute repeaters—and some experiments with electronic watches. We were determined to reinvent the concept of “complication”. That was why we eventually concentrated on mechanical watches, on their movements and their details, on the finish. We wanted to welcome the new millennium creating new mechanisms, as after so many years repairing, restoring and recreating watches of the past, we’d learned some of their secrets. That was how the first Greubel Forsey piece came about. It was very difficult to make, but we didn’t want to repeat it, all the same. We visited and consulted with several manufactures, and in 2004 we were lucky enough to be in the right place at the right time with the timepiece we’d dreamed of. So we concluded there that that was our year to become a brand. Since then and up to 2016 we’ve produced 100 watches per year that have been sold and distributed all over the world. CAI: Was the extremely limited production a political decision?

the object to be invented. The action lies in always creating a new watch. Most companies are based on marketing: identifying what kind of watch the market needs, how much it should cost, whether it ought to be complicated or not, etc. Greubel Forsey think about creating a watch based on desire and internal capacity. It doesn’t consider marketing, it doesn’t analyze the market. CAI: It’s almost a declaration of war: very few—in 2016—dare to think of something without considering who the consumer is; even the arts seems trapped by the logic of the market and visibility… SF: GF is something else, we’re only capable of thinking based on creativity which, on occasions, leads us to incredible watchmaking creations, and on others to the challenge of radical simplicity. CAI: Signature I? SF: Yes, Signature I is about taking simplicity in the direction of transparency and clarity.

SF: Yes, GF are interested in developing unique pieces. They all involve a long process of creation and development, and adding a completely new watch to the world. CAI: Ha! A NASA of great complication in watchmaking. SF: Yes, the focus of creativity and development. It’s inventiveness putting down roots in the history of science and technology. A Greubel Forsey piece needs an incalculable development and production time. That inevitably means that our only possible market is the collectors. CAI: I am surprised that year after year and for over a decade you always present an absolutely new watch at the fairs, it doesn’t look anything like the previous year’s model and gives no hint as to the next year’s. It looks like the action is permanent, it never stops and chooses paths that branch off and come together. What is the mechanism of that movement? SF: Creativity, technical resources, a tight focus on

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CAI: Aside from this watch winning the prize at SIAR 2016, I love that you chose not to add a tourbillon cage. It’s funny, but I sometimes think that the tourbillon is an addiction for contemporary mechanical watchmaking. A kind of cocaine for watchmakers. SF: Ha! It’s a passion, but a very healthy one. The tourbillon can be really important in a watch for GF, but it should be there to improve the performance or represent a new development. CAI: Of course, but I have to say that it isn’t necessary for all the watch companies to produce a watch with a tourbillon. Sometimes it adds very little to produce a tourbillon and insert it in a watch when there is so much to create in simple watches, and that doesn’t make them any less complex or challenging. SF: The simple stuff is extraordinary and extremely difficult. It demands incredible design spaces and radical challenges in the finish. In the case of the Signature I, that was the task: to define a space where you can appreciate the architecture of the movement. We wanted to make the calibre accessible to the collector as a spectacle, from front and back. We attempted a revolution in visibility, in light, so you can see all the time the mechanism and the finish of the

faces on both sides. Enjoy the experience of a running calibre. CAI: How many watchmakers work on one piece? SF: One watchmaker, but with a strong support team. The mission of mechanical watchmaking is to construct the accuracy and perfection from the hand finish. In the Signature, a master watchmaker worked for ten years on the mechanism, then three people worked on the finish. CAI: How old are the people who buy Greubel Forseys? SF: Today I think they’re about 35 to 40, but since our watches are practically eternal, I hope people will continue to wear them. One day they’ll be 50, 60 or 70. We sell watches, but our mission is to enter into a dialogue with collecting, with history and art in watchmaking. We’re always working on twelve to fifteen projects. I’m answering your first question here, when you asked me how we manage to produce a new watch every year. This helps us in that sense, as not all projects take the same amount of time, some take three years, but the perpetual calendar, for example, took eight. We never set ourselves a deadline and it takes as long as it takes. When only three or four years pass and a watch is ready, there are people who are surprised and say “Oh… you’ve already finished it!” CAI: How important was it to you to work in the restoration of antique watches? SF: It was very important to work on Bond Street and be in contact with repeaters and chronographs from 1940, from historic pieces from the eighteenth and nineteenth century. Putting them together, cleaning them, discovering how they were made and considering the conditions in which those wonders had been made. Imagine! On some occasions they didn’t even have electricity and they’re still perfect and efficient. Robert Greubel and I learned the importance of the finish and we took on the commitment to create watches like those that we restored and which last for many, many years. I think that’s part of the craft of making watches. All those pieces that were in our hands are part of culture of humanity. You don’t have to be a watchmaker or an advanced collector to appreciate the beauty and perfection with which they were conceived. The mechanical watch

has accompanied man everywhere on Earth and travelled into space; it’s been at battles and in the most unlikely adventures. The watch is one of the objects that give testimony to the history of one person over the decades. CAI: It’s nice what you say, because it refers to an object that dialogues with the body and the emotions, and not to a mechanism that a man uses for its purpose and function. It makes me think about my addiction to analogue cameras—despite the admirable advances in digital photography, which also allows me to take photos that I love—I’ll never stop taking photos in 35 mm or in medium format. I still develop negatives. SF: Exactly, I can use a smart watch, tell the time and receive emails, but that experience will never be the same as wearing a mechanical watch on my wrist, or as you say, capturing an image on film, limited to 36 frames. CAI: I’ll see you in Geneva. SF: Of course. ¶

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Allies in

Movement The great watchmaking houses are founded on values: elegance, precision, accuracy and power. So it’s natural that sport should be a natural source of inspiration. Here’s a look at some of the most interesting unions in the industry.

PANERAI SAILS CLASSIC WATERS The firm founded by Giovanni Panerai in Florence in 1860 has close ties with the water. The firm became the supplier to the Royal Italian Navy with the invention of its Radiomir, a radiumbased powder that made their devices and instruments luminescent and provided high visibility for divers. This relationship with the water has been maintained over time, and the manufactory presently sponsors major yachting events, such as the Panerai Classic Yachts Challenge, an international circuit of classic and vintage sails, in perfectly restored condition, ranging the seas to become the most perfect spectacle. Just a few months ago, in September, the 38th edition of the Challenge concluded with a regatta in the French city of Cannes. Five days to see the most beautiful models sailing, with antique wood-framed sails, with a movement as elegant as Panerai’s watches.

CLASSIC CARS, PASSION ON WHEELS Since 2010, A. Lange & Söhne has sponsored the Concorso d’Eleganza Villa d’Este, a competition held in Lake Como that focuses on the beauty and elegance of classic cars. For this occasion, the Dresden manufactory pays tribute to the most stunning cars in the world with its Lange 1 Time Zone Como Edition, an exclusive timepiece not available for sale. It is crafted only once a year for the “Best of Show” winner. The focus of this watch was on superb legibility, making the Lange 1 Time Zone the perfect companion for cosmopolites. The clearly organised dial delivers a single-glance reading of the home time and the time in a second time zone. The second time zone is selected with a rotating city ring that encompasses all 24 time zones and can be comfortably advanced with a pusher. Elaborately hand-finished and assembled twice, the manufacture calibre has a power reserve of three days. In comparison to the classic version, the Como Edition has two special features: Central European Time on the rotating city ring is represented not by Berlin as usual, but by Como as a tribute to the event location. Additionally, the watch is endowed with a cuvette. In other words, the Lange 1 Time Zone has a handengraved, hinged dust cover in white gold on the movement side. Its free-hand engraving pays homage to the competition: the inscription “Concorso D’Eleganza Villa D’Este” frames the coat of arms of the event and two calendar years. They trace the arc from the first Concorso d’Eleganza Villa d’Este in 1929 to the present, represented this year by 2016.

HUBLOT’S ROMANCE WITH FOOTBALL With its presence at the UEFA EURO 2016™, the firm confirmed its leadership in the football world, as European Championships partner for the third time. This year marks ten years since Hublot began supporting football and they’re celebrating with a series of spectacular photographs of major legends and superstars from the best teams on the planet. So the question is “What is your Euro moment?” and to answer it is CEO Ricardo Guadalupe. “These are the moments that are life changing. These are the moments that Hublot wished to share with its campaign celebrating the personalities that make up its footballing family. Images that show their soul by revealing the highlight of their EURO. Moments that will bring a smile to your face and bring out all the passion for the beautiful game. This passion that unites mankind. As if we were all brought together by one calling, that of football.”

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AUDEMARS PIGUET, THE FIRM WITH THE BEST SWING A precision sport with control over aim and rhythm like golf couldn’t have a better partner than a watch company. This is the case of Audemars Piguet, which has a team of ten professional ambassadors, including Henrik Stenson, one of the most important players in the world, who has been using Royal Oak Offshore since 2014. There is also Danny Willet who, at the age of 27, is recognized as the man behind the rebirth of British golf. Then there’s Byeong Hun An, “Rookie of the Year” on the 2015 European Tour, a very influential player, born in Seoul in 1991. And others like Ian Poulter, Lee Westwood, Spaniard Miguel Ángel Jiménez and Argentine Emiliano Grillo.

JAEGER-LECOULTRE, GALLOPING STYLE It’s been no less than 85 years since the launch of the Reverso, JaegerLeCoultre’s signature watch. Present at the most important tournaments in the world, the firm has consolidated its leadership in the sport of kings. From sponsoring the Gold Cup at Cowdray Park Polo Club in the UK, to its role until 2015 as official stopwatch of the Argentine Polo Championship in Palermo, the brand’s signature timepiece forms a great connection with polo. This relationship dates back to 1931 when British players living in India asked expert watchmakers to create a watch that could withstand the rigours of the sport. And so Jacques-David LeCoultre created the Reverso, a piece with art deco inspiration and swivelling case to protect the watch from possible knocks from mallet or ball. Since then they’ve sponsored players like Eduardo Novillo Astrada and the Casa Fagliano, a family firm of craftsmen manufacturing polo boots and institutions as well as some of the Reverso straps. In 2016, the firm celebrates 85 years since its foundation with two new lines, for men and for women, which promise to continue positioning the Reverso as a symbol of sporting elegance.

IWC, HIGH-FLYING CREATIONS IWC Schaffhausen has a historic tradition in the world of aviation. Since 1936, when the firm presented the first Special Pilot’s Watch, many high-flying pieces have followed in its footsteps: the Big Pilot’s Watch calibre 52 T:S:C, similar to the instruments of a cockpit, or the Mark 11, developed for the Royal Air Force, which used it for 30 years. 2003 saw the appearance of the Pilot’s Watches named after the legendary English Spitfire. And it also paid homage to the work of French writer and pilot Antoine de Saint-Exupéry, author of The Little Prince. In 2007, the Top Gun was added to the brand’s luxury squad of watches. With their imposing case diameter and innovative, high-quality materials, IWC offers a broad range dedicated to taking to the air. In 2016, the firm launched a new collection of Pilot’s Watches, including the Big Pilot’s Heritage Watch and the Automatic 36. A spectacular return to the key elements that made the brand’s name.

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THE ROAR OF THE CARTIER ENGINE The automobile industry has a clear presence in the flagship model that Cartier presented at the SIHH this year: the Drive model, a piece that returns to the power of the classics but with design details. Inspired by the lines of vintage automobiles, the dial is reminiscent of old radiator grilles, the little second hand the speedometer, and the crown is inspired by the old bolts used to hold the engine together. A partner in adventures, an elegant piece with various versions, one with a steel case and another with pink gold adorned with guillochĂŠ cases in black, grey and white to create the perfect match.

“I’M NOT AFRAID OF ANYTHING” Theatre, television and, coming soon, literature. Javier Daulte sails these waters with ease. Scriptwriter, playwright and theatre director, he tells us how intuition always moves him towards the land of challenges. TXT Florencia Zielinski PHOTOS Javier Picerno

he “calling” was very clear and it came in his teens, when his mother took him to the theatre to see Agustín Alezzo’s Springtime Awakening. He saw it seven times, sitting in the middle of the front row. “It was like falling in love, I couldn’t stop thinking about that world,” says Javier Daulte from the sofa in his house in Palermo, as a dappled cat weaves among books and statuettes, some of the many that Daulte has won throughout his career as an author and director. Theatre, television and, shortly, literature, when his first novel comes out. Such is the territory in which Daulte feels at home. Because, somehow, perhaps mysteriously even for him, he knows how to handle the magical threads to tell stories, create characters and make universes appear from out of nothing. The list of his theatre credits is endless. His name was already standing out in the nineties, as one of the founders of Caraja-Ji, the legendary group that brought fresh air to Argentine theatre and put authors like Rafael Spregelburd, Alejandro Tantanian and Daniel Veronese on the scene. Are You There, You’ve Never Been So Adorable, Criminal, Happiness, 4 D Optic, Little People are just some of the plays he wrote and directed, here and abroad. Because there was a great deal of “abroad”, especially in Barcelona, a city to which he toed and froed for

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many years, and where his way of working with actors lent his name to an actor training method, the “Daulte Procedure”, one that is described as very committed in emotional terms, but playful, not at all solemn. The last days of the year fall away like sand and he seems happy. Satisfied with the result of Family Silences, the programme he wrote for Canal 13; with the production of Our Women, a play that he directs and which is still showing, at the Metropolitan Citi Theatre; with his classes and rehearsal at Espacio Callejón, a place he bought in 2015 and where various theatre companies do their thing. And with his first novel, of course; that new thing that has got him excited and anxious, awaiting the last corrections and publication in February by Random House, in an Alfaguara collection. What was the challenge of writing a novel like? I started writing it around 2007. It wasn’t in my plans to write a novel, I did it as a distraction, to do something different from what I usually do. It was a challenge, I wanted to experience what fiction prose was like. I had a lot of respect for it, I thought it a titanic task. And it is. I started writing longhand, in notebooks, when I went on holiday. Then I left it for a long time and two years ago I took all the notebooks and decided to transcribe them. That made me reconnect with the story and I carried it on. When I finished it, I gave it to a couple

of people to read and they liked it a lot, they devoured it. That, to me, as a fan of Stephen King and addictive books, is high praise.

things, being limited by the hour and a half that a play lasts. It was like being told “Eat everything you want, you’re not going to get fat.”

What’s the story about? It’s called The Staircase Circuit. It covers eight years in the life of a teenager, from the age of 13 to 22, and tells of his relationship with his estranged parents. The boy witnesses something traumatic, and they will never know what he saw. The novel talks about how this boy and his father have a connection that they are unaware of, and the reader can see how there is always something connected and circulating between them. It’s an adventure, I’m very excited about it, I’m really looking forward to it coming out. It’s very different from a play, which a lot of people see on the day it comes out. A novel takes more time.

What other things are you enjoying at the moment? What I’m very enthusiastic about (as well as the novel, which isn’t yet in my day to day) is a play that I’m working on called Clairvoyants, and which will premiere some time next year, with a group of nine actors which came about from the seminars I teach. These aren’t people taught by me, but people I trained. We’re rehearsing two or three times a week but, if it were up to me, we’d rehearse every day. We’re going to put it on at El Callejón, a venue that I’m very happy with, accompanying the companies there. Also, I love giving seminars; going to the Metropolitan to visit the cast of Our Women, chatting in the dressing room with them. And television is also something I like a lot, although it’s really exhausting. In fact, I’m in talks over new projects and putting off some meetings (I’ve had a very nice, major offer from another country) because I’d like to have a little more space for other things.

Do you feel that trying out a novel was a natural step in your career as an author? I want to see how it feels, I wrote a couple of short stories, I have a lot to learn. The task of writing the novel was titanic, but so far I’ve found it gratifying. It’s very nice to create a fic-

Both in relation to creativity as in life, what’s satisfying is being able to create the conditions so that something new happens. ” tion whose final destiny is a book. I’m used to my writing being just the lines that then pass through different things: the actors, the scenography, the production in the case of television. I think that relationship between the author and the reader is very interesting, very intimate. The fact that I wrote this novel has to do with giving myself freedom. I like to tell stories and theatre isn’t the only way. It would be very difficult for me to understand life without theatre, but it’s also possible. Was this writing process very different? Curiously, for those who come from literature and go into theatre, they find it very difficult, and going the other way is quite smooth. I think we playwrights are very attentive to the word and how it sounds. Because the words we write are those that are going to be heard, not those that are going to be read. And I think that musical aspect that we have makes us good at dialogue. For me it was like writing a soap opera with a lot of episodes, without being forced to summarize

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Television is very demanding. Yes. Although when I do television, I also do other things. But all the same it takes a lot out of you. Family Silences was a very pleasant job and there was a very good understanding with the crew. But a time came when I had to organize my day to day to make it possible for the work to come out just as I like it. I work practically alone; I have a collaborator who is more than anything an online reader who gives me notes and helps me to perfect my aim, but I write everything. I’m very demanding: if I’m not convinced and I don’t like a script, I don’t turn it in. Producers know this, they’re grateful for it and they also suffer for it. As well as the calling when you discovered your vocation for theatre, have you had other insights in your life as to the road to take? When I saw Springtime Awakening I was captured by a passion. Some of the desire found an outlet. I think that that, if it happens, happens once in a lifetime. The lucky thing is that

it happens! After that, life always brings crossroads and you have to decide where to go. There is something that has to do with intuition, that says “it’s this way”. Like when Barcelona became a goal for me. If you ask me why it was Barcelona and not somewhere else… I don’t know. Just now when I was visiting, I realized that it’s because Barcelona and I get along very well, we understand each other. Barcelona, not Spain. Or, also, when I stopped going and said to myself “we’re done.” As much as that hurt. I know that it was over. Even when I said “I’m going to buy El Callejón. There are things that you know are crazy, because they bring consequences, like changing an economic system. You pay a lot of attention to intuition. Yes. As I said once, I live in fear, but I’m not afraid of anything. When something starts to itch, I know it could end up being a monster and that I’m going to make a decision about it. Now I ask myself: “Do I feel like doing commercial theatre?” I started to think that perhaps I don’t feel like doing it anymore. And it’s good to feel that you can say that and it’s OK. I think that being free is giving yourself the chance to make changes. And if I don’t give myself that freedom, and if I get trapped by this thing that I know how to do, and it looks like I do it well because the phone keeps ringing, that ties me down in some ways. I’ve always said that since the beginning I set out to do what I wanted to do. And for me it’s very important to have the courage to do it. I know how to play it safe, I’m afraid of getting bored. I don’t want to go too far. I think with the novel, El Callejón and the fact that I’m rehearsing something for alternative theatre are the things that I’m most excited about. And maybe they’re the least visible things. And do you apply this in life, is it related to your way of creating? I suppose that, both in relation to creativity as in life, what’s satisfying is being able to create the conditions so that something new happens, something that surprises you. Now, for example, I’m rehearsing and writing Clairvoyants at the same time. I haven’t finished writing it yet. And if you ask me what’s going to happen, I haven’t the slightest idea. I’m very much interested in what starts to come out, in why certain things occur to me. There’s always something that seems whimsical or arbitrary, which in reality encloses certain key things about something that is inside

you, and probably has been for a long time. Just as what happens with free association in psychoanalysis, where from saying absolutely anything the most fundamental truth appears. What were the last surprises you gave yourself? In Little People, a play in which the characters have a civilization of very small beings, which at first I thought had something to do with my childhood fantasies. And then I realized that it was a play that reflected on God. It surprised me that I, coming from a secular upbringing, from a family of atheists, who never believed in anything, should write a play about God. It wasn’t that I sat down to write a play on the subject. I only wanted to write a play about little people… That’s what’s arbitrary. ¶

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A TIME PROOF CONNECTION

Great actors and contemporary directors, as well as the legacy of the master of silent film, Charlie Chaplin, form a bridge linking the Swiss manufacture Jaeger-LeCoultre with the seventh art. Notes on a romance that never dwindles.

TXT Jesica Mateu

ights, camera, action. and time. Because in cinema, time plays a major part too. We know that a short isn’t the same as a feature film, and that the duration of the scenes is essential. Every dialogue, performance and set must respect a given time frame with a precision coordinated by the director, scriptwriter and actors who wish to tell stories that open up to the audience the doors of emotion. The seventh art is a discipline with which the haute horlogerie company Jaeger-LeCoultre has sought to be connected since the last century. Both take time very seriously, and at the same time, they celebrate it. So it is that cinema and this century-old manufacture share the intention of turning every second into an instant of eternity. And that is a job that is constructed both in film studios and in the haute horlogerie workshops. Attention to detail, the perfecting of technique, incessant creativity and the search for excellence are some of the values shared by these two worlds.

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A SILENT TICK TOCK The Swiss manufacture, a reliable expert in measuring the tiniest particles of everyday time, has honoured on more than one occasion the makers of the seventh art, especially Charlie Chaplin. The silent film actor and director mastered astutely and sensitively the production of feature films and their demanding times; and Jaeger-LeCoultre knew it. In fact, they were able to form with him a relationship that still resonates today. When the actor with the lolling walk settled in Switzerland in 1953, the local authorities paid tribute to him with a highly personalized gift: the Memovox watch with a gold case engraved with the following inscription: “Hommage du gouvernement Vaudois à Charlie Chaplin – 6 octobre 1953”. (Homage from the government of Vaud to Charlie Chaplin, 6 October 1953.) This was a mechanical watch with an alarm function. After the legendary artist’s death, it was inherited by his son Michael who in turn gave it to his wife on their wedding day. Years later, it would be passed down to their daughter Carmen, Chaplin’s granddaughter and

also a film director, who used this valuable timepiece in 2013 for a scene in the short film A Time for Everything characterized by its poetry and its evocations of legacies passed on from generation to generation. As the epitome of contemporary woman, she was chosen to star in Rendezvous feminine line. It is worth mentioning also that the Memovox was recently restored by Jaeger-LeCoultre to return it to its bygone splendour. In addition, the renowned haute horlogerie firm was chosen on another occasion to honour this endearing silent film director and actor in May 1972, when he was awarded with the Caméra Souriante (Smiling Camera) by the Swiss Press Photographers Association. The model that Chaplin received in recognition of his kindness to the Swiss press, and as a tribute to this big-hearted man, was the Atmos clock. It is said that the Atmos pendulum lives from the air of time, as its mechanism is driven by variations in the room temperature. Both timepieces —the original Memovox and the Atmos Classique identical to the one presented to Chaplin— are part of the Charlie Chaplin heritage, and from April this year they are exhibited in Manoir de Ban, the Swiss museum that tells the story of his life and work.

A PERPETUAL RELATIONSHIP But the shared history between Jaeger-LeCoultre and cinema doesn’t end there. Since 2013, the Film Society of Lincoln Center in New York and the watchmaker have joined forces to continue celebrating the seventh art with a prestigious event: the annual Chaplin Award Gala, which the Film Society has held since 1972. This year, the honorary award went to the renowned actor Morgan Freeman. The manufactory has historic ties with Cannes. At the last edition of the festival in May, Jaeger-LeCoultre in partnership with Finch & Partners held the 8th Annual Filmmakers Dinner and Award in Antibes. English documentarian Nick Broomfield was awarded the prize. For the second year running Jaeger-LeCoultre showed “The Art of Behind the Scenes”, an exhibition of the work of leading photographers from the film set. Among images of Brigitte Bardot, Audrey Hepburn and David Bow-

ie, Jaeger-LeCoultre presented a series of contemporary photographs taken with a vintage Compass camera, produced by the firm in 1937. Other Hollywood stars with Jaeger-LeCoultre watches include director Tom McCarthy, winner of two Academy Awards for best movie and best original script for Spotlight. He wore the Geophysic True Second model at the last Academy Awards. The renowned actor Steve Carell also wore a Jaeger-LeCoultre piece to the Academy Awards, in this case the Master Ultra Thin Perpetual. Meanwhile, Beast of No Nation director Cary Fukunaga preferred the True Second in pink gold. But as well as all that, because of their passionate ties with cinema, the Swiss haute horlogerie firm also has ties with the Académie André Delvaux and the Magritte Awards, celebrating the best in Belgian cinema. This is the third consecutive time that Jaeger-LeCoultre has supported this event, presided by actress Marie Gillain, and hosted by actor and screenwriter Charlie Dupont.¶

Red and Black

Avenida Alvear was lit up with colour to celebrate the 110 years of prestige and pioneering spirit of Montblanc with an event that brought together celebrities and influencers in an experience that immersed all in the brandâ&#x20AC;&#x2122;s archives.

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ACTOR JUAN MINUJÍN. DESIGNER AND MODEL PALOMA CEPEDA. MODELS HERNÁN DRAGO AND TOMÁS GUARRACINO WITH TV PRESENTER AND JOURNALIST GERMÁN PAOLOSKI.

Music, lights and the sound of good conversation. the recoleta boutique was dressed up in red and black to celebrate 110 years of excellence in writing instruments and horlogerie. Montblanc celebrated its anniversary in Argentina with a look back at its history and a homage to the Rouge & Noir fountain pen, first introduced in 1909. And there was quite a crowd to see it all!

THE ARGENTINE RUGBY PLAYER JUANI HERNÁNDEZ. JOURNALIST AGUSTINA CASANOVA AND ACTRESS SABRINA GARCIARENA. ARCHITECT JAVIER ITURRIOZ AND TAILOR NICOLÁS ZAFFORA.

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Friends of the brand, clients, influencers and journalists in the store toasted to the past, present and the future that awaits this prestigious brand that has put its faith in Argentina. Those present included journalist Germán Paoloski with his wife, actress Sabrina Garciarena, actor Juan Minujín, TV presenter Horacio Cabak, journalist Agustina Casanova, as well as former model Mariana Arias and her daughter, Paloma Cepeda, rugby player Juan Martín Hernández and former captain of the Argentine rugby team and vice president of WorldRugby Agustín Pichot, It Girl Lucía Celasco and her partner Joaquín Rozas, chef Pablo Massey and international model Thomas Guarracino. They were all guests at an exclusive evening. The event replicated the immersive experience that Montblanc held a few months ago in the legendary Rainbow Room of the Rockefeller Center in New York. Likewise, in Buenos Aires the decoration was dominated by red and black tones, and the legacy of the brand was displayed in original photographs, archives and old advertisements to show this powerful inheritance. After 110 years of pioneering spirit, Montblanc continues to inspire the world with craftsmanship pieces, iconic designs and novel functions that are a watchword for sophistication and quality, quality that lasts a lifetime.¶

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FLAVOURS ON WHEELS From British chef Jamie Oliver to Mauro Colagreco, the Argentine chef with two Michelin stars to his name, food trucks are growing in quality. A ride on the back of nomad gastronomy. TXT Daniela Rossi

A WAGON TRANSPORTING PROVISIONS and cooked food stopped in the middle of the countryside, on the road from Texas to Colorado. It was 1866 and the USA had its first chuckwagons. Cattle rancher Charles Goodnight invented the transport as a way of feeding those transporting cattle across the state. This is the oldest known ancestor of what we now call food trucks, mobile kitchens that have cropped up all over major cities to offer a relaxed alternative to dining out.

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New York was the pioneer in the twentiethcentury version. By 1930, horse-drawn wagons were replaced by motorized stands that stood in the streets at lunch time to serve hot food. After the Second World War, the trucks that the army had used as mobile kitchens were bought up and revamped by entrepreneurs who wanted their own mobile restaurant. But the current revolution in this form of street cooking got a new boost eight years ago, when Kogi BBQ appeared in Los Angeles with its Korean-Mex proposition: barbecue tacos for just two dollars. Within months chef Roy Choi’s project had become a hit in US gastronomy and marked the start of a trend that has no fixed direction but wins over customers with original menus, friendly prices for food on the go and communication with customers over social networks. EVOLUTION A lot has happened since those first experiences, and now the phenomenon has caught on at the

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upper end of gastronomy. For example, at the start of this year, Mauro Colagreco, the Argentine chef in charge at Mirazur —the sixth best restaurant in the world according to the 50 Best— opened in his home town of La Plata a hamburger joint called Carne. The two-star Michelin chef also recently took another step in this project, when Carne became a food truck, touring festivals and events. The food is simple but the man behind it guarantees quality and flavour. At international level it’s also the case that established chefs have got on board their own food trucks. English chef Jamie Oliver took his Food Revolution Truck out on the road, cooking for and teaching healthy eating to groups of schoolchildren. French chef Ludo Lefebvre, well-established in the USA and part of programmes like Top Chef and Iron Chef, took up the challenge to take his LudoTruck out onto the streets of Los Angeles. British chef Mark Hix, founder and chef of HIX Oyster & Chop House, created one of the most famous trucks in London, Fishdog, which honours the local custom

of eating fish and chips. In his gastronomic explorer programmes, Anthony Bourdain always visits and recommends the best food trucks on the streets of Miami, New Orleans or Chicago. The History Channel broadcast the documentary History of Food Trucks and with the movie Chef (2014), food trucks made it to the big screen. In this film, a chef quits his job at a famous restaurant and sets up his own truck, falling in love again with cooking. With their different styles, offerings, sizes and cooks, food trucks have shaken fresh air into the food scene all over the world. LOCALISMS The new gastronomy entrepreneurs then started to turn to this model, although it wasn’t exempt from regulation and food hygiene scandals, though these were then better regulated in each area. From dumplings to fried chicken, from lobster rolls to speciality coffees, from fruit juice to artisanal ice cream, the menus have no limits

and tend to use local products as their main raw material. London, Berlin, Mexico City, Montreal, Geneva and Mumbai: the caravan of street cooking crossed borders and became a thing all over the world. Buenos Aires was no exception: in 2011 different food offerings sprang up in trucks, vans and even motorbikes with adapted trailers: Coffee Avenue (a coffee stand that used to stop outside the Law Faculty), the Bon Bouquet crêperie created by Croque Madame’s chefs, Morfa and Logia by gastronomist Pablo Erli, and Nómade, which Ernesto Lanusse brought to the streets. Lanusse became one of the main proponents of local growth of these food trucks that went down very well with foodies in Buenos Aires. “When I first came across them fifteen years ago in California I thought they were stunning. They didn’t sell hotdogs, they sold tasty, ethnic food, well prepared and with an identity of its own. Food trucks go against the problem of having to eat on the go whatever’s to hand. They become an alternative so that those people

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who have a moment to spare can eat well, with a product prepared by someone who ensures traceability, who is interested in offering a good service so that you’ll go back.” In 2012 Lanusse founded the Argentine Food Trucks Association to bring together people new on the scene. Today it has around twenty members. Aside from the good impact they have had on the scene, they came up against an obstacle that to this day has not been altered: the law only permits the sale on the street of sweets, coffee shop products, cold sandwiches packed at origin and hot sandwiches. Lanusse is optimistic that there will soon be a decision in favour of the food trucks that will allow them to establish themselves. They found a place for themselves through innovation and interesting menus: “Before you’d go to a concert and there’d only be hamburgers and fizzy drinks. Today you know that at an event like that you’re going to find the food that food trucks offer: you’re sure to find a vegetarian sandwich and a fruit juice, for example. There are no longer mass events

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in Buenos Aires where the audience doesn’t expect to find them. It’s become a necessity for the organizers, and consumers are aware of that. When Nómade started out, it was a rarity: now it’s one of a hundred, and that’s brilliant.” This format has also taken its place in the enormous number of food fairs organized every weekend in Buenos Aires and the surrounding area, like MASTICAR, Buenos Aires Market, Al Dente, Picurba, BA Food Fest and Bocas Abiertas, which give pride of place to these stands. Matías Kyriazis (Paraje Arévalo), Fernando Rivarola (El Baqueano), Gastón Riveira (La Cabrera), Santiago Macías (iLatina) and Narda Lepes (Boca de Lobo) are just some of the major chefs on the local scene serving food from the window of a vehicle. We’re on the road to flavour. ¶

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THE TRACTION OF DESIRE Spectacular, stunning objects of desire, 4x4s merge comfort with luxury. A demanding selection of five vehicles that will surprise you on any surface. TXT Gabriel Silveira

FOUR-WHEELED DRIVE VEHICLES FIRST appeared in number after the Second World War, when the Willys-Overland jeeps built for the US army began passed into civilian use. CJs (Civilian Jeeps) made their debut in farming as they were good at driving on complicated terrain. As well as Jeep, other manufacturers started to specialize in this type of model. Toyota, with the Land Cruiser, and Land Rover’s Defender and Range Rover became leading models. But over time, 4x4s have ceased to be vehicles for special purposes and become objects of desire. This is why more and more manufacturers offer at least one model, although few have true off-road capacities. In fact, today the term SUV (Sport Utility Vehicle) is used more than 4x4. Where previously drivers sought a tough, sturdy, strong vehicle, now the priorities are horsepower, comfort, design and luxury. With these modern parameters we put together this list of ten 4x4s… sorry, the five most spectacular SUVs in the world.

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Bentley Bentayga A few years ago it wouldn’t have been possible to see a Bentley at the top of a list of all-terrain vehicles. But with the same opulence as its saloons and coupes, the most exclusive cars on the planet, Bentley decided to create their first 4x4. The Bentayga is the most powerful (608 hp) and fastest (maximum speed of 180 mph) SUV in the world. To get this title it uses a W12 engine (rather like two V6s together) which is supercharged with two turbos. When full acceleration is not required, half the cylinders disconnect so as not to overdo the fuel consumption. As if that wasn’t enough, the interior is the most elegant and distinguished with leather and wood (real, not imitation.) It also has a few eccentricities. For example, there is a picnic hamper to go in the boot, which costs some $32,000. Or a fly-fishing set, whose price has not yet been announced. But the most superlative element is the Breitling clock on the dashboard, in (white or pink) gold, with eight encrusted diamonds, which itself in Europe costs €200,000. The Bentayga retails at €240,000.

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Range Rover Sport SVR The Range Rover by Land Rover was always a landmark in terms of off-road capacity, comfort and luxury. But the big change came in 2000. At that time the change was notable and great road performance was added to everything else on offer. But with this SVR version the British company has easily surpassed itself. It has obtained a sporting performance like never before. Its V8 engine provides 550 hp, distributed over its four wheels via an effective traction system. Whatâ&#x20AC;&#x2122;s more, once you get to such an extreme point a choice has to be made, and this version opts for spectacular performance on tarmac, which is why its 22-inch tyres have a specific design for on-road performance, which reduces performance off it. The interior combines refinement and quality with a strong sporting character. It retails in Europe for â&#x201A;Ź148,500.

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Porsche Cayenne Turbo S When Porsche announced at the start of this century that it was going to make 4x4s, many doubted whether this was the right decision for a marque with so much sports car tradition. Time has proved Porsche right and, true to their tradition, the Stuttgart firm now produces the sportiest SUV on the planet. Its V8 bi-turbo engine provides 570 hp, combined with an 8-speed automatic gearbox. Pneumatic suspension, electronically-controlled shock absorbers and active stabilizer bar make this model’s response to sports driving simple extraordinary. In figures, that translates into 0 to 60 mph in 4.1 seconds and a top speed of 176 mph. But if cold facts don’t get you going, the sporting touch and roar of the engine set a standard that one could easily confuse with that of a 911. Not yet available in Argentina, but in Europe it goes for €195,000.

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Tesla Model X

Mercedes-Benz GLE Coupe 63 AMG

The marque led by Elon Musk is today not only the star of the automobile industry, but is also considered the most innovative company in the world, with its range of luxury electronic vehicles. And in its most eye-catching product line is this strangely shaped 4x4. Its proportions are atypical for an SUV and the “gull-wing” reardoor opening system (actually Tesla clarify that they’re “falcon wings”) is the most eccentric thing we’ve seen in some time. Depending on the version, this Tesla can get maximum autonomy of 337 miles on just a single charge of its battery pack. Users of this model also have the chance to use Tesla’s Superchargers for free (in the USA, Europe and Asia-Pacific), providing an autonomy of 168 miles with just half an hour’s charge (on a normal grid it would take hours to get that range). The most powerful version (P9OD) offered to date provides 532 hp, meaning it accelerates faster than a Ferrari: 0 to 60 mph in just 3.3 seconds. Oh! And it can carry seven people. It costs $116,000 in the USA but its final price varies depending on tax benefits, which vary from state to state.

The Stuttgart marque’s response to compete with its eternal rival BMW. Mercedes took the same formula as the GLE model (previously known as ML) and made it into a coupe. The final result is very good, capturing that sporting spirit. Especially with this 63 AMG version, in which not only are its sporty looks emphasized with specific (22 inch!) tyres and hubcaps, and special aerodynamic details, but its whole mechanics receives a differentiated development. Starting with the engine, which is assembled by a single engineer (whose signature is displayed on the engine), and is capable of 585 hp. The pneumatic suspension adjusts the height and hardness, based on the speed and style of driving, so that cornering is the same as in a coupe. The acceleration is just as thrilling as in the BMW X6 M: 0-60 mph in just 4.2 seconds. The car is not available in Argentina with this engine, at least not for now. The domestic version with the same shape has a 333 hp V6 model and retails at $162,000.

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ÂA GLIMMER OF SOPHISTICATION Founded in the 1970s by the jeweller Bruno Crivelli, the firm Crivelli Gioielli continues to produce unique, limited edition pieces that are synonymous with Italian excellence, creativity and manufacturing. Below, a unique timepiece that is the portal into a magic universe.

White gold and diamond rings in different cuts.

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S/O ARMONÍA

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3 D AYS A U TO M AT I C ORO ROSSO - 4 5mm ( R E F. 67 5 )