THE WATCHES MAGAZINE Summer 2018

Swiss International Magazine Summer 2018 #053 Interview Calim Bouhadra - Thierry Esslinger - Julien Tornare - Guest Simon de la Porte

English Edition

Omega

The ocean: the Seamaster's playground Armin strom - Audemars Piguet - Blancpain - Breguet - Bvlgari - Chopard - deGrisogono - Ferdinand Berthoud Hermès - Hublot - IWC - Jacob & Co - Jaeger-LeCoultre - MB&F - Montblanc - Nomos - Patek Philippe - Rebellion - Richard Mille Roger Dubuis - Rolex - TAG Heuer - Tissot - Vacheron Constantin - Van Cleef & Arpels - Zenith suisse: 10 francs FRANCE MéTRO: 7 EuROs - BEL/LuX/POLAND: 8 EuROs - uK: £8 - A/D/GR//PORT.CONT: 8,40 EuROs - CAN: 11,95 $CAN - usA: 14,99 $us

C ove r wat Ch

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OMEGA Seamaster Diver 300m

By Sharmila Bertin

T

he Bienne watchmaker has given the Seamaster collection’s star model a few updates without affecting the look. How has it gone? The Seamaster Diver 300m, first unveiled in 1993 and made famous by the James Bond films from 1995 onwards, was a success when it launched at this year’s BaselWorld.

The new Seamaster Diver 300m is the ultimate diver’s watch that can be worn underwater (depths of up to 300m as the name suggests) and on land. The ceramic dial on the three versions comes in black, blue (like the cover star of this summer’s issue) or chrome-coloured PVD. The dial has a laser-engraved wave pattern and spear-shape white SuperLumiNova® openwork hands (the minutes glow green and the hours and seconds glow blue) gliding over a phosphorescent hour rim that is slightly thicker than past versions of the Seamaster Diver 300m. The date display has moved from 3 to 6.

The steel case now measures 45mm and has a bezel with a tinted ceramic ring bearing the white enamel diving scale whilst the marker at 12 glows green in the dark. The

METAS-certified self-winding mechanical Co-Axial Master Chronometer 8800 calibre beats at 25,200vph (3.5Hz) and provides a 55-hour power reserve from inside its metal housing.

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TIM E , A H E RMÈS OB JECT.

Carré H Time, square like a Hermès scarf.

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E DIT OR IAL

“The child is the clay, the mother is the potter”* 08

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t the moment my head is buzzing with ideas that all come back to one and the same subject: children. Not just because I have two but because I’ve been hearing about how some watch brands are concerned about the future for a while now. In the last three years especially we’ve talked a lot about Millennials, the famous Generation Y born between 1980 and 2000 whose consumer habits are strikingly different according to marketing studies. Now we’re interested in what’s next so a handful of brands are marketing differently to grab youngsters’ attention.

Several things have made me think about the longevity and evolution of the watch sector as both a journalist and a mother: the buzz around smartwatches designed in 2015, the use of social networks (even the most “traditional” brands now have an Instagram account) and so-called “influencers” in current jargon and KOLs** in marketing speak etc. Then a few days ago I stumbled upon a video on Facebook; it was a clip from a programme with US host Jimmy Kimmel filmed in early May of vox pops with children aged 10 and over who were asked to tell the time using a “normal” clock, meaning two hands in the centre, the smallest for the hours and the longest for the minutes just like you have to learn from the age of 5 or 6. I watched the video in despair as none of them was able to tell the time...

Now what if, before designing items and marketing to target children, we started by reviewing the real values of watchmaking such as passing on knowledge? I asked people around me and the CEOs I interviewed for this issue the following question: isn’t it up to us as parents to promote the watchmaking culture to our children? I can still see myself as a 7 year old with my Casio on and listening carefully to my father (who has no ties with the watch industry) explaining the difference between a quartz movement and a mechanical calibre and about self-

winding. Years of experience in the sector have built on the knowledge I gained that day and I’ve developed a real passion for watches, a “bug” that I’ve passed onto my 12 year old daughter, my 40-something husband who’s the same age as me and my youngest brother, a “real Millennial”. These three family members now collect mechanical watches to suit their tastes and budgets. It’s just a drop in the ocean but at least in my family, there’s a watch legacy that’s guaranteed to last.” * Persian proverb ** Key Opinion Leaders

Sharmila Bertin Editor-in-Chief

© Mickael Gautier

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C r e a t i n g n ew h e i g h t s The new Montblanc 1858 Geosphere.

Spirit of Mountain Exploration. montblanc.com/1858

Gu e st The Watches Magazine invites a new guest writer to share their vision of time in each issue.

Roaming

By Simon de la Porte Illustrator, musician and graphic designer

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“

A small cog in a large wheel” is my motto. Not just because I’m short but because I really like the expression and how it relates to space and time. The tiny space I take up on Earth and the “wheel” I’m part of feels like an essential part of everyday life. Buddhists would call it “mindfulness”; that works for me.

At the end of the day, I don’t try to control time because it’s time that controls us. I’ve stopped wearing a watch despite loving the crazy watch industry and my small collection of vintage watches whose value is more sentimental than monetary with Casio, Mortima, Enicar etc.

The French word for roaming, “errance”, makes you think of another term: “error”. The word is extremely negative in our society and that’s a real shame.

I try to make the most of the time we have despite it frightening most of humanity. Every age is worth living, wear and tear is part of life, I’m getting older, I’m softening like a little pebble on the beach, and I have happy memories of my youth and that energy that I won’t get back. What I’ve lost is gained in another way.

I had a serious accident a few years ago that really set things straight. Not being afraid of time anymore to the point of slowing down to do things well (cooking, drawing, cleaning, breathing, getting inspiration and especially not knowing how to do anything).

Time stands still when I draw, it’s an extremely personal and privileged experience.

I rarely feel like I’m wasting my time. Even in a waiting room, there’s lots to see.

Sleep, what a wonderful time, it’s like a double life even if my body doesn’t crave the lie-ins I treated myself to when I was a bit younger.

© Bori Son

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INSIDE

26 Cover Story Omega

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08 10 18 20 22

Editorial Guest Simon de la Porte We Love Birthdays We Love Shapes Trends

24 26 36 40 46

The Eye of Jewelry Cover Story Omega Interview Thierry Esslinger Interview Julien Tornare Interview Calim Bouhadra

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50 52 55 56 58

Patek Philippe Vacheron Constantin Richard Mille TAG Heuer Rolex

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INSIDE

78 Sports

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60 63 64 66 68

Blancpain Ferdinand Berthoud Hublot Chopard Audemars Piguet

70 72 74 75 76

Montblanc Nomos Hermès Tissot Van Cleef & Arpels

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78 Sports 80 Business 82 Scapa

CALIBER RM 07-01

RICHARD MILLE BOUTIQUES

© Didier Gourdon

SWITZERLAND Rue du Rhône 78 1204 Geneva - Tel.:+41 22 810 85 73 • Quai du Mont Blanc 19 1201 Geneve - Tel.:+41 22 732 20 22

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IMPR E SSU M

WElCOME TO THE WOrlD Of WATCHES www.watches-news.com

Rédaction/Edition ACE Publishing SA Direction/Management Alain Carrier acarrier@ace-publishing.com Rédactrice en chef/Editor-in-Chief Sharmila Bertin sbertin@ace-publishing.com Designer graphique/Graphic designer Célia Sozet Contributeurs/Contributors Sharmila Bertin - Olivier Müller Simon de la Porte - Dan Diaconu - Mickael Gautier - Yannick Ortolan Eléonor Picciotto - Ted Scapa Publicité/Advertising ACE Publishing SA Alain Carrier acarrier@ace-publishing.com Yannick Ortolan yortolan@ace-publishing.com T +41 22 752 60 12

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We Love B irt hdays

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IWC Tribute to Pallweber Edition “150 Years”

By Sharmila Bertin

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t the tender age of 27, the young American engineer and watchmaker Florentine Ariosto Jones arrived in Switzerland in 1868. He travelled to Schaffhausen in the north of the country to found the International Watch Company better known as IWC. A century and a half has passed and the company now belongs to the Richemont group, a key figure in the watch sector. IWC has produced a series of special watches to celebrate its 150th anniversary including this Tribute to Pallweber Edition “150 Years” timepiece (250 available).

You just need to look at the curvaceous body, ball-shaped notched crown, slim lugs on the 45mm red gold case and the unique layout for the famous Pallweber pocket watches that the brand made in 1884 to pop into your head.

The lacquered dial’s translucent and glossy white hue echoes the effect of the enamel in the three hollowed circles laid out in a vertical row. The display at 12 bears the jumping hours

on a white disc with chunky black Arabic numerals. The same look goes for the jumping minutes in the middle of the dial whilst the seconds appear at 6 with a little blue central seconds hand and a minute track. Two rings of different thicknesses bind the hours to the seconds to heighten the curviness of the timepiece.

The manual-wind mechanical IWC 94200 calibre fuels the rotating discs displaying the time features and 60-hour power reserve.

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We Love Shape S

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Chopard L.U.C heritage Grand Cru

By Sharmila Bertin

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ound cases may by the norm in the watchmaking world but shapely watches (square, rectangular, barrel, oval), although out of the ordinary and rarer, also have a fan base. Sometimes an edgy design can win over the most resistant to this type of geometry. One example is the L.U.C Heritage Grand Cru whose appeal can’t be denied.

You just need to know a little about Karl-Friedrich Scheufele, Chopard’s co-president, to “understand” why this L.U.C. is barrel-shaped. The man who turns everything he touches into gold is also famous for his love of fine wine and a wine barrel is exactly what has inspired this white gold case.

The curved body measures 38.5x38.8mm and glitters with a bezel coated in forty baguette-cut diamonds (totalling 3.05 carats) whose sparkle contrasts with the black lacquer dial.

Black and white. A simple, stylish and timeless colour combination for the deep and intense dial whilst the Roman numerals are printed in white. A minute track sits between the hour rim and the silver hour and minute hands in the

centre. The small seconds counter at 6 with a small hand and circular scale appears above the understated white-onblack date display.

The watch has the Geneva Seal and is certified by the COSC. The two barrels in the self-winding L.U.C 97.01-L calibre provide a 65-hour power reserve.

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Customisation: the last of life’s luxuries?

By Dan Diaconu

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ith collections including over 1000 limited edition watches, is it still possible to own a watch that is actually different to the one on your neighbour’s wrist? The myriad versions and variations may well make it less likely but there’s certainly a trend for standardising industrial production among brands that are luxury watch designers. There is one way to adorn your wrist with a unique timepiece: customisation.

prestigious watches for exclusive orders from discerning clients and the world’s biggest names. This tradition is continuing as there’s a real desire to make their clients’ dreams come true. “What sets our customisation service apart is that we really can tailor everything whilst staying true to our collections’ design values. It’s more than customisation; it’s bespoke design. Rarities are the haute-couture of watches,” says Magali Moreau.

Customisation comes in many forms depending on the brand.

Rebellion tailors its impressive T2M movement capable of providing a 2-month power reserve. Major brands like Patek Philippe, Vacheron Constantin and Cartier design unique

As head of this department at Roger Dubuis, she knows that any wish can be granted. “We can modify anything!

Put initials onto the pullback spring or tourbillon cage, add complications, new shapes on the skeleton…play with colours

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23 and materials. Pave some jewels, enamel the dial or coat it in engraved gold…” How about lead-times? “Given that this is no ordinary customisation and we’re designing unique pieces, we rework projects from scratch so it takes at least 5-6 months and can take up to 10-12 months for highly complex projects.”

All that’s left is the touchy subject of pricing. “We don’t have standard extra charges. It all depends on the type of customisation. If you’re adding diamonds then you obviously have to add the cost of the gemstones! We want to provide fair prices in line with our range and we don’t pass all the design costs onto the client,” says Magali Moreau.

gives clients the chance to own vibrant and truly unique masterpieces.

Independent studios, such as London’s Bamford Watch Department and Geneva’s Black-Out Concept, are flourishing.

They modify any watch no matter the age or brand. Specific colours and treatments are applied to the hands, counters, markers, pushers…anything you can see basically. As the novelist André Gide (1869-1951) put it: “Happiness isn’t ready-made; it’s tailor-made.”

The right to be different If your bank account doesn’t allow you to treat yourself to a bespoke watch then never fear; customisation services are becoming the norm. Armin Strom has a fun-filled “configurator” on their website. You select one of the models available let’s take the Manual model, then choose from four different dials, seven plates, nine cases, three gearwheels, two types of hands, five straps, seven types of stitching and two forms of initials. There are 105,840 different configurations for this watch in a matter of clicks but the price can soar depending on what you choose.

It’s almost second nature to Jaeger-Lecoultre. The Reverso lends itself perfectly to customisation as its back is the ideal surface to engrave a few words or a design. A variety of fine crafts are available to meet any request and enamelling THE WATCHES MAGAZINE

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Baselworld 2018: an ode to bling

By Eléonor Picciotto

B

a powerful showcase for the diamond-covered snake’s head covering a dial bearing the hours and minutes. This new unique piece celebrates the Italian artisans’ expertise and sweeps us off our feet.

The award for “subtle bling” goes to Bvlgari’s Serpenti Haute Joaillerie secret watch. The multitude of diamonds that have been individually paved onto the snake’s scales may affect the weight of the strap but it certainly has no bearing on how quick it is to wrap around your wrist. The contrast between the rose gold and the turquoise marquetry creates

Jacob & Co. wins the prize for “complicated bling”. The Brilliant Arlequino Flying Tourbillon is technically complex to make because of the difficulty in pairing pink sapphires with other baguette-cut sapphires according to Jacob himself. There are almost 36 carats of invisible-set gemstones paving the 47mm case. Given all that work, it almost goes without saying that there should be a manualwind mechanical movement with a 100-hour power reserve and a flying tourbillon at 6 on the dial!

rands make the most of the annual get-together at the Basel fair to create a buzz by unveiling their new records, innovations, materials and collections.

The lucky few get a glimpse of some extraordinary pieces that are often unique as they’re dripping in so many diamonds that you’d think they were an ode to beautiful bling.

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The top prize in “bling” goes to de Grisogono for its Luna Diamante. This isn’t just a watch; it’s an exceptional artwork coated in over 60 carats of gems. The strap alone is paved on both sides with three emerald-cut diamonds each at 5 to 10 carats. That’s nothing though as these few gems are just the finishing touch to the case which depicts a crescent moon glittering in 81 baguette-cut diamonds. The dial bears a snow-set diamond at over 4 carats. No metal; just ice and a quartz movement. We should mention that the inside of the strap’s links are subtly covered in diamonds and emeralds but nobody knows that and they can’t see it. You wanted sparkle and here you have it.

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The ocean, the Seamaster playground

By Sharmila Bertin

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ess than a century after the launch of its first diving watch, the Omega Marine, and most memorably the Seamaster in 1948, the brand from Biel/Bienne is back this year with another essential item in its sportswatch collection with a subtle redesign: the Seamaster Diver 300m.

The Seamaster, as its name implies, aims at mastery of the seas. And yet, the ocean, the gigantic mass of salt water that is subject to the vagaries of the weather and that separates the continents, is an element mankind cannot tame. But although it cannot be fully mastered, the sea can

be harnassed using the right tools, which are personified in the world of watchmaking by several robust and reliable models.

The word “Master“ is a sign of Omega’s sports collections, whether on land, on the sea or in the air, such as the Speedmaster, the Railmaster (which is now a sub-family of the Seamaster), the Flightmaster (a line that unfortunately no longer exists) and the Globemaster (part of the Constellation collection).

For 2018, 70 years after the launch of the first Seamaster, Omega wanted to revisit one of its iconic watches, the Diver 300m. This is actually a highly complex exercise, since it

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is always harder to make changes to an existing model, especially in terms of design, than to create a watch from scratch. We take a look at a success story that has passed through the ages with beauty.

The heir of the Marine The history of the Seamaster is closely connected to the creation of a model named the Marine in 1932. In that year, Omega began its partnership with the Olympics as the official chronometer for the 10th games that took place in Los Angeles.

The brand developed a wrist-watch for water sports, featuring a square dial and a double, moveable case and a second glass to make it water-tight – the model was tested in Lake Geneva to a depth of 73m – and to protect the crown from water and dust.

In 1948, the Swiss brand launched its first Seamaster which was very different in terms of aesthetics from the Marine, but borrowed its mean technical feature, since it was watertight.

In 1957, the Seamaster 300 was officially chosen by the British Royal Navy and the following year, in 1958, the famous seahorse decorating the case backs on some models became the collection’s symbol. The figure 300 was not chosen at random: it related to the water-tightness of the watch, which

could withstand immersions down to 300m, but which didn’t prevent it reaching 365m in 1968, a world record at the time. Omega went even further in 1970 and developed the Seamaster 600, known as “ploprof“ (“plongeur professionnel ” or “professional diver”), which was watertight down to 600m, a watch that is still present in the collection, but can now be used in dives to a depth of 1,200m. In 2005, the Seamaster family welcomed a (future) best-seller: the Planet Ocean. It immediately attracted the Omega clientele with its revolving bezel and its orange Arabic numerals.

The diver cut out for action 1993 saw the birth of another commercial success: the Seamaster Professional Diver 300m. With a thick steel case topped with a revolving bezel featuring a time scale and the traditional luminous marker at 12 o’clock, a helium valve on the case at 10 o’clock and a dial with an easy-to-read display (hours, minutes, seconds in the centre and the date against a white background at 3 o’clock), even in the darkness of the sea depths thanks to Super-LumiNova®, the watch was quickly adopted by both amateur and professional divers. But its sturdiness and shape were also appreciated by sportsmen outside the water and by people seeking to add a dynamic touch to their outfits.

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The fame of the Seamaster Professional Diver 300m really took off thanks to James Bond. In 1995, the hero created by the writer Ian Fleming (1908-1964), then played by the Irishman Pierce Brosnan, wore this diver watch on his wrist in the film “GoldenEye“, the 17th opus in the world-famous saga. During the film adventures of the famous spy on Her Majesty’s secret service, Bond has always worn a watch from the Seamaster collection since then, such as the Aqua Terra, the Planet Ocean or the 300. The limited editions that have been specially developed for each film are highly sought after by collectors and James Bond fans alike.

The new face of the collection For Baselworld and to celebrate the 25th anniversary of the Seamaster Diver 300m, Omega has taken a fresh look at this watchmaking icon, incorporating the latest technical innovations and slightly modifying the design to give it a more modern feel, but without transforming it. A challenge that has paid off since the 14 models on display – six made of steel and eight combining steel and gold – were an instant hit with customers and journalists.

While the changes are not obvious to non-experts since they are often hidden in the details, they are still visible, especially when you put the “old” and the new version side by side.

The case width has been increased and is now 42mm. The revolving, unidirectional bezel around the case is coated with blue or black ceramic, with a diving scale either made of luminous, resistant and gloss white enamel or of CéragoldTM – a technology developed by Omega and used to incrust gold in ceramics. There is also an elegant triangular marker at 12 o’clock and the elements are coated with white SuperLumiNova®, providing a green glow. While the helium valve, so vital in deep-sea diving, is still at 10 o’clock on the case body, it is now cone-shaped, and so easier to use.

The dial disc is also made of blue or black ceramic or coated in PVD chrome, and decorated with the iconic wave pattern engraved by laser. The time markers are white and edged with blue, silver or gold, with alternating rectangular or round shapes, and are now bigger and raised; once plunged into darkness, they emit a strong blue glow. The blue or white minute track, divided into 12 sectors and contrasting with the dial colour, is now more clearly visible. The open-work blued, silvered or golden hands come in sword-style shapes, and have also been revisited by the designers to give a sharper outline. The phosphorescence for the minutes is now green, and blue for the hours. The same goes for the seconds, with a seconds hand featuring a red, varnished tip on the black

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or blue versions. The date counter is now at 6 o’clock and no longer at 3 o’clock, as on the older models.

The new Seamaster Diver 300m has a powerful engine in the calibre Co-Axial Master Chronometer, an automatic movement with the Metas certification. It runs at 25,200 vibrations an hour and supplies a power reserve of 55 hours.

Last but not least, the metal strap has also been redesigned for improved comfort; it now has straight, brushed links matching the case and is attached to the wrist with a foldover rack-andpusher clasp. For the models with yellow gold or red SednaTM touches, these precious colours bevel the central links.

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Revealing the secrets of the queen of the night

By Sharmila Bertin

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018 marks the 50 th anniversary of the Apollo 8 mission that took three American astronauts to the hidden face of the moon, a human adventure retold on the dial and caseback of the new Speedmaster “Dark Side of the Moon“ chronograph.

Introduced at Baselworld 2018, the Speedmaster “Dark Side of the Moon“ Apollo 8 celebrates the famous mission that took three astronauts outside of the Earth’s orbit and to the moon’s orbit for the first time. This heir of a long line of elegant watches launched 61 years ago, including some that have marked human history, features a miniature depiction

of the uneven surface of the Queen of the Night. We look back on the journey of a space pioneer.

The genealogy of a legend In 1957, Omega introduced a trio of watches, including a chronograph named the Speedmaster. The reference CK2915 with its 39mm-wide steel case and a dark dial with “Broad Arrow“ hands was the first of what would later become a major collection of watches.

Two years later, a model with a black bezel including a tachymeter and Alpha hands was produced by the Swiss brand. This reference, the CK2998, was worn by the Swiss-

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Speedmaster "Dark Side of the Moon" Apollo 8

born American astronaut Walter Schirra (1923-2007) on 3 October 1962 as part of the Mercury programme and so became the first watch in space.

In 1963, the Speedmaster adopted the stick-shaped hands that are still around today, and underwent a whole battery of tests from 1964 onwards, before being approved in 1965

by Nasa for all manned space missions. It was given its nickname, the Moonwatch, when it was part of the Apollo 11 mission in 1969, during which mankind walked on the moon surface for the first time.

The Speedmaster’s face remained unchanged, excepting a few details, until 1968, when the “Racing“ dial with its

minute track on two levels and its colour code combining red and orange was introduced in the Speedmaster collection.

A historic mission Even though it is not as famous as the Apollo 11 mission that led to Neil Armstrong (1930-2012) and Edwin “Buzz“ Aldrin (1930) to walk on the moon on 21 July 1969, the Apollo 8 mission still represents a huge achievement for humanity. It was during this voyage, part of Nasa’s Apollo space programme (1961 to 1975) and launched at the initiative of John F. Kennedy (1917-1963), that human beings first left the Earth’s orbit and orbited the moon.

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Cove r st ory oMe GA During this extraordinary adventure the Earth was also seen in its entirety for the first time and the dark side of the moon was revealed.

On 21 December 1968, the Apollo 8 module took off from the Kennedy Space Centre, set up in 1959 in Florida. On board, the crew consisted of three US astronauts: Frank Borman (1928), the mission commander, James Lovell (1928), the command module pilot and William A. Anders (1933), the lunar module pilot. After a flight of a little under 56 hours, they entered the sphere of the moon’s gravitational pull, then continued on behind the moon, to its famous dark side, in the 69th hour of the flight. Before losing contact with the crew on Earth (with 34 minutes of radio silence), James Lovell tried to reassure everyone with a simple optimistic phrase: “We'll see you on the other side”. He later described what he saw: “The Moon is essentially grey, no colour. Looks like plaster of Paris or sort of a greyish beach sand. We can see quite a bit of detail (…) The craters are all rounded off”. The three astronauts also witnessed the Earthrise, immortalised in a photo taken by William A. Anders, first in black and white, and then in colour.

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when the watch is in darkness.

The case is wholly made of black ceramic, including the chronograph monopushers and the crown stamped with the brand’s phosphorescent logo. Topped with a bezel with a tachymetric scale, it is exactly 44.25mm wide, is watertight down to 50m and has a sapphire glass caseback to reveal part of the movement evoking the dark side of the lunar surface. These elements are encircled by a ring with three phrases engraved in English: “Apollo 8, Dec 1968”, the legendary quotation by James Lovell “We'll see you on the other side” and “Dark Side of the Moon”.

This new watch by Omega is worn on the wrist with a perforated black leather strap with yellow topstitching and lined with rubber in the same dynamic colour.

The two faces of the moon Half a century later, this human adventure inspired Omega to create a watch in its Speedmaster collection, the “Dark Side of the Moon”, the first ceramic watch by the Biel/ Bienne watchmakers, and with its own line of products since its release (and success!) in 2013. Since the name and colour of the best-seller was directly inspired by the story of Apollo 8, it seemed almost natural to dedicate a timepiece to a mission that was filled with great historic events.

The Speedmaster “Dark Side of the Moon“ Apollo 8 depicts both faces of the moon, the bright one that can be seen from our planet, and the dark, hidden one that was seen

by Frank Borman, James Lovell and William A. Anders as they flew above it in 1968. The meticulous design of the watch, with its open-work dial, means that the details of the crater-filled lunar surface can be shown on the watch face.

The hand-wound calibre 1869, which is an aesthetically redesigned version of the calibre 1861, has been blackened and engraved with a laser to reproduce as faithfully as possible the uneven terrain described by James Lovell. The dark landscape, protected by a sapphire glass, is energised by touches of yellow, a dynamic colour evoking speed, and also to be seen on the central seconds hand and the blued totaliser hands of the chronograph (the minutes at 3 o’clock and the hours at 6 o’clock). The hours and minutes are shown by two black, stick-shaped hands, like most Speedmaster watches, and coated with white Super-LumiNova®, while the seconds are shown in a counter at 9 o’clock.

A light in the darkness With a nod to its own history, Omega has used the codes of its “Racing” watches from 1968, with a minute track made up of square shapes on two levels and featuring yellow varnished cubes. The rectangular hour markers around the chapter ring are white and luminous. All the elements coated with white Super-LumiNova® emit a green glow

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Thierry Esslinger: “Respecting Breguet’s DNA is one of our brand’s core values”

By Sharmila Bertin & Mickael Gautier

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he recently appointed CEO of Breguet, Thierry Esslinger, met us in the brand’s shop on the prestigious Rue du Rhône in Geneva.

You were appointed CEO in September 2017 but were you in the group beforehand? Had you already worked with Breguet?

Yes, I worked at Hayek Engineering for 23 years so I had the chance to work for Breguet several times on different projects.

That’s why I know the brand well, especially all its technical and production aspects.

You know that Breguet has been in the Swatch Group’s bosom since late 1999 and that’s exactly when, 18 years ago, I started working with the brand.

So Marc A. Hayek is still president. Do you work together on the strategy aspect of the products?

Yes and not just on product strategy but also on sales, organisation and production. All aspects are reviewed between us. I meet him fairly often to discuss strategy and my role is to apply it when I return to the Vallée de Joux.

It’s been less than a year since you took the job. Is it too soon to sum it up?

It will always be hard to sum it up because we’re currently evolving. The main thing for me is working together with my fellow vice-presidents. Eight of us are involved in managing Breguet and it’s vital that the team works perfectly, understands messages passed down from the top and applies them all together. So summing it up today is tricky. You have to stay humble and do the job based on the requirements of heritage and legacy that I believe is a fairly important, even impressive, duty and do the best we can to make it right and true.

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37 This year Breguet presented two Classique models at Baselworld, a two-hand with a guilloché dial and a tourbillon with a modern look but a traditional Grand Feu enamel dial.

That’s a major first for the Classiques Grandes Complications collection.

It is, and super-slim too so the sizes are fairly unrivalled.

It’s one of the flattest in the world. We’re returning to our roots and Abraham-Louis Breguet’s legacy. We have so many designs to hand that we just need to take an existing one and build on it.

Now you mention it, isn’t it hard when you have a rich heritage in terms of both design and technique to bring in recently developed technology? Breguet isn’t just about history; it’s a very innovative brand so you have to combine both aspects in the design. Is it a challenge for the designers at Breguet?

There are lots of challenges. If you take the different markers you’ve just mentioned, technical, artistic, historical…you can put them in “Breguet inspiration” and you have a certain amount of room for manoeuvre. We had to create a technical R&D department that was capable of making innovations viable to achieve this technical and technological standard.

I imagine you work with Emmanuel Breguet. Does he give his opinion about the product in terms of design and the choice of complications?

Absolutely. I’d say Emmanuel Breguet is like the temple’s guardian. It’s because of him that we manage to get our bearings in terms of such-and-such a product and give a product update the right content. We also have to evolve our

watches and, thanks to Emmanuel Breguet, we manage to do so but always the right way for the brand and Breguet’s heritage. Emmanuel Breguet gives his opinion which of course we always listen to carefully as he’s the one that lays down the historical marker that I mentioned earlier. And he’s highly respected as we know perfectly well that respecting Breguet’s DNA is one of our brand’s core values.

Going back to the Classique collection, Breguet launched the Classic Tour this year. What does this event involve?

The Classic Tour is an innovative way to appeal to clients by putting yourself in a Breguet client’s shoes. Taking on his features and personality and trying to reproduce it through events.

We’re trying to organise this event in all the big cities where we have shops. That involves bringing in trades such as barbers, tailors and shoemakers with which Breguet shares values such as keeping remarkable traditional expertise alive.

So it’s the gentleman’s kit...

Yes, Breguet’s take on the gentleman’s kit. We invite them to present their creations during these events and at the same time we introduce our watches, a world that our clients have a bond with and, particularly with Breguet, the bond can get even tighter.

But are these events for Breguet’s current clients or are they also for people who aren’t yet Breguet’s clients?

They’re invitation only so there will only be people we have access to.

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It will last all year and maybe even next year as I think it’s something we’ll stage fairly often. Maybe even after next year. Of course, we won’t just do the Classic Tour but other events based on Breguet and the different trades.

Still on the subject of events, at Baselworld we found out that Breguet was a partner for Race for Water with an exhibition at the Swatch Group Plaza. Could you tell us exactly what Race for Water is?

Race for Water is a foundation that raises awareness and collects plastic that’s thrown into the ocean. It went on a round-the-world trip in 2015 and is redoing the odyssey between 2017 and 2021 with 35 stages. Science experiments about the oceans and water on a boat will be conducted at each stage. That means there will be a bit of work for the foundation raising awareness among people about environmental issues affecting seas and oceans worldwide. Race for Water provides concrete solutions to upcycling waste plastic.

So Breguet will be its partner until 2021?

That’s right but I think it will last longer because we believe it’s an absolutely fantastic partnership. It’s completely in line with the vision dictated by Nicolas G. Hayek at the time. I don’t know if you remember when he mentioned this small planet that we live on and which we have to try to protect as much as possible using our resources. I think Race for Water was the only chance we had to put his vision into practice and do his bidding through Breguet.

I must admit I was a little surprised when the partnership was announced and that Breguet has an environmental focus as, for me, the brand is more involved in cultural, musical and literary sponsorship.

It’s actually a purely “Hayek” focus, meaning Nicolas G. Hayek and his grandson Marc A. Hayek who had and have a real passion about protecting and preserving the environment.

So Race for Water is the odd-looking boat whose silhouette you’ve used on the dial of a Marine. What’s the story and the aim behind the watch? How many of them are there?

That’s right. This watch is just for the crew. There are fifteen.

We wanted to do something special for the crew to prove our solidarity with Race for Water.

The watch has a specific design so does it have a specific technical development?

The movement is made in-house. It has several silicone parts and it says “Race for Water” on the oscillating weight. The dial is hand guilloche-engraved, a classic Breguet craft, and depicts the Race for Water boat from above.

Will Breguet be with the boat at every stage? Will it host events?

Some stages but not all of them. We will host a few events every year based on Race for Water overseas so we can present Breguet and explain our mission, vocation and our products to audiences that may not know much about us.

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And there’s a historical connection as the Marine model is related to the fact that Abraham-Louis Breguet was the Royal Watchmaker and designed marine chronometers. So you could say that there’s always a historical aspect in everything Breguet does today.

Exactly.

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I’m changing the subject a bit but I recently noticed that more and more watch brands have launched or plan to launch online shops on their websites. Is Breguet considering it too?

Yes, it’s something we’re interested in but we’re only considering it at the moment. I think that one day or another we will come to some conclusions that will enable us to go down this path. But it’s too soon at the moment. E-commerce is vital not only for a certain type of client but also just for times to move on.

Millennials do a lot of online research before buying online and not necessarily in-store.

Exactly, it’s a trend we’re going to have to get used to as this consumer habit will all affect us one day or another.

Photos interview © Mickael Gautier

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Photos © Mickael Gautier

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Julien Tornare, Zenith’s secret weapon

By Sharmila Bertin & Mickael Gautier

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e met Julien Tornare, the CEO of Zenith, in the plush smoking room at La Réserve Hotel in Geneva. Sitting comfortably in a leather club chair with a smile on his lips, the young director of the Le Locle brand gave up his precious time to give us an honest account of what’s happening at Zenith.

Let’s start with a simple question: how did you get into watchmaking?

It was a bit of luck. Lots of my colleagues will tell you stories about their grandfather giving them a watch etc.

Not me. I was coming to the end of my studies in England when a friend contacted me about a job that suited my profile. I’d always liked watches although I’d never thought of making a career out of them. I came back from London for my interview and caught the “bug” once I started working.

After your first experience at Raymond Weil you joined Vacheron Constantin where you stayed for a long time. 17 years I believe.

Yes, I had the good fortune of starting at Raymond Weil and launching my career. I thought I’d stay 2 or 3 years when I started at Vacheron Constantin but the brand offered me so many opportunities in terms of markets and roles that 17 years flew by.

When I reviewed your professional experience, I noticed that you are a man in the field first and foremost.

Yes, I was at headquarters but especially in the markets, Switzerland, North America and throughout Asia-Pacific, which I learnt a huge amount from.

Then one day Jean-Claude Biver contacted you about joining Zenith even though you weren’t one of his “men”. That’s not

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what we’re used to seeing from him.

I heard that Jean-Claude Biver preferred to use people in his network too but we met in America in 2004 then a second time in Asia. Two people in his network mentioned my name when he was starting to look for someone for Zenith.

He called me in October 2016 to ask what I thought about Zenith. I was honest with him because I wasn’t at a stage where I was thinking about the next step. So at the start we had a discussion then he asked me to go to see him. Since Jean-Claude Biver is one of the biggest names in the last thirty years of watchmaking, I obviously jumped onto the plane.

Legend has it that you took the plane from Hong Kong in the morning to have an interview with him the same day.

That’s true. I took the night flight to land in the morning and met him two hours later. I told him straight away that Zenith was a great brand but the idea of running it as it had been run for the last 20 years didn’t really interest me. However, I wanted to know what the plans were for it, where they wanted to take it and decide if I was the right person for the challenge or not. We talked for almost three hours. If you know my boss then you know that keeping Jean-Claude Biver in one place for three hours is no mean feat! (laughs) Since it’s been a little over a year since you took on the role, could you sum things up for us?

Exciting, exhilarating…last year I took part in over a hundred events all over the world, especially for the Defy launch. I travelled a lot for the first two or three months to get into the field fast and listen to end clients, retailers, press, everyone involved and find out how they saw Zenith.

That enabled me to get a huge amount of information in a short space of time so I could assess the situation. In the heat of the moment there are lots of things to put in place and there still are today.

Didn’t you start out by giving the collection a bit of “spring clean”?

I did. Now we have four product ranges and a hundred or so models so it’s far clearer. We’ve also chosen to focus on our bestsellers. Retailers now want rotation and not extensive collections. We did the same for distribution as it was all over the place.

Speaking of products, this year you’re focusing on the Defy and Pilot collections even though they’re diametrically different.

You’re right but they have one key thing in common: modern clients. On the other hand, Zenith’s signature Chronomaster or the very classic Elite models are more conservative.

Most watch brands have several collections but the main thing is to have an “iconic” product. Zenith has always had an amazing “iconic” movement: El Primero. Having an “iconic” movement is no trifling matter, on the contrary, it’s a huge asset that many brands would like to have. But you have to be able to rely on an “iconic” model like the Defy.

So is 2018 the year of the Defy?

Yes, we launched the Defy 21 in 2017 and we got an unprecedented reaction with it selling out at levels never before seen at Zenith. We now have the Defy Lab which I really want to make a series out of as it’s attracting a lot of attention.

We have plans and there are amazing things to come.

How about the Pilot collection?

We relaunched the Pilot Cronometro Tipo CP-2 in bronze and vintage steel but what really changed is that we added the flyback function that was a real success at Baselworld.

We’re going to be able to expand the Pilot collection as it has huge potential. There are lots of great stories to tell about this watch. That’s why I want to focus our efforts on the Pilot.

We’re also the only brand in the world to be able to put the word “Pilot” on the dial.

I heard that you wanted to fire up internal operations with a new marketing team and that Zenith wanted to work a bit like a start-up.

That’s the idea we want to convey. We’ve updated and improved the marketing team. The Swiss watch industry often looks towards the past and some brands constantly repeat complications invented by ingenious people a hundred years ago made with the help of computers today. It’s less impressive than what those people did using tools and resources 150 years ago. Everything changes very quickly nowadays so you need to plan. Using our heritage is essential. We’re lucky to have a 153-year history but just because you’re 153 doesn’t mean you have to act like an old maid. We live in the 21st century so this 153 year old lady is going to dress elegantly but in keeping with the times. A product like the Defy propels the history of the El Primero into the 21st century with a punchy and modern piece.

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Smartwatches were designed to appeal to Millennials because young people seem to be disconnected from watchmaking.

What do you think?

I don’t think so at all! It’s the same fear as in the 70s with the quartz revolution. People thought watchmaking was history.

Nowadays some say that watchmaking is dead and all that’s left is smartwatches. But tomorrow there will be other media or no media at all, meaning we will constantly be connected by different means and the smartwatch is just another tool.

But the great mechanical watch will remain because it’s also a status symbol that defines a personality. In any case, the smartwatch doesn’t scare me at all. I actually think it’s a compliment. Some people wear two watches: one for the tools it has and one they like, that they got for a birthday or wedding with sentimental value attached to it.

So there won’t be a smartwatch at Zenith? Because JeanClaude Biver really likes smartwatches.

Yes he really likes them but we’ve already thought about it.

I don’t believe they’re right for Zenith. Zenith is currently famous for chronometry and accuracy. Not smartwatches. But we are going to have some exciting contemporary innovations coming up in terms of chronometry and accuracy.

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Int e r vIe w But don’t you think that the watchmaking culture should be passed on to our children by us, the parents? You have three small children...

My children are already interested in watches. They don’t have the choice (smiles)! But it’s hard to imagine what they’ll think in twenty years. I still believe that watches are beautiful pieces that relate to time and time affects everyone all the time. Although my children are a little biased because they’re immersed in watchmaking, they have a relationship with time and engineering and understand there’s something magical about it without us having to guide them. I think that Swiss watchmaking still has good times ahead. However, what we have to do is mechanically bring in new products in line with watchmaking traditions.

For example, Zenith has the famous Defy Lab whose new oscillator massively improves its accuracy. It questions the principle of the Huygens pendulum dating back to 1675 with a fabulous new mechanism.

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But this kind of innovation targets geeks first and foremost.

How do you appeal to people who aren’t necessarily watch connoisseurs? With other products?

The look of the Defy El Primero 21, a high-frequency chronograph, is definitely what appeals to people. Since the Defy Lab has the same case, the look is appealing but there’s a lot to say about it even if you’re not a geek. When you see the regulator oscillating at high speeds, there’s no other watch that moves like that. I’ve travelled all over the world with this piece on my right wrist and everyone’s reacted positively. It really encapsulates something new, the start of an adventure.

In terms of distribution, you said that you updated it but are you going to open new shops?

Yes, we will eventually but at the moment a lot of brands have killed off distribution a bit by putting the focus on shops and online shops. These two areas may be extremely important but wholesale distribution has its place. You have to have a strong presence with wholesalers as there are always clients who don’t want to go to an own-brand shop but prefer to get impartial advice from a store selling 2025 brands. This sort of advice is important as we sell fairly technical and complex pieces and the client needs to know what they’re actually buying. The multi-brand model is still a must. Shops help build the brand, its image and deal with its own clients directly but that shouldn’t be to the detriment of distribution. On the contrary, we’re going to increase our efforts in wholesale.

How about e-commerce? Will we be able to buy a Zenith online soon?

Yes of course. For now we work with external partners as we’re not ready to do it yet. However, e-commerce is a must. You can’t talk about innovation and the 21st century without e-commerce. It’s like customisation. It would be a lie to pretend that customisation and e-commerce aren’t in keeping with the times. We have to work with them but do it well.

Are you going to review the price points on your watches?

No because we produce 20,000 watches a year including all the collection so we’re pretty niche. Production like this means we can achieve a standard and finish that we couldn’t if we were making 50,000, 100,000 or 200,000 watches.

Zenith’s value-for-money is one of the best and 100% of our production happens in Le Locle. We don’t use any external calibres. Lots of brands buy movements that they would probably pay five, six or seven times less for if they made them themselves but many watches have the same movement. Is that interesting for the end client? We’re proud to make 100% of our movements in-house, totally under our control in limited numbers. There’s a good reason why the El Primero has been a legendary movement since 1969 and is still a benchmark piece. When I attend events, I explain how Zenith works and why Zenith sells at such-and-such a price. We start at 4900 CHF for a full in-house movement. That’s pretty amazing.

Yes but for someone walking past a shop window who says, “here, I’m going to get myself a watch”, it’s going to be hard to explain the reasons for the price.

If they want to buy the watch then it’s the design they like.

Then it’s up to us to explain that they’re buying from a real “manufacture”. I want to invite all our clients to visit us so they see for themselves. I can even introduce them to the watchmaker who made their timepiece.

Watch brands tend to like saying what they do but not to show it or give tours of a “manufacture”. Unless you’re a journalist or VIP client, it’s pretty complicated. So if I bought myself a Pilot tomorrow for example, can I come and visit the “manufacture”?

Absolutely. I tell everyone I meet: we are an open “manufacture”. We’re lucky to work with Neuchâtel Tourist Information who promotes the region and has brought in Zenith to do so given its long history and credibility. We’ve been open to the general public every Friday since April 26th.

Zenith is the only brand to do it. Anyone who contacts Tourist Information is invited to visit the “manufacture”. We’ve got ourselves equipped and reorganised. There are lots of interactive features with screens, a place we call “the starry sky”, an internal area that portrays the entire history of the El Primero. For visitors it’s a real chance to soak up everything about the brand.

Who does the tour? Zenith staff or Tourist Information?

Both. The guides from Tourist Information have been trained so they can explain every stage of watchmaking. The tour lasts about 90 minutes and it’s free. We also provide these tours to get a closer relationship with the client. For example, visitors have to pay about 60 CHF to get into Baselworld but when they walk around they can’t really see much because the stands are closed off and some brands don’t even exhibit their new products in the external displays. So they pay 60 CHF and get nothing out of it. We’re going to review next year’s stand to completely open it up and create a welcome area to exhibit new products and provide a brand experience. Otherwise they may as well go straight to a shop. In terms of both the

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44 industry and the brand, we absolutely must open up to clients which is in line with our collaboration with Neuchâtel Tourist Information.

I think that’s vital. Brands have only got to where they are today because of their clients.

In the watch industry, some brands work very hard, are very involved and put a lot of love into what they do. They’re very proud of their products whether it be a watch, a case, a display or an ad campaign. However, they sometimes forget to ask the most important question that I asked everyone as soon as I arrived: “is this really for the client”, then “is this really what the client expects? If so, how do you know?” I’ve worked in the markets, I’ve always been very close to the clients so sometimes, even if some people make incredible things, they may be missing the point. So I put the famous red chair (I didn’t come up with the concept) in a meeting room to represent the client and we put every single decision to it to see if they work for it. It’s this dynamic “start-up” energy that I want to instil. Just because you’re a watchmaker in the Swiss mountains doesn’t mean you have to work like you’re in the 19th century.

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“The people that like us are rebels at heart”

By Dan Diaconu & Yannick Ortolan

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ou don’t turn 10 years old every day and for Rebellion, it’s a chance to look back on its past and plan for the future. Let’s find out more from Calim Bouhadra, Chief Operating Officer.

Can you sum up the last ten years for us?

The first five years weren’t what we were hoping. The following five saw us get more involved and now we’re on a roll. People didn’t like Rebellion at the start. Over the years, professionals and journalists have come to appreciate our work. The result is that the general public is getting to know us. That’s the best recognition. Our technical aspirations have managed to win over people who are discerning and real connoisseurs. The people that like us are rebels at heart.

How did Rebellion start out?

Rebellion is an unusual brand. It is supported by the Lemo group which is the world leader in connectors. We have a culture for excellence that has taken us to Mars! Lemo connectors were selected to be installed on the robot sent to the red planet. Any images you saw or news you heard from NASA is down to Lemo. It is run by Alexandre Pesci who is a great motor racing and automobile enthusiast.

He opened Rebellion Motors in Lausanne showcasing our collection of racing vehicles and personal cars. He truly loves great engineering. This collection saw us move into racing 10 years ago with Rebellion Racing. We were world LMP2 champions in 2017. We’ve also been world private LMP1 champions for the last 6 years. Now we’ve set our sights on winning Les 24 Heures du Mans in every category. Our passion for motor racing and being unable to find watches

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that met our vision and technical needs drove us to found Rebellion Timepieces.

We have a real culture for innovation and strong technological experience with Lemo that we’ve put into our watches. We are involved in developing our own cars just as we are for our high-performance connectors. We put the same DNA into the Rebellion Timepieces brand. We’re constantly striving for innovation in all our timepieces. We also take great care over the looks and techniques in our pieces.

What’s your plan for the next ten years?

I find it hard to plan 10-year strategies! But our goal is simple for the next five years: to become a benchmark brand for luxury watches in motor racing. We’re developing a new brand strategy to achieve our goal with the launch of a 5000 CHF model to reach as many people as possible.

It’s a GMT with our own movement. It’s a highly technical watch. The work on the case is extremely complex. You can change straps in two seconds. This watch gives us the chance to appeal to new clients. People have to meet other people wearing Rebellion watches for us to get the brand out there. We have lots of fans from the motor racing world who want our watches but since our prices start at 10,000 CHF, they struggle to invest so much money in a luxury watch.

We’ve also added new 42mm models to our collection. The Predator S can be worn by women and men who want a smaller watch than those we’ve made in the past.

But we don’t want someone to be sitting at a table wearing the same watch as their neighbour. Our watches can be customised to be more bespoke. We have a variety of strap colours. You can choose the dial, markers and personal

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Alexandre Pesci & Calim Bouhadra

touches on the case, even the sapphire glass colours. There are lots of options at competitive prices. We want our clients to have the chance of owning a unique piece.

How about current production and distribution?

We produce 300 pieces annual and make 150-200 sales a year. We want to keep things on a smaller scale to pay close attention to all our clients.

We’re continuing to expand worldwide. Rebellion is already based in the Middle East in Dubai along with Switzerland and Russia. The brand is now available in France. We’ve been expanding massively in Singapore, Malaysia and Japan since last year. We’ve also been in Mexico for 2 years. We’re starting to take off in the US which is one of the biggest watch markets and we’re growing in Canada. Our upcoming destinations are in Africa, India and soon in Qatar.

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A lesson in independence

By Fabrice Eschmann

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he independent brand is going against the trend of investing in industrial equipment and turning its attention to training, research and after-sales.

Patek Philippe seems to take everything in its stride. Whilst other brands have been hit hard by the slowdown in business over the last two years, the Genevan watchmaker is relentlessly laying the bricks for its success. The speech made by Thierry Stern at the new product presentation at Baselworld could have turned any boss in the watch industry green with envy. In his usual cheerful tone, the president of Patek Philippe began by congratulating himself on the upcoming inauguration of a new building in Plan-les-Ouates in the Geneva canton. The 110,000m² building is a capital investment of 500 million Swiss Francs and will house the training, research and aftersales departments. “It will be useful for us in the next few years,” said the president with a hint of irony.

Unrelenting demand In terms of products, the brand made a show of force without flexing its muscles: Patek Philippe only unveiled fourteen new references in the current collection. Also, whilst other brands are developing grandes complications all over the place, the Genevan brand only presented one: the World Time Minute Repeater ref. 5531R. The strategy could be seen as cautious, but it’s actually a way to manage growth. With a plan to produce 60,000 watches in 2018 (a figure that hasn’t changed for years), Thierry Stern makes it a point of honour not to give into the sirens of demand. By way of example he mentioned the Nautilus, a “sports” collection that the brand has treated to a new Perpetual Calendar ref 5740/1G this year: “If we wanted to, we could sell three times as many. We could even just sell that! But we’d never do that.”

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Precious expertise It’s the other way round when it comes to fine crafts though.

These exceptional pieces are mainly made to order – so in dribs and drabs – by traditional big brands and, for Patek Philippe, are the chance to keep precious expertise alive.

The brand makes no fewer than 51 pieces a year from a fully engraved pocket watch and a Grand Feu enamel table clock to a wristwatch with a micro-marquetry wooden dial. Once again, the speech cut to the core: “I would rather make them and not sell them than let these fine crafts fall by the wayside,” said the president. Commendable philosophy that only Patek Philippe has the means to offer.

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Vac he r on c onstant in

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Overseas time

By Sharmila Bertin

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016 may have been named the “Overseas Year” but the wanderlust inspired by this signature Vacheron Constantin collection is continuing this year with the unveiling of two rose gold pieces (one with a perpetual calendar and one with a dual time function) and two steel models with black dials.

Overseas. An evocative name that brings to mind itchy feet, hopping on board a boat, seeing the world, full sail ahead.

Overseas not only makes you think of a far-flung country but also the changing colour of the ocean. With just weeks to go before summer, Vacheron Constantin has brought out a new dial coated in intense glossy black and used the opportunity to focus on the spectacular perpetual calendar and stylish dual time zone unveiled at the Salon International de Haute Horlogerie (SIHH) in January.

Adopting a sporty feel Vacheron Constantin launched a special model simply called 222 for its 222 nd anniversary in 1977. It had a steel case, edgy structured bezel and a self-winding mechanical movement. This timepiece formed the basis for a future success: Overseas. It first appeared in 1996 with the same

structured lines as its 70s counterpart and joined the world of premium sports watches. It came in a three-hand format before its chronograph version launched in 1999.

The Overseas collection was given an update that stayed true to its personality in 2016. It embraced the interchangeability trend and was given a system that enables wearers to swap the strap with ease, switching from steel or alligator to rubber in an instant and gaining a few millimetres for improved comfort on the wrist thanks to the easy-fit system.

Pairing black with steel The navy on its blue dial may have won over Vacheron Constantin’s clients but the black one on the new threehand and chronograph models is just as popular. Black is more widespread, easier to wear and goes with any outfit be it smart or casual, especially when it’s paired with steel whose silvery hue only enhances the intensity.

The self-winding Overseas model has a 40mm case with the signature six-sided bezel whose sapphire back reveals the gold oscillating weight bearing a compass rose. The inhouse 5100 calibre brings the three central hour, minute and seconds hands to life along with the date display (at 3) and 60-hour power reserve.

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The black lacquer dial on the Overseas chronograph contrasts with three silvery counters: small seconds at 9, chronograph minutes and hours at 3 and 6 respectively. The seconds scale runs along the chapter ring and is tracked by the central seconds hand whilst the hours and minutes are chased by two slender white gold hands with a luminescent outline. The 5200 calibre in the 42.50mm case has a column wheel with a vertical clutch to gently start, stop and reset the chronograph function.

Showcasing time features The super-slim Overseas perpetual calendar model presented at the 2018 SIHH is among the slimmest in this kind of complication. The in-house 1120QP/1 calibre with 276 parts, a perpetual calendar and moon phase display that fuels this piece is just 4.05mm thick making the 41.5mm rose gold case just 8.10mm thick. The self-winding mechanical movement beats at a smooth 19,800 vph and provides a 40-hour power reserve.

The displays on the silver dial coated in translucent lacquer maintain perfect visual balance thanks to the layout. Aside from the hours and minutes in the centre, the perpetual calendar’s features are split into three sub-dials: the day of

the week at 9, date at 3 and month and leap year at 12. The fan-shaped moon phase display lies at 6 to balance out the layout to perfection.

Like the other models in the collection, the super-slim Overseas perpetual calendar has the easy-fit strap system and comes with a large-scaled blue alligator strap lined in black nubuck or a raised pyramid-patterned rubber strap in blue.

Travelling the world The Overseas Dual Time was also unveiled at this year’s SIHH with three options (two in steel and one in rose gold) to keep the sense of travel alive. It makes the world easier to reach and time differences are almost child’s play. Its blue or silver dial has a translucent lacquer coating and sunburst finish. Local time (where you are during your stay) appears in the centre with the minutes, seconds and home time which is tracked by a slender white or rose gold hand topped by an arrow (white on the blue model or red varnish on the silver model). The day/night indicator at 9 is linked to home time whilst the date display with a hand at 6 is synchronised with local time. The crown controls all the displays.

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These three models bear the prestigious Geneva Seal and are powered by an in-house self-winding movement. The 5110 DT calibre beats at a standard 28,800 vph (4Hz) and is fitted with a double barrel to provide a 60-hour power reserve. You can see it through the sapphire back of the 41mm case that’s just 12.80mm thick.

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R IC HAR D MILLE

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Time starts now!

By Dan Diaconu

H

igh-tech materials, a supercharged engine, aerodynamic design - this new partnership hits the track and takes pole position for chronographs.

After an impressive RM 50-03 equipped with a calibre weighing just 7 grams, Richard Mille and McLaren have just unveiled the RM 11-03, the new fruit of their partnership, at the International Motor Show in Geneva! Like the brand’s most recent creations, the watch features high-tech materials from the world of motor racing. Here the orange TPT Quartz evokes the traditional colour of the UK team and is blended with TPT Carbon to form a zebra-style case that is both aesthetic and robust. Other elements take their inspiration from McLaren, too. The chronograph monopushers echo the design of the lights on the 720S supercar, while the crown is inspired by the shape of a car wheel.

chronograph that can easily measure several split times one after the other. This automatic skeletoned movement also powers a countdown counter at 9 o’clock, as well as the oversized date and the month displays, placed at 12 o’clock and 4.30, respectively. Featuring two barrels mounted in parallel, the calibre provides a power reserve of 55 hours.

The RM 11-03 McLaren comes with an orange rubber strap with the logo of the UK brand. This is a limited edition of 500 pieces available first and foremost to customers of the McLaren Ultimate Series.

The watch is not, of course, driven by the powerful V8 biturbo, but by the calibre RMAC3, equipped with a flyback

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TAG He u e r

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The metamorphosis of an icon

By Sharmila Bertin

T

he Carrera is a signature model in TAG Heuer’s collections and this year is its 55th anniversary. The special birthday is a chance for the brand to explore the history of the legendary watch and give it a contemporary spin with the prestigious Tête de Vipère seal.

Tourbillon Chronometer Tête de Vipère. Novices and enthusiasts alike may be intrigued by the patronym but it makes experts nod in admiration. The seal provided by the Besançon Observatory may be rare but it is solid proof of high quality and precision.

A prolific legend Motor sports enthusiast Jack Heuer joined the family business in 1958 and launched a classic yet undeniably practical chronograph in 1963. The watch was called Carrera in tribute to the Carrera Panamericana (the famous Mexican motor race founded in 1950) and was soon a commercial success, often worn by famous drivers and an iconic collection for the watch brand.

The ultimate sports watch is celebrating its 55th anniversary in 2018 and TAG Heuer’s gift is a limited edition (155 available) with a slightly mysterious name: Carrera Chronograph

A prestigious certification The Besançon Observatory is a public and independent body founded in 1883 and built in 1884. One of its many missions has been to define the exact time since 1885. This status has given it the right to provide timekeeping instruments with a certificate after a long process of tests proving both their function and chronometer standard. The chronometer title is symbolised by the Tête de Vipère seal that was first attributed in 1897. The seal’s prestige is partly due to the fact that only 500 watches have undertaken a series of tests for 16 days; the in-depth protocol includes five positions and three different

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temperatures before receiving this chronometer certificate, available since 2006.

The seal on the new Carrera Chronograph Tourbillon Chronometer Tête de Vipère appears on the bridge that you can see through the sapphire glass case back. You can clearly see the engraved viper’s scaly head with its forked tongue sticking out of its mouth.

The hours, minutes and chronograph seconds appear in the centre with silver luminescent baton-shape hands that track the wide facetted markers and precise minute track on the chapter ring. The tourbillon performs its 60-second dance at 6 whilst the chronograph minutes and hours appear in two counters positioned at 3 and 9 respectively.

A vibrant tribute The Carrera’s midnight blue descendent is inspired by its big brother’s understated design…but only on the outside!

Its movement is revealed by an openwork dial whose lace is metallic and technical in one.

As the name suggests, the Carrera Chronograph Tourbillon Chronometer Tête de Vipère houses two complications powered by the Heuer-02T calibre: the chronograph and tourbillon. The self-winding movement beats at 28,800 vph (4Hz) and provides a 65-hour power reserve.

The 45mm case is topped by a bezel with a tachymeter. The dark blue ceramic case verges on the grey which adorns some of the movement’s parts such as the oscillating weight, barrel and tourbillon. The crown and chronograph pushers are in black PVD-coated steel.

The eye-catching dial on this limited edition skilfully blends grey, black and blue to create a visually balanced ensemble.

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R OLE X

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A steel revolution

By Sharmila Bertin

A

major first in Rolex’s GMT-Master II collection: the appearance of steel! The dual time zone watch unveiled at Baselworld has been affectionately nicknamed “Pepsi” by its aficionados because of its twotone bezel. It was a huge success. Let’s find out more about a piece that we’re hearing a lot about…and it’s all good!

1955 saw the launch of the GMT-Master tool watch designed for air travel and mainly intended for airline pilots fifty years after Hans Wildorf (1881-1960) founded Rolex. Its two-tone bezel (to differentiate between day and night) and dual time zone meant it was soon a must-have piece among aviators and globe-trotters before it became an icon on the watchmaking scene.

Oystersteel: a noble metal The 2018 piece still has its big brother’s sturdiness, reliability

and the famous bezel nicknamed “Pepsi” (because it’s in the same colours as the cola brand’s logo that forms a blue and red yin and yang) by some Rolex fans, but it now has a new movement and has been treated to all Rolex’s technological advances. On top of that, its 400mm waterproof case (to depths of 100m) is now available in Oystersteel, a 904L steel alloy renowned for its resistance and used by the brand from 1985. Up to now, the only GMT-Master II models in the Rolex catalogue to be in steel had a two-tone black and blue or plain blue bezel.

Also, in the same collection, this new piece is the only one to have a Jubilé strap in Oystersteel with five links whilst other models with Oyster straps have three wide links. A deployment clasp fits it to the wrist with an Oysterlock security clasp and the “comfortable” Easylink system, an easy-to-fit 5mm extension link designed by Rolex in 1996.

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Cerachrom: strong ceramic Aside from being useful, the two-tone bezel on the GMTMaster II gives the watch a strong personality and visual signature that you instantly associate with Rolex. The Oystersteel bezel has a chapter ring in Cerachrom, a technical ceramic designed exclusively by and for the brand in 2005 that’s highly resistant to everyday scratches and wear and tear caused by the sun’s UV rays that tend to dull colours.

The link between the royal blue (night) and burgundy red (day) is clear and precise on the unidirectional rotating bezel: the day starts at 6am then makes way for night at 6pm. The 24hour scale is made up of even Arabic numerals interspersed by dots and a rectangular midnight marker; the moulded markers are made by depositing platinum using the PVD technique (physical vapor deposition).

magnetism). This calibre has been certified as a Superlative Chronometer by Rolex based on new standards established by the brand three years ago that guarantee the watch has passed a series of tests that are far more demanding than the usual ones conducted in the watch industry.

The GMT-Master II is also available in Everose gold either in part (dashes on the bezel, dial and strap) or completely covering the case and strap in Rolex’s exclusive gold alloy with unique and durable shine. The bezel on both watches bears a chapter ring in two-tone Cerachrom blending black (for night) and milk chocolate (for day).

Superlative Chronometer: a certified calibre The black lacquer dial has an hour rim with white gold geometric markers that glow blue with Rolex’s very own white Chromalight. A trio of gold luminescent hands in the centre display the classic hours (local), minutes and seconds. A fourth varnished red hand with a glow-in-the-dark triangular tip tracks home time along the two-tone bezel. The date display at 3 is linked up to local time and topped by a Cyclops lens for improved clarity.

The time features vital to any trip provided by two time zones are powered by a new self-winding in-house movement: the 3285 calibre. It has a total of 10 patent applications because of its high precision (a recently updated oscillator with a blue Parachrom spring designed in 2005), reliability, battery life (70-hour power reserve) and resistance (to shocks and

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B lanc pain

60

A visual balancing act

By Sharmila Bertin

T

he Vi l leret col lect ion, t he most classic range

by Blancpain, has just had t wo new t imepieces added to it t hat were presented at Baselworld.

T hey may share features li ke t heir famous case w it h a double-stepped bezel but t heir dia ls couldn’t be more different.

Villeret is named after the Swiss hometown of Jehan-Jacques Blancpain (the founder of the watch brand who was born in 1693 and opened his first watch studio in 1735) in the Bern Jura and the collection is the very definition of classic and prestigious timepieces. The minimalist dials and curvaceous cases are reminiscent of the silhouette of 18th century pocket

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watches designed by Jehan-Jacques Blancpain and his heirs. The Villeret models are a sharp contrast with other sportier designs by the brand such as the Fifty Fathoms and L-evolution...until this year! 2018’s Baselworld was the chance to unveil two new rose gold models with completely different dials showcasing their complications: Villeret Grande Date Jour Rétrograde and Villeret Tourbillon Volant Heure Sautante Minute Rétrograde.

The week fans out The Grande Date Jour Rétrograde model is certainly the most classic of the Villeret pair although the retrograde day of the week display is a major first for this timeless collection. An under-lug corrector system controls the complication that

fans out from 7 to 9 on the silvery opalescent dial. It has a blue baton-shape hand to track the abbreviated days of the week (in English) and jumps at midnight on Sunday to reposition itself in front of Monday and announce the start of a new week. The days are completed by a black-on-white date display in a dual display between 5 and 6 for clarity.

The classic hours, minutes and seconds are tracked by three signature Villeret sage leaf-shape hands in the centre whilst the central seconds hand has a stylised “B” counterweight for Blancpain.

All the features are brought to life by the self-winding mechanical 6950GJ calibre on a 1150 base that also fuels the Villeret Ultra-Plate. The double-barrelled movement provides a 72-hour power reserve and its gold oscillating

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weight is adorned with a honeycomb pattern that you can see through the sapphire back of the 40mm rose gold case.

The Villeret Grande Date Jour Rétrograde is also available in steel with a white dial.

Grand Feu enamel stages an aerial ballet The Villeret Tourbillon Volant Heure Sautante Minute Rétrograde is a big surprise! Not only has it been stripped of the gold Roman numerals that appear on the aforementioned model but its dial has a design that has never before been seen in this collection. The gold dial has been hollowed out using the champlevé technique, coated in Grand Feu enamel and given two juxtaposed circles.

A bevelled rose gold display showcases the flying tourbillon in the top half. The complication joined Blancpain’s collections in 1989 and has a cage supporting a miniature ball bearing so it looks like it’s spinning in the air. The lower half houses a slightly larger disc with the same gilded rim surrounding an original time feature made up of the jump hour and retrograde minutes. The hour appears as a black Arabic numeral in a corner overlooking a minute track with a small openwork sage leaf-shape hand which returns to 0 once the 60 minutes have gone by.

The time displays and 60-second tourbillon are brought to

life by the 260MR calibre. The manual-wind mechanical movement in the 42mm rose gold case has a 144-hour power reserve (6 days) which appears in an engine-turned disc that you can see through the sapphire case back.

This Villeret Tourbillon Volant Heure Sautante Minute Rétrograde comes in an exclusive numbered limited platinum edition (20 available).

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FER DINAND B E RT HOU D

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Stainless steel accuracy

By Dan Diaconu

F

erdinand Berthoud, the watchmaker, stands out by designing highly complex watches. A new edition limited to 20 pieces pays homage to this creative power.

To take on the oceans, clocks embarked on board ships in the 18th century accumulated technical innovations to guarantee timekeeping and physical reliability. With the FB 1R.6-1, Ferdinand Berthoud has taken inspiration from a historic model, the Sea Clock n°7, created for the French Navy, for which the watchmaker of the same name was awarded the official title of mechanical clockmaker. On the façade, the timepiece catches the eye with its original composition and aesthetic power. Above a refined satin-brushed nickel silver and black rhodium dial, a slender bronze hand takes care of the regulator display. Three off-centred apertures around the rim provide additional time information. The hours are shown at 2 o’clock on a sapphire disc with a glare-proof coating. At 12 o’clock, the minutes tick away on an aperture leaving the traditional-style workings partly visible. The third aperture

features an original power reserve indicator (53 hours).

At the heart of the FB 1R.6-1 is a hand-wound movement enhanced by a tourbillon driving the time elements. It features a constant force regulator with a “suspended” fusée and chain mechanism. The calibre’s accuracy is certified by the COSC (Contrôle Officiel Suisse des Chronomètres).

Like its illustrious forebear, the 44mm-wide case, made of a type of hardened steel used in the medical sector, is built to last. It has a cylinder that has been reinforced using a thermochemical process to make it as hard as ceramic, with two side pieces fixed to it. The pieces are pierced at 2 and 11 o’clock to reveal the fusée and chain mechanism. The exemplary finishes on the calibre can be seen and enjoyed through the sapphire crystal.

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Hu b lot

64

An appetite for diamonds

By Sharmila Bertin

T

he talented Nyon-based watchmaker unveiled a magical piece adorned with diamonds and powered by a self-winding movement at 2018’s Baselworld and its visual effect is something else!

totalling 4.90 carats) to the bezel (112 totalling 6.20 carats).

66 gemstones (2.85 carats) dazzle on the dial whilst the crown alone has been left to echo the spinning motion with its notches.

A whirlwind of diamonds has spun onto one of the Classic Fusion models! The time functions quietly lie in the eye of the sparkling storm. The most eye-catching thing may be the dazzling gems set in a spiral to create a sense of motion but the engineering behind it is no less impeccable. Let’s find out more about the dizzying piece!

It took 308 diamonds totalling 16.20 carats to cover this marvel. The painstaking work was conducted in the Genevan workshops of the specialist company Salanitro S.A which Hublot often uses for spectacular pieces such as this Classic Fusion and they have a good reputation in the watch sector. The layout of the diamonds brings to mind ripples on crystal-clear water glittering in the sunlight or the whirls of a tornado. This heady feeling bursts from the dial’s surround and lasts right up to the lugs.

Extreme beauty, fatal beauty, the new Classic Fusion Aerofusion Chronograph High Jewellery left the audience speechless when it was unveiled at Baselworld in March.

The 45mm white gold case is entirely covered in baguettecut diamonds from the front build and central lugs (90 gems

With a design like this, the engineering moves out of the spotlight but doesn’t disappear from centre stage as it

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appears in the form of two symmetrical fan displays on the dial. Two silver baton-shape hands track the hours and minutes in the heart of the graphic architecture whilst the diamond-rimmed seconds counter lies at 3. The chronograph function is powered by the two classic side pushers with the central seconds hand bearing a stylised H counterweight for Hublot’s logo. The minute counter at 9 is also framed by diamonds. The subtlest display is the date that you can see at 6 because of the dial’s transparency.

The functions are brought to life by the self-winding mechanical HUB1155 calibre. The dark openwork housing gives it a discreet camouflage. The own-brand movement beats at 28,800 vph, 4Hz, with a 42-hour power reserve.

The Nyon-based brand brings you a black alligator strap to wrap this amazing piece around your wrist. It is lined and trimmed with matching rubber and beautifully incorporated into the case. Its white gold deployment clasp is dripping in 40 baguette-cut diamonds (2.25 carats).

If gold is more your thing then Hublot has designed a fresh version of its famous King Gold, a rich combination of copper and platinum which brings the best out of red gold.

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C HOPAR D

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The new face of a superpower

By Sharmila Bertin

T

hanks to four barrels – hence the name “Quattro” – the L.U.C by Chopard provides a power reserve of 9 days and rounds off its super powers with a new design blending silver, gold and blue tones.

in a subtle interplay of light. Both discreet and dazzling, the dial on the new L.U.C Quattro includes touches of blue scattered over the surface, while the case made of pink gold adds warmth.

The L.U.C collection (based on the initials of the brand’s founder, Louis-Ulysse Chopard) is without doubt the most traditional model made by the Geneva-based watchmaker. But it still has attractions that make it an incredibly contemporary watch. With the new L.U.C Quattro, introduced a few days before the official opening of BaselWorld 2018, Chopard is continuing an aesthetic approach begun with the L.U.C XP and L.U.C XPS models.

The hours and minutes are shown in the centre with a couple of blued, luminescent, “dauphine-fusée” hands. The hands move around an hour rim made up of facetted hour markers and two applied Arabic numerals that are also blue. The colour is echoed by the small second hand, helping it to stand out – since the sub-dial with a blue rim contains two indications at 6 o’clock – from the gold tone used for the date. At 12 o’clock, a fan-shaped counter shows the remaining power reserve, which runs to some 216 hours, or 9 days.

This limited edition of just 50 pieces has a dial with a silver disc to provide a delicate, vertical satin effect, and resulting

This impressive level of autonomy is provided by the

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movement’s four barrels, which is why the model is called Quattro. The calibre, meanwhile, the manual-winding L.U.C 98.01-L, is partially visible through the 43mm-wide case back.

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A u de mAr s Pigu e t

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AP & women: a lesson in style in 3 points

By Eléonor Picciotto

I

n the last two years Audemars Piguet has done more than just take women into consideration; it’s made them their focus. After relaunching the Millenary, the brand has managed to give a feminine twist to one of its most masculine pieces: the Offshore. AP has continued on its path with the first “concept” exclusively designed for women and unveiled at the SIHH. Lesson N°1: Millenary The Millenary has always stood out for its horizontal oval shape inspired by the case on a 1951 model. It was officially made part of the Audemars Piguet range in the mid-90s as a men’s watch but was never a huge success among its target market. The iconic case may have become a signature but the

Millenary didn’t get the merit it deserved until 2015. In early July that year, two white and rose gold models paved with a row of diamonds were launched for women. They didn’t have any complications, just a manual-wind mechanical movement and two mother-of-pearl dials: one for the hours and minutes and one for the seconds. It was such a success that AP decided to explore different combinations of this model. After the onyx and pearl zebra pattern, the Millenary came with different dials including one in white opal with pastel glints. Its rubber or alligator strap now comes in Milanese-style mesh that’s as supple as a second skin with gold threads woven together.

The polished gold case comes in a frosted version that uses the same Florentine technique of hammering metal that was introduced by the jeweller Carolina Bucci last year. Without

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69 the addition of gemstones, the material glitters as if sprinkled in diamond dust. Proof once again that a woman’s watch doesn’t need gems to shine. This updated, openwork and refined Millenary has the makings of a new must-have watch that no woman should go without.

Lesson N°2: Offshore After achieving the ultimate in style and femininity with the Millenary, Audemars Piguet managed to pull off quite a feat: turning its Offshore into a piece that women could wear. The Royal Oak Offshore is a sporty, chunky, testosterone-fuelled collection. The self-winding chronograph introduced at the SIHH in early January has a 37mm steel case. The purple dial with a diamond bezel creates a contrast with the three blue counters. Is 2018 the year for purple or is it because it symbolises faith that AP has chosen it to seduce the ladies?

It’s up to us to decide but up to you to try.

feminine, bejewelled, futurist, complicated and more.

Essentially, it brings the world of watchmaking together with that of jewellery in a 38.5mm case. The openwork dial bears the flying tourbillon at 6 o'clock and underlines the watch’s modern style as if it was blossoming before the eyes of its wearer.

When it unveiled its diamond trilogy (Fury, Punk and Outrage), Audemars Piguet proved that it has a handle on a rock ‘n’ roll, bold and modern take on fine watches. Making the Millenary an icon, making the legendary Offshore feminine and making its first Concept watch for women is the natural continuation for a market in which demand is soaring.

Lesson N°3: Concept Every year the Concept piece by Audemars Piguet is a muchanticipated event among the press, retailers and clients who can’t wait to see it. This year was no different. It was a bit of a surprise that the 2018 edition was a “double first” for the Le Brassus brand as the first Concept Royal Oak designed for women since the collection launched in 2002 and the introduction of the first tourbillon. Aside from being paved in baguette-cut diamonds or 459 round diamonds (totalling 3.70 carats) depending on the model, the watch is sporty,

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MONT B LANC

70

The purity of a classic

By Sharmila Bertin

A

lthough during the Salon International de Haute Horlogerie (SIHH) 2018, the accent was placed above all on Montblanc’s 1848 collection, the Star Legacy is not lacking in interest – quite the contrary!

The discreet Star Legacy collection is the classic interpretation of time Montblanc-style. For the SIHH in January, a few changes were made to the family of watches’ design, but also some more structural modifications. In honour of the 160th anniversary of Minerva, the collection now includes an exceptional, limited-edition model, the Star Legacy Suspended Exo Tourbillon, and the monopusher chronograph Star Legacy Nicolas Rieussec Chronograph. But we have opted to focus on the Star Legacy Automatic Chronograph model.

Like the other members of the family, the Star Legacy Automatic Chronograph takes some of its features from the pocket watches made by Minerva in the late 19th century and early 20th century: a 42mm-wide, round, curved pebble-

shaped case, a ball-type fluted crown with an inlaid Montblanc logo, large Arabic numerals for the hours, mid-way between floral typography and Breguet style, blued leaf-shaped hands, a railroad minute track with black dots and “filet sauté” (rising and falling guilloché lines) around the edge of the dial. But the usual concentric guilloché pattern, similar to flinqué engraving techniques, forming the silhouette of the Montblanc “star” and usually found at the centre of the dial of Star Legacy watches, can be found here at the centre of the hour totaliser.

The silvery white dial also features the central hours and minutes, a traditional display of time, completed by a small-second (at 9 o’clock) and a date sub-dial (at 4.30). As for the chronograph indications, triggered by two oblong monopushers on the side of the case, they are shared between the centre (seconds), 3 o’clock (minutes) and 6 o’clock (hours), and all driven by the automatic calibre MB 25.02. The calibre provides 46 hours of power reserve.

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The model also comes with a slate-grey dial highlighted by Arabic numerals and silvered hands.

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Nomos

72

The style of speed

By Sharmila Bertin

T

he Saxony-based brand has injected a sense of speed into the dial of a new watch from its Neomatik range.

Its eye-catching design is an unequivocal take on the layout of a dial you’d expect on a car’s dashboard.

Nomos is famous for its sleek dials but this year it’s gone off the beaten track to bring us not only a different look but also a newly-developed movement. This smooth shift has enabled them to put speed into three Neomatik watches that have been named Autobahn. You don’t need to be fluent in German to know that “autobahn” is the German motorway, famous for not having any speed restrictions. The stylish design of this new Neomatik family is clearly based on a dial that you’d see on a modern car’s dashboard.

contrasting colours; a blend of intense blues, bright orange and silvery grey. The smooth round dial is surrounded by an understated minute track running along the disc’s rim. The shape and the shallow small seconds counter at 6 heighten the sense of depth that you get when the watch is on your wrist.

The most striking feature is the thick semi-circle divided into eight sections running from 8 to 4 and taking up most of the dial. Its curve and architecture draws the eye to its Klein blue on a silver backdrop or opalescent white on a pale grey or petrol blue background. This ring is coated with SuperLumiNova® that glows blue. Its powerful ability to glow in the dark is pretty impressive and, with the phosphorescent hour hand reminiscent of a car’s dial, it’s easy to make the connection between the watch and a dashboard.

The simplicity of a strong design The Autobahn’s dial instantly grabs your attention with its

Easy-to-read features The baton-shape hour hand (slim, long and straight) is coated

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in coral red Super-LumiNova® on the silver model, sky blue on the petrol blue one or opalescent white on the most low-key version. The minute hand has been designed like a central seconds hand in that it’s very slender and finished with a flash of orange. The sense of finesse doesn’t end with the dial’s architecture; you can see it in the bright colours that have been chosen to showcase the Autobahn, like the seconds hand in the same orange red. The hour rim quietly surrounds the chunky luminescent fan near the centre with Arabic numerals in even numbers.

Under the small seconds counter at 6 and almost on the outer rim of the dial is a wide date display in the shape of an arc that not only bears today’s date but also the previous and next day’s dates.

hour power reserve when wound to the max.

The movement can be seen through the sapphire glass cover on the back of the 41mm steel case.

Every watch in the Neomatik Autobahn trio comes with a dark blue fabric strap and pin buckle fastening.

The performance of a new engine The date display is actually just one of the feats achieved by the new calibre designed by Nomos: the DUW 6101. It’s the second self-winding mechanical movement from the Saxony brand that’s come three years after the first came out in 2015.

The DUW 6101 fuelling the Autobahn’s hours and minutes (in the centre) and seconds and date (at 6) has a peripheral ring bearing the date numerals. This configuration makes a display at the edge of the dial possible. The calibre is a little bigger that the relatively thin one before (3.6mm thick) and designed for case sizes bigger than 40mm. It provides a 42-

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HE R ME S

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The cavalcade of time

By Sharmila Bertin

T

he legendary Arceau with its asymmetrical lugs, designed with talent and shrewdness by Henri d'Origny in 1978, is far more than just a round object that can tell you the time. In fact, it is a brilliant form of artistic expression. The proof is found in the many versions made

by Hermès featuring the skills of its artists and craftsmen, particularly the Arceau Millefiori, Arceau Lift Chevaux En Camouflage or the Arceau Temari models, to name just a few. This year, the designers at the Parisian brand have opted to highlight mother-of-pearl marquetry and lacquered champlevé engraving in the Arceau Cavales watch.

This new model by Hermès is available in two versions: the first, very trendy, from the dial to strap, is available in two sizes (MM for the medium model and PM for the small model), and the second is deep black and delicately highlighted with diamonds.

Encircled by a chapter ring set with some 70 white diamonds, the dial displays a stylised, mother-of-pearl horse’s head.

Using the miniature marquetry technique, small iridescent fragments have been placed end to end like a puzzle to produce the “Cavales” pattern. At the centre of this opaline composition, two leaf-shaped, silvery hands point to the hours and minutes.

The second version of the Arceau Cavales has a black lacquer dial. To bring out the animal symbolising Hermès, the craftsmen have used the champlevé technique, which is usually seen in work on enamel, and which consists in digging out the metal material before filling it with colour. On this 28mm-wide steel watch, diamonds have been set on the bezel.

All dressed in white, the Arceau Cavales has a steel case measuring 28 or 36 mm and is watertight down to 30m.

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From yesterday and today

By Dan Diaconu

W

ith the Heritage collection, Tissot brings us models in a vintage style, combining simple elegance with an up-to-date, efficient mechanism. A closer look at the Heritage 2018!

Feeling nostalgic? Tissot has travelled back in time to launch a vintage-style watch with classical elegance. In 1943, the brand launched its first collection of timepieces with an automatic movement. An early advertisement showed a refined model with a dial featuring sword-style hour and minute hands. The reference to "antimagnetic" under the logo highlighted its resistance and modernity. A small second hand at 6 o’clock was used to check the calibre was working correctly. This model has inspired the design of the new Heritage 2018, launched in March at Baselworld. It has the same layout, but now the hands are leaf-shaped and rotate above a curved dial made of brushed silver and featuring vintage-style numerals.

mechanism is the very contemporary calibre ETA 6498-1.

Once wound, the watch will provide up to 46 hours of power reserve. The Geneva Wave design on the bridges and plates of the hand-wound movement is shown beneath the sapphire case back. The steel case is watertight down to 50 metres and comes in a very modern size with a width of 42mm – far removed from the diameter of the earlier watch, which must have been around 35mm!

The Tissot Heritage 2018 comes with a black leather strap with a folding clasp.

While the dial borrows the aesthetic codes of the period, the

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Van C le e f & ar pe ls

Dive into the heart of an ocean of planets

By Sharmila Bertin

V

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an Cleef & Arpels explores the wonders of nature to blow us away at every SIHH. This time the brand has delved into the depths of space to create cosmic and poetic energy designed exclusively for women.

around our planet. The tone is set by a planetarium module built into the self-winding movement (40-hour power reserve) and specially developed by Christiaan van der Klaauw, the Dutch specialist in astronomical timepieces.

Nature is a favourite playground for Van Cleef & Arpels; a land of inspiration where it feels confident enough to unleash the full force of its creative spirit. Every vegetal or animal creature is a source of inspiration enabling the Parisian brand’s artisans and artists to give free rein to their expertise and conjure up magic. This year Van Cleef & Arpels has decided to whisk us away to the stars. Let’s take off on a cosmic adventure to explore the planets, including our own, that spin around the sun!

A flurry of diamonds The signature silver shooting star glides over Arabic numerals on the rim of the dial to tell the time. You have to flip the watch over to see the date and be dazzled once again. The front may be breathtakingly beautiful but the back is no ugly duckling!

The star-spangled aventurine case back has two displays topped by magnifying glasses bearing the date, month and year. The white gold and black PVD rotor in the middle is adorned by a crescent moon glittering in different cuts of snow-set diamonds and a turquoise disc bevelled in rose gold.

The Lady Arpels® Planétarium isn’t lacking in diamonds as its 38mm white gold case is entirely covered in them from the case and lugs to the bezel and crown.

A poetic universe In 2014, Van Cleef & Arpels unveiled what was undoubtedly its most complex watch ever: the Midnight Planétarium®. It belonged to the Complications Poétiques® collection and its blue aventurine dial bore the sun and five planets that can be seen from Earth with the naked eye (Mercury, Venus, Mars, Jupiter and Saturn) all brought to life by a self-winding movement. This year the watchmaker has brought out a different version just for women from the same watch family: Lady Arpels® Planétarium. It was unveiled a few weeks before the 2018 SIHH launched and the miniature galaxy for the wrist left people speechless.

The watch wraps the wrist in glittering blue alligator with a diamond and white gold pin buckle or a strap with five rows of links covered in diamonds.

A miniature galaxy The effect is easy to explain: you just have to take a look at the watch to see why it’s so spellbinding. Its dial bears the sun and our nearest planets (Mercury, Venus, our beloved Earth and moon) all on a navy backdrop illuminated by silver and pale blue foil. The starry sky is made up of seven concentric aventurine rings on the dial. The glossy disc in the centre holds the sun, a rose gold ball surrounded by a halo of beams like a ballerina’s tutu. The other rings feature the different planets, a rhodium-plated gold shooting star and gold Arabic numerals.

An interstellar ballet Every planet is a colourful 3D sphere hand-made by the artisans at Van Cleef & Arpels: Mercury in pale pink motherof-pearl, Venus in moss green enamel, Earth in turquoise along with a seemingly floating diamond moon. The watch is true to each planet’s natural evolution as the spheres all rotate around the dial in real time: 88 days for Mercury, 224 for Venus, 365 for Earth and 29.5 for the moon that rotates

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Sport S

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Watchmaking: the love of football

By Dan Diaconu

T

he image has been around the world. Thiago Silva consoling a teammate after Brazil’s epic defeat at the hands of Germany. The camera zooms in on their aggrieved faces. Arms around shoulders and a close-up of the defender’s watch. It’s a Richard Mille on his wrist. Apart from this godsend for the brand, Hublot hogged the screen with its appearance on display panels throughout the 2014 World Cup, just as it will at the next one in Russia.

The love story between watchmaking and football goes back to the 1930s. Vulcain was Real Madrid’s official partner. But the two sectors didn’t play on the same field until the 21st century. JeanRichard was the first brand to kick things off when it became a sponsor for Juventus just after winning the

Italian championship in 2003. The big boys pulled on their boots and competed in every competition from 2007. Hublot and Ebel began to tackle the new market. The former scored first with a Big Bang watch for the Mexican Federation. The second equalised and took the lead by securing partnerships with the biggest European clubs such as Arsenal, Bayern Munich and Real Madrid!

Zinedine Zidane became an ambassador for IWC in 2008. The brand devoted a limited edition of an Ingenieur Automatic to him (1000 available). That year saw different brands gunning for the round ball. Paul Picot made a timepiece for Inter Milan.

Cvstos dedicated a watch to Roberto Donadoni. Wyler became the Squadra Azzura’s watchmaker. Perrelet joined forces with

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Christian Karembeu. Things hotted up between 2010 and 2013. Eberhard joined the game alongside Parmigiani, Seiko, Graham, Corum, Jaeger-LeCoultre, Audemars Piguet, Frank Muller and many more.

2014, the peak? Maurice Lacroix signed a golden contract with Barça. TAG Heuer won over Cristiano Ronaldo. Even the exclusive French brand Richard Mille was spellbound by the sirens of planet football and joined forces with the prestigious Manchester City. Italian coach Roberto Mancini then became an ambassador. A RM-11 watch is dedicated to him.

Since then? “Football is a simple game. Twenty-two men chase a ball for 90 minutes and at the end, the Germans always win.”

English player Gary Lineker’s famous quote seems to have inspired Hublot. The brand is back as the official FIFA World Cup timekeeper and the only brand to have unveiled different models to celebrate the championship at Baselworld 2018.

They think it’s all over; it is now.

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Sold out... before they’re even delivered

By Olivier Müller

C

risis or no crisis, collectors in the know never let a sought-after piece out of their sight so some models are sold out before they’re even delivered. It’s a very select world of a few models where demand often outweighs supply.

It’s true of any crisis: the wealthy get wealthier and the poor get poorer. It’s a brutal reality of what politicians cautiously call “the increase of inequality.” The watch industry is no exception: while some standard pieces struggle to sell, others are entirely sold out before they’re even delivered. Most of them are exceptional pieces, grandes complications or very limited series.

A five year wait before delivery Brands don’t say much about their pieces that are sold out

before being delivered. Beneath the cloak of incredible success, these creations are actually pieces that the brand put a lot of work into making (fickle grandes complications) or, on the other hand, are standard collections whose shortage the brand handles with skill.

Sold out syndrome is an everyday matter at Patek Philippe.

“There’s at least a five year waiting list for a Nautilus with a blue dial,” we’re told at one of the brand’s fairs. Then they add with blasé resignation: “And we’re not the least fortunate either.” The waiting time at Patek Philippe isn’t going to decrease anytime soon: the brand restricts production on purpose (60,000 pieces per year). Moreover, its long-standing collectors have gradually been joined by battalions of investors who see it as a smart investment. So

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the sold out effect is going to continue for the foreseeable future.

From Bamford to Orlinsky The grandes complications are also involved. A large German brand (who wishes to remain anonymous) says there’s a “six month to three year waiting list” for one of its new products.

The brand hopes to deliver just one of its star grande complication timepieces for the Swiss market this year! Given that it’s a limited series of 50 pieces, the delivery time for the 50/50 watch must be dizzying. There’s another side to sell-out products: you have to have infinite patience.

Hublot has had its own “sold out before delivery” experience with its Classic Fusion Richard Orlinsky. The limited series of 200 was completely sold out as soon as it was announced, even before its commercial availability. “Some clients contacted us when it had only just appeared on social networks,” says Laurent Picciotto, president and co-founder of Chronopassion.

Hublot’s cousin brand TAG Heuer experienced the same thing with the Monaco Bamford which was completely sold out before Baselworld even closed its doors. And we’ve not even mentioned the 25th anniversary series of the Royal Oak Offshore by Audemars Piguet. “There were 50 of each model and we received 80 requests every time,” says the brand.

30 years of sold out!

Big brands may have strong marketing to set passions ablaze but independent companies can also be hit by the sold out effect. MB&F is one of them. All 33 of its HM7 Aquapod in blue titanium were sold during the 2017 SIHH. “Retailers reserved everything in a matter of days. Straight after that we could only honour a dozen deliveries which went straight onto the end clients’ wrists. The rest came in the months that followed,” says Charris Yadigaroglou, Marketing Director of the watch collective.

Chopard experiences the same enthusiasm for its Mille Miglia every year: although it’s been the race’s partner for 30 years, the Mille Miglia “sells out every year from Baselworld onwards,” says the brand. A record in longevity!

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