The Watches Magazine - Autumn 2019

Swiss International Magazine Autumn 2019 #058 Guest Marie Courroy - Guide Original or reissue: which should you choose?

English Edition

Breguet

Fine crafts, a unique vocabulary Audemars Piguet - A. Lange & söhne - Blancpain - Bvlgari - Cartier - Chopard - Christophe Claret Dior - Glashütte Original - Hamilton - Hermès - Hublot - Jaeger-LeCoultre - Jaquet Droz - Longines - Louis Moinet MB&F - Montblanc - Omega - Rebellion - Rolex - TAG Heuer - Tissot - Vacheron Constantin - 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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Breguet

Classique tourbillon extra-Plat Squelette 5395

By Sharmila Bertin

W

hen he designed and patented the fabulous invention that he named “tourbillon” in 1801 to combat the effects of gravity on the precision of pocket watches, Abraham-Louis Breguet (1747-1823) probably didn’t think that it would still appear on timepieces, now wristwatches, two centuries later. And yet, today not only does the tourbillon still exist but it has literally become synonymous with the brand named after the master watchmaker. Over time, the Vallée de Joux-based company has reworked, redesigned and remade this technical masterpiece with respect to bring us this year’s staggeringly beautiful model: the Classique Tourbillon Extra-Plat Squelette 5395.

“Already featuring in the collection's 5377 and 5347 references, lauded for its finesse (3mm) and impressive power reserve (80 hours), the new model's self-winding 581 calibre, whose peripheral rotor launched in gold this year, has been stripped of around 50% of its material so all you have is what

you need. The now openwork rotor has been angled, engraved and hand-engraved with “Clou de Paris” guillochage in diamond.”

The sapphire dial under a glassbox is rimmed by black Roman numerals hovering under pyramid-shaped markers. Two blue steel Breguet pomme hands track the hours and minutes from the centre whilst the seconds are powered by the tourbillon’s airborne ballet at 5.

The 41mm case features the signature notched build and built-in lugs, is available in rose gold and platinum and finished with a mahogany brown or navy blue alligator strap.

THE WATCHES MAGAZINE

autumn 2019

Some watches tell time.

Some tell a story

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Black high-tech ceramic case Silicon balance spring and pallet horns Double barrel, 18K white gold rotor Sapphire dial, 18K white gold indexes Grande Seconde Skelet-One

JAQUET DROZ BOUTIQUES GENEVA - PARIS - MOSCOW - DUBAI - TOKYO - HONG KONG - MACAU - SHANGHAI - BEIJING - XI’AN - SINGAPORE - NEW YORK THE WATCHES MAGAZINE Discover our official point of sales on www.jaquet-droz.com

autumn 2019

E DIT OR IAL

Emotion is energy 08

W

hen I began my career as a watchmaking journalist eight years ago, I can remember what certain dinosaurs in the press world would say about impartiality. No bias, total neutrality, blah, blah, blah. What a bore. Of course, I didn’t listen to a word of their unsolicited advice and, like everything I’d done since I’d become an adult, I followed my gut and gained my experience that brought me to where I am today.

With it being the summer holidays, a few weeks ago I started thinking about the meaning behind my work and the freedom I allow myself. There’s a big difference between different fields of the press, daily, weekly, specialist, independent or part of a group; so that means there’s a big difference in styles of journalism. Maybe I’m wrong, and we can discuss it over coffee if you like, but I think that being impartial is impossible if you write for a publication that deals with a specific sector. Let me explain myself: if I’m working for the magazine you’re reading now, it’s because I love watchmaking and have a passion for timepieces. I’ve not just randomly landed here. So I can’t imagine writing without expressing the passion and euphoria that fuels me.

An article should be lively, genuine, honest. It should spark an interest in a brand, make you want to try on a model or find out about an innovation. My editorial process is simple and, most importantly, it suits me. I sit in front of my computer and take my emotions apart to better convey them, I dig deep and strike up the keyboard. I call upon my memories and gut feelings. And this little world joins me on each key I press and each sentence I create.

I wanted to explore this professional/personal process in this issue by faithfully reporting how I felt wearing a specific watch, my summer companion and the fifth member of my little family. I wrote the article with more casual penmanship

and a more relaxed style which is what most watch brands want and expect of the specialist press: emotion and honesty.

Sharmila Bertin Editor-in-Chief

© Mickael Gautier

THE WATCHES MAGAZINE

autumn 2019

TIM E , A HE RMÈS OB JECT.

Arceau, L’heure de la lune Time flies to the moon.

THE WATCHES MAGAZINE

autumn 2019

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

“I always live in the moment”

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By Marie Courroy Founder of Modetrotter

I

’ve always had an odd relationship with time. Bygone time, time that goes by. For someone like me who’s so rooted in the present, time is a funny measurement. I’m neither nostalgic or in a rush, I always live in the moment. I can’t think ahead, I think that a tricky love life has stopped me dreaming.

And thinking ahead too. I don’t think about tomorrow, I’ve never pictured myself in five or ten years’ time.

That said, there’s always one thing I’ve looked forward to: being a grandmother. No more hassle, nothing to prove to anyone, just being here to treat and spoil my loved ones. That’s the only thing I can think ahead to: a forty year projection. I had a wonderful childhood but it doesn’t make me nostalgic about time passing. I don’t regret my twenties or my thirties. I’m 39 now. I’m a real fatalist, I’m not afraid of death, I’ll have had a very good life on Earth whenever I leave this world. But then I really don’t want to see time’s effect on my family. I don’t want to see them go. Every time a grandparent passes away, I’m sad about losing a piece of history. They lived through milestone events and are the last witnesses we have left. In the end, my parents’ childhood wasn’t all that different to mine.

But my grandparents’ childhoods were.

Another time.

When they go, I think everyone’s memory flags. When I think about it, it can move me to tears.

I’m someone who’s both fast and very slow. I walk fast, I’m energetic, I’m always on time, I like things to move quickly. If I

have an idea or urge, I don’t wait: I go for it. I’m impatient. But I can be very slow and patient in other things. I’ve done lots of things late, I took my time. I wasn’t in a rush, I was always happy in the moment. The best example of my balance between fast and slow will be born in October: a little girl. I got pregnant after eight days, at the age of 39, after meeting the dad a month before. So me!

THE WATCHES MAGAZINE

autumn 2019

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Classic Fusion Aerofusion Chronograph Orlinski Red Ceramic. Unique red ceramic case and bezel inspired by the sculptor Richard Orlinski. Skeleton chronograph movement. Red rubber strap. Limited edition of 200 pieces.

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INSIDE

28 Cover Story Breguet

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06 08 10 18 20

Cover watch Breguet Editorial Guest Marie Courroy We Love Stars We Love Poetry

22 26 28 38 42

The Eye of Jewelry Trends Cover Story Breguet Omega Chopard

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44 47 50 52 54

Blancpain TaG Heuer Hublot Jaquet Droz Bvlgari

CALIBER RM 37-01 KIWI

RICHARD MILLE BOUTIQUE SWITZERLAND Rue du Rhône 78 1204 Geneva - Tel. +41 22 810 85 73

THE WATCHES MAGAZINE www.richardmille.com autumn 2019

INSIDE

62 Live Style

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56 58 60 62 68

Longines Glashütte Original a. Lange & Söhne Live Style Spotlight

72 74 78 80 82

History Guide Only Watch Business Scapa

THE WATCHES MAGAZINE

autumn 2019

THE WATCHES MAGAZINE

autumn 2019

IMPR E SSU M

“Time does not pass, it continues”.

Swiss International Magazine Automne 2019 #058

Marty Rubin

Guest Marie Courroy - Guide Originale ou réédition: que choisir?

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

Breguet Les métiers d'art, un vocabulaire unique

Audemars Piguet - A. Lange & söhne - Blancpain - Breguet - Bvlgari - Cartier - Chaumet - Chopard - Christophe Claret Dior - Glashütte Original - Hamilton - Hermès - Hublot - Jaeger-LeCoultre - Jaquet Droz - Longines - Louis Moinet MB&F - Montblanc - Omega - Rebellion - Rolex - TAG Heuer - Tissot - Vacheron Constantin - 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

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 - Marie Courroy Dan Diaconu - Mickael Gautier - Olivier Müller Eléonor Picciotto - Johann Sauty - Ted Scapa

“Time does not pass, it continues”.

Marty Rubin

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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Kiosques/Kiosks Suisse: 7Days Media Services GmbH - France: MLP - Export: Export Press Abonnement/Subscription Dynapress Marketing SA Avenue Vibert 38 - CH-1227 Carouge/Genève T +41 22 308 08 08 - abonnements@dynapresse.ch Édité 4 fois par an/Published 4 times a year Mars-March/Juin-June/Septembre-September/Décembre-December En 4 langues/In 4 languages Français-French/Anglais-English/Allemand-German/Chinois simplifié-Chinese ISSN: Français1664-8048/Anglais1664-820X/Allemand1664-8056 ACE Publishing SA Principal actionnaire/Major shareholder Alain Carrier Route de Thonon 152A - CH-1222 Vésenaz/Genève T +41 22 752 60 12 - F +41 22 752 60 14 N° TVA CHE-112.276.791 TVA - REF 618 137 21.08.18 15:11 La reproduction des articles parus dans THE WATCHES MAGAZINE est interdite sous toutes ses formes, sauf autorisation écrite de l’éditeur.

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THE WATCHES MAGAZINE

autumn 2019

SKELETONIZED

Technicality, lightness, and purity of design: the RE-VOLT refuses to compromise. A perfect incarnation of the very essence and philosophy of REBELLION. The RE-VOLT knows how to stand out from the crowd thanks to its “in-house” swiss-made movement, muscular silhouette, high-tech nature, and exceptional performance with its 48-hour power reserve. Every detail expresses and embodies a passion for motorsport.

W W W. R E B E L L I O N - T I M E P I E C E S . C O M @ R E BTHE E LWATCHES L I O N TMAGAZINE IMEPIECES

autumn 2019

We Love Star S

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AudemArs Piguet

Code 11.59 Perpetual Calendar

By Sharmila Bertin

U

nveiled at the 2019 Salon International de la Haute Horlogerie, which was also Audemars Piguet’s last appearance at the event, the new Code 11.59 collection plays with shapes and especially the iconic octagonal form of its famous Royal Oak. The Code 11.59’s build is actually inspired by the watchmaking masterpiece’s unique geometry designed in 1972 by Gérald Genta (19312011) whilst the bezel and background go for classic curves.

It plays on light too with the sapphire glass smoothing the curves by switching from domed to arched with the case’s openwork lugs. Despite its youth, this watch collection ticks all the boxes: three hands, chronographs, flying tourbillon, minute repeater, skeleton tourbillon and perpetual calendar.

The latter’s glittering navy dial grabs your attention with its starry sky style.

The aventurine glass disc bears all the date features in white: date display with hand at 3, months and leap years at 12, day of the week at 9 and the number of weeks tracked by a central arrow along figures on a chunky blue lacquer chapter ring.

The hours and minutes are showcased by baton-shape hands

and applied markers all in red gold. A very realistic moon phase lies at the bottom of the dial at 6.

All these functions are powered by the 5134 self-winding movement in a 41mm red gold case providing a 40-hour power reserve.

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Modèle “1964 Spirit”, bronze.

Swiss Made.

zrc1904.ch •

zrc1904

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autumn 2019 La Maison de l’Horlogerie : 24 rue du Cendrier - Genève 1201 / Bijouterie Junod : Place Saint-françois - Lausanne 1003 / Uhrsachen ag : Kramgasse 19 - Bern 3011

We Love Poe t ry

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Jaquet Droz

Magic Lotus automaton

By Sharmila Bertin

T

his new masterpiece sprang from the Jaquet Droz studios in spring and embodies every reason to fall in love with the La Chaux-de-Fonds watchmaker. It takes you on an awe-inspiring journey to a dreamworld. Every last detail on its moving dial whisks us away to another world where flora and fauna soothe the soul. This miniature garden presents a dazzling pond where a carp ( Koi in Japanese) plays on the surface and dips beneath the big green leaves. The current moves other aquatic plants in its wake with water lilies and lotus flowers in a symbol of the seasons passing by, the cycle of life.

To bring this magical piece to life, Jaquet Droz drew on its range of expertise, technical and especially artistic. The dial is split into three levels: a black onyx disc at 12 bearing spearshape hour and minute hands, a crescent moon with sculpted gold branches, enamelled foliage and shimmering pebbles then an outer rim depicting the blue surge carrying away the large fish and floating lotus whose core dazzles in blue sapphire, yellow and ruby every time it goes by. The last two are in chiselled and painted white mother-of-pearl.

The limited edition watch in yellow, white or red gold (28 of each) is fuelled by the self-winding JD 2653 AT2 calibre with a manual-wind automaton movement powered by a pusher at 3 in the crown. A 43mm case houses this incredible movement.

THE WATCHES MAGAZINE

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THE WATCHES MAGAZINE

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The e ye of Je we lry

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Ornamental, precious or coloured gemstones: each to their own

By Eléonor Picciotto

A

n explosion of precious stones at Bvlgari, an explosion of rare stones at Cartier and an explosion of coloured stones at Dior: the three jewellery brands have put on a firework display around the secret watch.

Cinemagia, the latest fine jewellery collection unveiled

by Bvlgari in early September, pays tribute to cinema. Its masterpiece, the Misteriosi Romani, is none other than a bejewelled secret watch. “Another one” some may say…No way! An extravagance costing over two million euros, the most expensive piece ever produced by the Roman brand to date, “true to the splendour of Italian masterpieces”, some will say...

The snake’s head is crowned by a Sri Lankan sapphire at over 10.83 carats. Its 3D scaly body is paved with 63.33 carats diamonds and wraps around the cuff to create volume.

It took hundreds of hours to set the 32.49 carats of baguette-

cut diamonds and 35 carats of midnight blue sapphires.

Starring in forty-odd films or dazzling on renowned and radiant actresses or up-and-coming talents strutting up the red carpet, the Italian jeweller’s creations continue to captivate.

A world away, working with ornamental gemstones is a first for Cartier who has spent years dazzling us with incredible diamonds, rubies and emeralds as the fruit of their lengthy research.

The French brand has ventured off the beaten track to bring us Magnitude, a fine jewellery collection introducing gemstones unearthed mainly in Tucson in Arizona such as lapis beads, matrix opal and rutilated quartz. The Soreli wristwatch is embellished with a cabochon-cut rutilated quartz whose stripes blossom in the stone’s amber hue. A sort of solar bead enhanced by brilliant and kite-cut diamonds

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The e ye of Je we lry

“Time does not pass, it continues”.

Marty Rubin

www.watches-news.com THE WATCHES MAGAZINE

autumn 2019

The e ye of Je we lry

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which create a set that’s organic as it is contrasting with a dash of Art Deco style, a nod to the brand’s signature.

Victoire de Castellane has enthralled us with her work on coloured stones like nobody else for over 15 years at Dior. Her creative soul fuels her to rip up the traditional jewellery rule book. Gem Dior is the latest from her imagination, a sweet jar-style collection that’s big on colour and gives diamonds a supporting role. You may well believe that Dior Joaillerie’s artistic director has fun mixing gems up instead of setting them as she plays with rubies, tsavorites and emeralds like sticking dots into a colouring book with seamless harmony.

The central tanzanite is only put to one side in the literal sense. A talent that she alone holds the secret to, like her watches.

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The e ye of Je we lry

The Annual GPHG Awards 7 November 2019, Geneva, Switzerland www.gphg.org

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autumn 2019 World Tour 2019 : Sydney - Bangkok - Mexico City - Puebla - Geneva - Dubai

T r e nds

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Panda: protected species

By Dan Diaconu

T

hree circles in a tricompax layout on a white or ivory surface. The eye-catching and easy-to-read arrangement has been in fashion since the 1950s and 1960s. The stylish and sporty two-tone design brings to mind everyone’s favourite cuddly Asian herbivore, the panda.

That’s why the unique-looking dials have been named after the animal. One model made them iconic on the watchmaking scene in 1969. The Rolex Oyster Cosmograph Daytona reference 6264 worn on screen by Paul Newman (1925-2008) in Winning became a must-have among wealthy collectors.

It’s a rare model and its price puts it out of the realm of mere mortals. The actor’s personal watch sold for 1.8 million dollars in twelve minutes at auction in 2017.

Fortunately, other contemporary chronographs have made the panda style affordable. The recent vintage trend among watch brands means you can wear one of these bold timepieces today. Omega’s Speedmaster Moonwatch 39.7mm, a limited edition (2998 available), celebrates the original CK 2998 dating back to 1959. The inky counters jump off the sand-

blasted silver dial whilst you can measure short time with the 1861 manual wind movement.

The design also appears on the Montblanc TimeWalker Manufacture Chronograph’s 43mm case rimmed by a hightech ceramic bezel. The time features are fuelled by a selfwinding MB25.10 calibre.

The Royal Oak Self-Winding Chronograph in the Audemars Piguet catalogue enhances the panda dial with its signature Grande Tapisserie design.

Some pieces swap colours including the TAG Heuer Heritage Calibre Heuer 02 with white counters on a black background.

Others are true to the spirit but only have two counters on the dial e.g. the Anonimo Militare Chronographe Vintage, Hamilton Intra-Matic Auto Chrono and Breitling Premier 01 Chronograph 42.

All these models pair iconic designs with a self-winding

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movement. Coco Chanel (1883-1971) always said “fashion changes, but style endures”, and in 2019, the panda dial illustrates her words to perfection!

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Breguet or the language of delicacy

By Sharmila Bertin

W

hilst 18 th century watchmaking had a fondness for baroque design, Abraham-Louis Breguet developed his own artistic language alongside his advances in the technical field at his Paris workshop.

His aesthetic signature was so powerful that it still radiates from the brand’s contemporary timepieces.

The engineering work undertaken in the 18 th century by Abraham-Louis Breguet (1747-1823), rightly described as the father of modern watchmaking, enabled the sector to make spectacular progress. His famous innovative discoveries were mainly in the technical field e.g. automatic winding in 1780, the gong-spring in 1783, parechute shock protection in 1790 and the Breguet spring in 1795. Most contemporary watches are fitted with these inventions. In 1801, the ingenious master watchmaker

designed and patented a regulator to combat the effects of gravity on the pocket watch’s precision which he called the “tourbillon”, an invention that is now synonymous with Breguet.

However, away from these developments, AbrahamLouis Breguet was also a visionary stylist, someone we would call an intuitive designer nowadays. 18th century watchmaking was heavily inf luenced or dominated by “maximalist” decorative trends such as the baroque movement and rococo style. Pocket watch cases were adorned by sometimes complex engravings, mantel clocks featured gilded sculptures sometimes standing on marble bases, dials bore black Roman numerals lying under elaborate Louis XV and Louis XVI gold hands.

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To ensure the time was as clear as possible on his watch dials, Abraham-Louis Breguet simplified the decoration by removing any excess and decluttering. He began making significant changes in 1783 and “invented [...] a brand new kind of hand described as either a hollow apple or crescent moon, the principle being to hollow out the tip eccentrically,” writes Emmanuel Breguet, a seventh generation Breguet and Vice-President head of heritage and marketing for the brand, in the glossary of his excellent book “Breguet, horloger depuis 1775”*. The slender gold or blue hands created a contrast with the white enamelled dial to stand out and make it easier to tell the time. The watchmaker then streamlined the hour rim by designing Arabic numerals in a specific font rimmed by an understated minute track made up of small stars and f leurs de lys.

He was introduced to guillochage in watchmaking in 1786, a decorative art that had only been used in architecture, knifemaking, jewellery or cabinetmaking and applied to certain everyday items, furniture and cases (safes, powder compacts and pillboxes). Guillochage appeared in the 16th century and is a “decorative technique made up of parallel, straight or wavy lines that may or may not interweave and are placed in a regular and symmetrical layout” according

to the Encylopædia Universalis. Abraham-Louis Breguet used this technique to embellish his watch cases to stop them and the dials from getting scratched or tarnished.

Once decorated, the dial’s features were easier to read and the guillochage helped section off the time functions when only certain elements were decorated (hour rim, small seconds, counters).

He may not have been the only person working on the visual aspect of a watch in the 1780s, but “[...] AbrahamLouis Breguet’s research into the aesthetic field has withstood the test of time because it covers every aspect.

His super-slim cases are understatedly elegant because of the harmonious proportions, their depth and smooth or delicately guilloché finishes, [...] and their hands and figures which he gave his name to, heavily inf luenced his contemporaries and future watchmakers,” Dominique Fléchon concludes in his book “La conquête du temps”**.

By brilliantly transcending the rules set by trendy baroque art to showcase the basics, Abraham-Louis Breguet invented a new artistic and functional language; the language of delicacy that would last over two centuries without ever losing its bold identity.

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* “Breguet, horloger depuis 1775 – vie et postérité d'Abraham-Louis Breguet (1747-1823)” by Emmanuel Breguet (published by Swan) ** “La conquête du temps, l'histoire de l'horlogerie des origines à nos jours: découvertes-inventions-progrès” by Dominique Fléchon (published by Flammarion)

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Fine crafts, a unique vocabulary

By Sharmila Bertin

T

he Breguet manufacture in the Vallée de Joux is home to studios exclusively devoted to the magic of fine crafts in the world of watchmaking, encapsulating beauty and good workmanship and tasked with passing on expertise that is, unfortunately, getting rarer with time.

The process Abraham-Louis Breguet (1747-1823) put into work on the case and dial of his timepieces is similar to what is currently taught in design schools that fly the flag for “form follows function”, a famous quote by Louis Sullivan (1856-1924), the American architect and follower of the early 20th century functionalism trend. It also ties in with Frank Lloyd Wright’s philosophy (1867-1959), another designer from the same background but a different movement who believed that “simplicity is the perfect harmony between the

beautiful, useful and fair.” However, there are almost two centuries between the work of the master watchmaker and these two creatives. The pioneering Abraham-Louis Breguet combined the sometimes contradictory aspects of design and function in the 1780s, around five years after opening his business on Quai de l'Horloge on Ile de la Cité, central Paris. He stripped the dials of any frills and focused on the basics: time with an update to the hands and numerals to make them visually “lighter”. As for the case, he explored both the aesthetic and practical aspects whilst embracing the notion of longevity. The slimmer, guilloché engraved and sometimes enamelled metal case became soft to the touch, easy to slip into a jacket pocket and more resistant to the tireless passing of time. Over the years, the unique vocabulary developed by Abraham-Louis Breguet has become an artistic legacy that the brand puts into each of its timepieces.

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If you’re lucky enough to visit the Breguet manufacture in the heart of the Vallée de Joux and see all the trades working in the building, the guillochage workshop is undoubtedly the most impressive. The large space is filled by thirty-odd guillocher engraving machines, the biggest fleet in the watchmaking industry, where twenty-odd artisans work in deep concentration. Each of these hand-activated machines hollows out the material – platinum, gold or mother-of-pearl – to mechanically create “guillochis” engravings, also known as “guillochés” and “guillochures”. They are made up of fine grooves whose straight or wavy, crossed or interlaced lines form figures, geometric and symmetrical patterns mainly to adorn the dials, rotors, plates and bridges as the cases tend to be decorated with classic vertical ribs. The work requires painstaking attention to detail and dexterity as the left hand turns the lever controlling the machine whilst the right hand guides the chisel to make the grooves.

Aside from making a dial into a showstopper, guillochage demarcates the displays for certain indicators and can bring together different patterns, just like the Classique Chronométrie 7727 which has a total of six designs on its dial.

The technical artform that Abraham-Louis Breguet borrowed from other sectors to decorate cases and dials in 1780 is gradually disappearing as most contemporary watch dials have undergone chemical processes, lacquers or glazes or have been guilloché engraved using computerised machines with a result that leaves you cold. The hand alone can transform the material, breathe life into it and illuminate a timepiece by giving it good workmanship, beauty and character.

To protect the over 200-year-old heritage that is watchmaking guillochage and its now rare expertise as well as evolve it, the manufacture has been buying antique guillocher machines for years to restore at its premises. Once refurbished and revived, they are sent to the brand’s stores around the world to go on display. The oldest among them dates back to 1820 and currently lives at 6 Place Vendôme, the Parisian home of the Musée Breguet.

Just like its founder who perfected inventions other than his own, the brand is updating guillocher machines with current technology and providing comfort to their artisans.

These appliances are now more ergonomic, better lit, fitted with more accurate binoculars and can produce an array of designs, from the most traditional to the most modern.

A special in-house “research and creation” department has been tasked with designing new patterns such as the “waves” that adorn the new dials on the Marine collection’s models.

Other crafts within the manufacture express their own poetry and conjure up magic to enthral anyone lucky enough to own such beautiful watches. Every ornamental detail and finish has its place. Just like guillochage, these trades will die out because of massive industrialisation if preservation projects aren’t put in place and new artisans aren’t trained to keep them alive. However, enamelling, engraving and angling are thriving in the Vallée de Joux studios and give Breguet watches a unique personality.

Popular in the time of Abraham-Louis Breguet, Grand Feu

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enamel bathes watch dials in its unique glossy shine and protects them from anything time throws their way. But it is easily the trickiest craft to master as it owes a lot to chance.

The enamel is a blend of mineral powder made up of ground silica and oxides, coloured pigments and water to form a paste which is then applied to a base to suit the technique (champlevé, miniature painting, grisaille or plique-à-jour) then baked at around 800 degrees Celsius. Each layer of colour involves a trip to the kiln and each trip involves a risk as fire is a hard element to tame and can reduce the work of a day, week or even longer to cinders.

expert Dominique Fléchon. Essentially, the very definition of a Breguet watch.

* www.cpih.ch ** “La conquête du temps, l'histoire de l'horlogerie des origines à nos jours: découvertes-inventions-progrès” by Dominique Fléchon, (published by Flammarion)

Engraving can bring a pattern to life as it captures the light in its depths and hollows. The artisans at Breguet spend several years training in this age-old art and its myriad techniques. Most of the decorations are done intaglio using a chisel and applied to the bridges, plate and case. As for the inscriptions on the case back, the brand name and reference number for example, they are also done by hand.

Another trade that requires manual talent, angling “involves filing down sharp ridges on the metallic parts by smoothing the angles with a bevel to form a fine diagonal and uniform surface that reflects light on the edge of the pieces”*, according to the definition by the Swiss watch industry’s employers’ federation. The manufacture is now home to the biggest angling workshop in Switzerland. The work involves achieving 45 degree angles mainly using a file. Despite being fairly common in the watch sector, it remains very difficult to do and symbolises a perfect finish, “[...] the distinctive sign of a quality watch”** says the history and fine watchmaking

© Montres Breguet

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Ome ga

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The colour of sunset over the ocean

By Sharmila Bertin

T

he Bienne brand’s diver collection has constantly grown over its virtually fifteen years of lifespan and, this latest, in 2019, as if making a nod to the past, chose to reinterpret the original colour which was the key to the success of this family of watches by adorning two newcomers with an exquisite deep orange.

At Baselworld in 2005, curious visitors crowded in front of the Omega stand displays above which an immense poster reigned supreme. This gigantic panel showcased the American swimmer Michael Phelps (1985). This great champion, with his navy blue bathing cap decorated with the US flag pulled over his head and his swimming goggles tight against his eyes, unfurled his powerful arms whilst, under the splashes triggered by his paced movements, the peaceful vastness of the ocean appeared. The excitement of the sport gave way to serenity whenever the gaze swept over the poster from top to

bottom and dived into the heart of the deep blue inhabited by a host of marine fauna and flora. At the bottom of the poster, a tribe of clownfish swam between the smooth tentacles of lush anemones and prompted a myriad of smiles because the connection with Disney Pixar’s Finding Nemo, released two years beforehand, was perfectly obvious. Yet, what attracted the crowd wasn’t (only) Michael Phelps, the plethora of aquatic animals or even the splendour of this unforgettable panel, but the watch which had just been presented. This new piece, baptized Planet Ocean and integrated into the Seamaster collection, surprised with its vivid orange colour which coated the steel and aluminium bezel, the Arabic numerals on its dusky dial as well as its alligator strap. And this new piece pleased because it was unlike any other, its diameter and its thickness had been perfectly studied, the time-data which it displayed was ultra-readable and its super-waterproofness enabled immersions down to depths of 600 metres.

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Fourteen years on, Omega reconnects with this original shade which it has softened however by adding a touch of red to create two new models equipped with a selfwinding movement (calibres 8900 and 9900) hosting a CoAxial escapement, a silicon hairspring, two series-coupled barrels, a 60-hour power reserve and, above all, Master Chronometer certification, as such proving that the watches had successfully gone through a battery of tests, under the watchful eye of METAS, the Swiss Federal Institute of Metrology. This duo is composed of a three-hand version and a chronograph and embraces technical breakthroughs developed by the Bienne-based watchmaker as regards materials. In short, on the notched unidirectional revolving bezel which tops the 43.5 and 45.5 mm-diameter steel cases, the aluminium ring has been replaced by an orange ceramic ring adorned with a diving scale fashioned in liquid ceramic and the traditional reference point coated with Super-

LumiNova®. This same material, praised for its resistance to scratches and its lightness, takes pride of place on the threehand dial whilst on the chronograph, its intense grey hue is the result of ceramized titanium.

The 43.5 mm version hosts an hour chapter featuring luminescent indexes linked by a sectorized minute-tracker topped with three orange-varnished applique Arabic numerals. The central arrow-shaped hour and minute hands, the Seamaster Planet Ocean collection’s signature, are rhodium-plated and highlighted with white SuperLumiNova®, whilst the direct-drive is tipped with an orange striation. The date displayed at 3 o’clock completes the main time-data.

The 45.5 mm-diameter version, elegantly blending three shades – grey, orange and white – on its dial, reproduces the same identity details (the hands and indexes, but a single

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Arabic numeral, the 12) as the aforementioned model. It features a helium escape valve on the case flank at 10 o’clock as well as two push-pieces, dedicated to the chronograph function, each decorated with an orange ceramic ring, at 2 and 4 o’clock. Two white-encircled counters stand out on the grey face: a small seconds at 9 o’clock and a totalizer grouping together the chronograph minutes (mini orangeedged hand) and hours. In this version, the date is set at 6 o’clock.

One of the Planet Ocean’s numerous qualities is its versatility, its ability to be perfectly at ease in the depths of the sea or perched high on a mountain top, worn with a wetsuit or with a three-piece suit, or even with a casual outfit such as the famous t-shirt/jeans/trainers. For underwater immersion and for nautical activities, it is equipped with a strap embracing three rows of links completed by an expandable folding clasp, which can be extended even more so to be worn over neoprene. For everyday use or for a one-of-a-kind look, Omega proposes a NATO decorated with multicoloured stripes, white with orange and grey central bands for the three-hand model and a “sailor’s shirt” look in the same shades for the chronograph. © Omega

THE WATCHES MAGAZINE

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C hopar d

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Supreme distinctions

By Dan Diaconu

S

tyle is a state of mind. It comes in many forms. You can see it showcased in Chopard’s L.U.C collection in the form of timepieces pairing stylish finishes with exceptional engineering. The brand, a creator of aesthetic and mechanical emotion, brings you a limited series highlighting its discerning manufacturing standards whilst underlining its commitment to the environment.

The new range was unveiled at 2019’s Baselworld and fills a gap in the collections with the first calibre fitted with a flying tourbillon. To celebrate, the L.U.C Flying T Twin has a delicate setting with a super-slim 40mm case that’s 7.2mm thick and made of 18 carat Fairmined rose gold.

This certification guarantees the responsible extraction of precious minerals.

The regulating organ has no top bridge and is held from

beneath. It fuels the small seconds which appear at 6 in a solid gold hand-guilloché dial enhanced by a grey ruthenium hue. A honeycomb design in the centre of the L.U.C Flying T Twin is surrounded by a blue pattern bearing the hour rim.

The pattern symbolises a hive and alludes to the first logo used by Louis-Ulysse Chopard.

Hands to match the case material glide over the sophisticated and understated design. They are powered by the 96.24 L calibre, an evolution of the 96.01-L. Two layered barrels and its self-winding movement with a micro-rotor provide a comfortable 65-hour power reserve. A stop seconds function also means you can set the time accurately using a reference time. Its chronometric precision is the same as every Chopard watch certified by the demanding COSC (Official Swiss Chronometer Testing Institute) in La Chaux-de-Fonds.

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To satisfy modern gentlemen who want to protect the planet, the matt vegetable-tanned black alligator strap on this limited edition (50 available) is CITES approved. The Convention on International Trade in Endangered Species of Wild Fauna and Flora’s approval means the leather doesn’t put its species under threat.

Chopard has given luxury watchmaking real environmental awareness through its exemplary work.

© Chopard

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B lanc pain

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When the past resurfaces

By Sharmila Bertin

O

ver sixty years have passed since the first model designed especially for the Combat Diver unit and now Blancpain is paying tribute to the formidable frogmen’s bravery with a new limited edition (300 available) that’s heavily inspired by its forebear.

In 1950, five years after the end of the terrible Second World War, Europe was gradually healing its wounds, trying to accept the consequences and build a new future. Most sectors, no matter how deeply affected by the great tragedy, raised their heads and rolled up their sleeves again. In the aftermath of a time like that, man has to embrace a new walk of life, unleash their creative side and let their passions out. Live. Innovate.

Progress. This spirit of exploration fuels one watch brand in particular: Blancpain.

Jean-Jacques Fiechter’s arrival to run the manufacture with

his aunt Betty Fiechter in 1950 coincided with initial research into designing a watch devoted to underwater adventure. He had a strong bond with the ocean, good knowledge of the issues surrounding this sometimes hostile environment that he regularly rubbed shoulders with and wanted to create a specific instrument essential to diving. The specifications for the future tool fuelled by a self-winding movement turned out to be complex but achievable: it had to be sturdy, readable, reliable and, of course, waterproof. The case had to be antimagnetic, perfectly airtight and topped by a secure rotating bezel; and the displays had to be as simple as possible with phosphorescent markers and hands on a dark dial to bring out the contrasts and make it easier to see the information.

Whilst Blancpain was working on technical developments in Switzerland, two men founded a unit devoted to French operations in the high seas: combat divers. From 1952,

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the pair made up of Captain Robert “Bob” Maloubier and Lieutenant Claude Riffaud set out on a quest to find a watch to join the fearless frogmen’s kit. Their search was fruitless in their homeland so they went to Switzerland. A year later, in 1953, the first Blancpain watch meeting the various strict criteria required by the sailors was delivered, successfully tested and approved. Its name, Fifty Fathoms, ties into the marine environment with a fathom being equal to six feet.

Fifty Fathoms is the equivalent of 300 feet, the maximum depth a deep-sea diver could reach. And most importantly, Fifty Fathoms is a watch that made its mark on the history of Blancpain and diving alike.

Over sixty years later and the watch brand is paying tribute to their combat diver collaboration in a piece inspired by the original model featuring a few of its signatures. This limited edition (just 300 available) is ideal for getting up close and

personal with dolphins with its sturdy 45mm steel case that’s 15.7mm thick and water-resistant to depths of 300m.

The metal case houses a unidirectional black rotating bezel trimmed with a luminescent diving scale under a protective domed sapphire glass ring. Its sand-blasted background bears the engraved insignia of the frogmen’s qualification badge, a unit running operations at sea, in the air and on land: a ship’s anchor interwoven by a pair of perfectly symmetrical winged seahorses. The double symbol covers both sailors and paratroopers.

The matt black dial on the new Fifty Fathoms features geometric phosphorescent markers including a triangle at 12 typical of 1950s design. Another throwback are the central baton-shape hour and minute hands and the central seconds all in white and glowing with Super-LumiNova®. Since it performs its

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role on land more than at sea, the date lies in an understated white-on-black display at 4.30. Another subtle feature on the dial that also captures the bond with the ocean: the figure of 7 glazed black for a tone-on-tone effect and placed at 6 to show the maximum depth in metres that man can reach on pure oxygen.

In terms of power, the model is fuelled by the 1315 calibre with a standard 4hz frequency (28,800 vibrations per hour).

The mechanical self-winding movement is 30.60mm in diameter, 5.65mm deep and includes a silicone spring, ideal for combating the effects of magnetism, and three barrels in a row to give the timepiece an impressive 120-hour power reserve (five days).

Š Blancpain

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TAG He u e r

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The female of the Carrera species

By Sharmila Bertin

T

he recently updated 36mm version of the Carrera Lady collection is what women want and suits every woman’s needs and desires. It’s a multi-facetted watch: it can be classic for everyday wear or stylish for special occasions!

It may bear the name of a legendary watch from 1963 and bring to mind motor cars zipping along the race track but the Carrera Lady has its own personality. And its own audience as its size and delicate features mean it’s almost exclusively for women. Whilst another of TAG Heuer’s iconic timepieces

celebrates its 50th year of adventure this year, the Carrera Lady has given itself a treat. Two treats actually as it appears on Cara Delevingne’s wrist.

It’s a good match as both share the same mastered indifference, boyish casual flair and a dash of irresistible sophistication. The stunning 27 year old British model, actress and it girl famous for her casual tomboy style and who the great Karl Lagerfeld (1933-2019) described as having the “silhouette of a slender bird”, is a real chameleon, a versatility that she shares with the Carrera Lady. “I really

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like the touch of colour, the stainless steel bracelet, and how you can wear them with different looks throughout the day” says the young TAG Heuer ambassador.

Essentially, the Le Locle brand’s designers have given the 36mm version of the Carrera Lady a subtle update. You can choose from the self-winding 5 calibre at 4hz with a 38-hour power reserve or a quartz movement, ideal if you own several watches and often switch between them. The movement lies in a steel case with a polished bezel or glittering with 54 diamonds and rounded lugs for the ultimate comfort on the wrist. The metal case is waterproof to depths of 100m, has a sapphire back on the self-winding models or a covered one engraved with the TAG Heuer logo and Carrera name on the quartz pieces.

The time functions burst from the centre with two dauphineshaped hour and minute hands and a slender central seconds hand. All three glide over triangular bevelled markers.

Depending on the model, the markers are either in silver or gold matching the trapezoid date display at 3.

As for the dial rimmed by a matching minute track, there are myriad options and depend primarily on the effect you want to achieve and what you want to use your Carrera Lady for. Shimmering white mother-of-pearl tends to suit special occasions but it goes very well with... everything! Whether smart or casual, the main thing is to feel comfortable in your clothes and watch. The same goes for the fairly classical colours available in the collection with grey, blue, black and even purple, a shade that’s growing in popularity. Straps

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haven’t been left out: purple, taupe or grey alligator leather, black or blue quilted calfskin or steel links all with a new deployment clasp.

The new rules are that there are none and everyone can do what they want, how they want.

© TAG Heuer

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Hu b lot

Mediterranean travel journal

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By Sharmila Bertin

T

his summer, the Nyon-based watchmaker is whisking us away to visit not one but two popular Mediterranean destinations, the Balearics and Cyclades, with a pair of exclusive limited editions of their signature Classic Fusion chronograph. Welcome on board!

“Hello, you’ve reached...”. It’s time to switch off for summer on a (very) well-earned holiday and the Air Hublot flight is ready to board for flights to two paradise islands. This twostage trip is heading to Ibiza and Mykonos, popular for both their nightlife and peaceful scenery. Now, turn on your autoreply on your emails, switch off your smartphones and tablets and put your seat belt on ready for take-off!

1st stop: Ibiza Off the east coast of the Iberian Peninsula, at a similar distance to the distance between Barcelona and Valencia, lies a little archipelago basking in the Mediterranean and made up of three main islands: Majorca, Menorca and Ibiza. We’re going to land on the last one, the furthest south, and begin our adventure.

Ibiza, or Eivissa in Catalan, may be seen as the capital of partying, world-renowned for its legendary clubs like Pacha, a go-to for the international jet-set as well as (unfortunately) mass tourism since the late 20th century, but the “white island” has a totally different side to it when you take the time to dig a little deeper and explore further. It’s certainly worth the detour to visit secret coves glittering in the warm climate and the hinterland peppered with tiny villages where you’ll find traditional cube-shaped limewashed houses. The same Mediterranean vibe oozes from the Classic Fusion Chronograph Ibiza special edition, just 50 of which are available and were unveiled in mid-July at Hublot’s pop-up shop on Port Esportiu Eivissa Nova, with views of Ibiza’s old town surrounded by lofty ramparts (Dalt Vila).

The new two-tone timepiece pairs the colour of the Mediterranean with the hue of traditional ibicencas houses, has a 45mm blue ceramic case with a matching bezel, a matt white dial and is water-resistant to depths of 50m. The facetted markers, baton-shaped hands and counter rims are lapped by the colour of the waves hitting the island’s cliffs.

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The small seconds at 3 mirrors the minute counter and bears the peace sign in a nod to the hippy community that made Ibiza famous in the 60s. The watch is brought to life by the self-winding HUB1143 calibre with a 42-hour power reserve and comes on an alligator leather strap with blue stitching.

2nd stop: Mykonos Hublot’s next stop takes you south east to another, but bigger, archipelago: the Cyclades. This host of Greek islands of all sizes floating in the heart of the Aegean Sea, an embayment of the Mediterranean Sea, and connected by a vast ferry network is home to tourist favourites Mykonos and Santorini whilst Naxos and Paros are popular too. The Nyon watchmaker has been drawn to Mykonos every year since 2012. A must-visit for the watch brand’s followers and fans of special editions.

Like Ibiza, Mykonos is a celebrity haunt famous for its nightlife. It attracts half a million holidaymakers who love soaking up the pretty cobbled labyrinth of lanes in its main village. However, like Ibiza, the island has a fairytale setting with beaches lapped by turquoise water and very geometric architecture with immaculate walls which novices could easily mistake for the Balearics. However, the religious sites and famous 16th century windmills with their recognisable silhouette make all the difference. Windmills are such a powerful symbol of Greece in general, Mykonos in particular,

that Hublot has put their sails on the blue lacquered small seconds (at 3) of its limited edition Classic Fusion Chronograph Mykonos.

The watch comes in titanium or King Gold (50 of each available) and is inspired by the azure shade of the Aegean Sea on its ceramic bezel adorned by the signature flat-head screws and its strap with a wide strip of alligator leather on a black rubber base. The openwork dial brings to mind the crystal-clear water at the Greek island’s beaches and reveals the self-winding HUB1155 calibre’s grey steel cogs around a gold or silver hour rim subject to model. As for the date, it is the holidays after all, it’s as understated as possible in a display at 6.

© Hublot

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Ja qu e t Dr oz

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Scrolling through time

By Sharmila Bertin

T

he Grande Seconde, insensitive to the passing of time, takes on complications with the characteristic which marks it best: elegance. Without ever falling short of its legendary style, this collection now embraces its own specific interpretation of the chronograph.

Just like a divinity, we don’t mess around with a watchmaking icon. Yet, if ever the latter intends to stand the test of time, it must evolve, tailor to tastes which change with periods and fashions, take on technical breakthroughs and, occasionally, take risks. But, this sort of timepiece with its ever-so strong identity can eventually become boring, can miss the wind of change or can be transformed to such as extent that it ends up losing its soul and, more than anything else, the public.

Though that’s not the case for the Grande Seconde. Far from it.

This icon, a masterpiece born out of the talent of Pierre JaquetDroz (1721-1790) and initially inspired by the pocket watch, has preserved all its charisma by taming time. Complication (minute repeater, tourbillon, calendar, moon phase, dead second, power reserve and second time zone), materials (ceramic, minerals) and occasionally differing designs (offcentred display, encircled with metal or “skeletonized”) have been added to this collection to make it more wide-ranging, richer. The only thing missing was a: chronograph.

Let’s start by congratulating Jaquet Droz teams for the phenomenal work carried out on the Grande Seconde, in terms of integrating displays on a quasi-sacred design-style and as regards technical prowess. Let’s also applaud the fruit of their labour because this last born, aka the chronograph, is

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a pure wonder. Two variants are even available, a classical one as a limited 88-piece edition and another more contemporary one with its famous rocking 8 on the left.

To pursue the visual harmony initiated by the refined 43 mm-diameter case and to make sure its silhouette is in no way altered by the addition of traditional push-pieces which trigger, stop and reset the chronograph function, Jaquet Droz gathered these functions together in a single button incorporated in the winding and time-setting crown. This single push-piece is usually set at 3 o’clock on the rose gold version and at 4 on the steel one. As for engineering, it’s the JD 26MR calibre which leads the dance, a self-winding mechanical movement which beats at a frequency of 21,600 vibrations per hour, hosts a barrel and offers a power reserve of 40 hours.

Although both these Grande Seconde Chronograph versions share the same motor, their look is totally different. The limited edition is proposed with an ivory Grand Feu enamel dial – a benchmark signature of the Chaux-de-Fonds watchmaker – dotted with Petit Feu enamel indexes hovered over by a couple of red gold Lancine-shaped hands for the

hours and the minutes, set in the upper loop of the famous offset 8 at 12 o’clock. Incidentally, the chronograph seconds and minutes are displayed by a direct-drive and a blued-steel hand in the bigger lower loop close to 6 o’clock. As for the mini retrograde date hand, it is varnished in red. As the dial is split up into several feature-based levels, time-data can be read at a glance.

For the steel version, the “off-centred” twist embracing the displays along with the manual sandblasting treatment on the dial, the colours available (silvery-white, slate-blue and taupegrey) and a handful of details such as the ring on which the hour chapter sits, the blued or rhodium-plated hands, and the minute-tracker, endow it with a highly-modern appearance.

The straps which complement these two models and enhance wrist-wearing elegance are fashioned in navy-blue or darkbrown large-scaled alligator and are set off with a steel folding clasp or red-gold ardillon buckle.

© Jaquet Droz

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B vlgar i

"Italians do it better"

By Sharmila Bertin

F

or the fifth time in less than ten years of existence, the Roman brand’s collection of bold lines and edgy vibes has achieved a new world record for its self-winding chronograph with a GMT function.

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The watch industry tends to say an icon is a product that transcends time without ageing a day as it is revived over the years or decades to suit ever-changing tastes and requirements.

That isn’t true of the Octo Finissimo by Bvlgari. As soon as it appeared, everything about it said “icon”. It was an instant hit when it launched in the public arena. It may be its Italian charm or simply its perfect bold lines and svelte silhouette that have made it a legend. Because there aren’t many recent timepieces with such an unusual build and such a visually striking design.

The Octo collection was founded in 2012, not even a decade ago, but its young age hasn’t stopped it growing – quite the opposite! – or getting one world record after another. This year’s Baselworld saw it earn a fifth title as the Octo Finissimo Chronograph GMT Automatic became the slimmest mechanical chronograph in the world with a movement measuring just 3.30mm high. The ultra-thin world holds no secrets for Bvlgari as it has achieved aesthetic success and technical performance in a single watch.

The matching sand-blasted titanium dial picks up the case’s edgy silhouette surrounded by an hour rim featuring slender markers and an Arabic numeral at 12 all glazed in black. Two black openwork dauphine-style hands in the centre track the local hour and minutes whilst home time appears in a 24-hour graduated indicator at 3. The current seconds lie in a counter at 9. The chronograph’s short time is counted down by the central seconds hand and the minute counter stands at 6.

To finish the edgy look, the strap is made of links and a deployment clasp in the same steel-coloured material as the watch’s body. Its tone is subtle on the wrist and its lightweight finesse is like a feather stroking the skin. But the Octo Finissimo Chronograph GMT Automatic is anything but a watch that can pass you by. On the contrary. It’s a terribly elegant Roman goddess.

The 42mm sand-blasted titanium case’s octagonal shape is smoothed by the curvaceous bezel and is just 6.90mm thick and water-resistant to depths of 30m. Its build, the slender pushers that start, stop and restart the chronograph, are so well incorporated that they beautifully frame the crown without hanging over it. A third button at 9 on the case side sets local time, the time in the country you’re in.

The grey case’s transparent back gives a glimpse of some of the movement, namely the peripheral rotor to wind the in-house BVL318 calibre providing a 55-hour power reserve.

© Bvlgari

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Shimmering mother-of-pearl

By Sharmila Bertin

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a notched graduated bezel. But this year has seen the iconic piece turn a corner by swapping dark for light, lacquer for shimmer and male for female clients.

Among the different watch collections by Longines, there’s one that’s for vintage fans, mainly for their retro designs without scrimping on contemporary technology, and for watch lovers looking for a piece that stands out from current mainstream values. The aptly-named Heritage collection features watches that have made their mark on the Swiss brand’s history, including the famous Legend Diver Watch unveiled around five years ago.

The polished steel case has slimmed down by 6mm to 36mm but has stayed true to its predecessor with water-resistance to depths of 30m and two crowns, one at 2 to set the bezel and the other at 4 to set the time. It has also held onto the signature chunky graduated rotating bezel but in different colours: the markers and Arabic numerals on the minute track and the phosphorescent dot are now black on a white background. The black dial is now a mother-of-pearl disc whose shimmer captures the light to better diffuse it. A trio of silver luminescent hands track the hours, minutes and seconds above the markers and Arabic numerals painted black. The date display at 3 has a dark rim.

he Legend Diver Watch in the Heritage collection, a range of fresh takes on Longines classics, is inspired by one of its most iconic pieces and has been given a more feminine twist without sacrificing the features that have made it what it is.

The model injected the original soul with technological advances in a black dial enhanced by vanilla yellow markers, sage-shape hands and an internal rotating bezel. It was an instant hit and has since spawned a range of styles: steel mesh strap, PVD-coated steel case or the “Skin” version with

The case and its screwdown back house the mechanical selfwinding L592 calibre with a standard 4hz frequency (28,800 vibrations per hour) and 40-hour power reserve.

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This new Legend Diver Watch exudes summer style and suits any occasion with a range of straps – white leather for casual chic or steel mesh for classic cool – so you can change your look with ease and look seriously stylish.

© Longines

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G l ashü t t e Or iGinal

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Solar sparkle

By Sharmila Bertin

T

he Saxon watchmaker’s aptly-named Sixties collection, inspired by typical 60s design, embraces a dial colour that’s rather unusual in the industry and introduces two newcomers. A single glance is all it takes to make the connection with the sun.

Glashütte Original, reputed for the refinement and understated harmony of its dials, in particular on its Senator and Pano collections, delved into its archives a few years ago to imagine a new family of watches. It goes without saying that its name, Sixties, conjures up creations fashioned back in the 60s with their ever-so particular style of a period which was on a quest for freedom in every field, or almost.

In 2015, the Saxony brand released a five-reference series, Iconic Sixties, infused with muted (mouse grey and chocolate brown) and vibrant shades (turquoise blue, orange red and bronze yellow). Then in 2018, the collection adorned a sublime mint green which charmed customers and journalists from the moment it was launched at Baselworld. The family expanded over time with the arrival of more classically-

coloured dials such as black, silvery and blue, blended with steel and rose gold.

For the German watchmaker, 2019 is a solar year as illustrated through its new versions of Sixties and Sixties Data Panorama. Basically, the face of this duo is draped in orange nuanced with a hint of red before delicately merging into twilit black. Dial blanks, made in Glashütte Original’s manufacture in Pforzheim, in the south-west of the country, are stamped to reproduce the 60s-inspired relief structure, then gold-colour galvanized or painted in carmine or black.

Before firing, several layers of paint are required to obtain the colour gradient, a sort of Sfumato of hot shades, which is emphasized by the dial’s cambered shape.

At the centre of the now embossed and decorated disc, three silvered baton-style hands whose curved tip espouses the roundness of the dial displaying the hours, minutes and seconds, hovering over the highly-particular typefaced Arabic numerals and a minute-tracker printed in white. On the Date Panorama version, a double aperture set at 6 o’clock indicates the date on a black background. Each reference is driven by

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its own special self-winding movement: the 39-52 calibre for the three-handed watch and the 39-47 calibre for the watch with date display. These two motors beat at a frequency of 4 Hz and provide a power reserve of 40 hours. The polished steel cases measure 39 and 42 mm diameter respectively, host sapphire-crystal casebacks and are waterproof to a depth of 30 metres.

To highlight their vintage spirit even more so, the Saxony brand has equipped its Sixties with chocolate alligator straps attached by steel ardillon buckles. As soon as the watch is wrapped around the wrist it gleams against the skin, immortalizing the sweetness of summer forever.

Š Glashßtte Original

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A . LAnge & Söhne

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Beat time

By Dan Diaconu

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ake every second count. To realise how quickly time passes us by. To be highly accurate. A. Lange & Söhne excels in this field with its expert handling of watch complications that verge on perfection. It’s the regulator mechanism’s turn to take centre stage on the Richard Lange Jumping Seconds dial. This display appeared in the 18th century on clocks intended to provide a reference time. It was a helping hand for sailors to stay on course, astronomers to determine the path of the stars and doctors to take pulses. This version (the original model is from 2016) has solid gold non-coaxial hands tracking the hours, minutes and jumping seconds in three separate sections. The off-centre seconds hand grabs your attention as it jumps from one second to the next rather than gliding through its revolution. This unique feature, also known as deadbeat seconds, helps provide an exact reading of the smallest unit of measurement.

The white circles and their respective scales stand out with ease against the deep black dial. The sparing use of colour and the circles’ symmetry are the German brand’s take on the Bauhaus movement’s values. This minimalist design lies in a sophisticated 39.9mm white gold case on an alligator leather strap finished with a buckle to match the case.

The easy-to-read display is fuelled by the L094.1 calibre, a selfwinding movement with 390 components that stands out for its constant force mechanism which alleviates the drop in energy provided by the barrel. A zero-reset function guarantees time is set to the nearest second whilst the 42-hour power reserve enables the seconds hand to jump from one marker to the next 86,400 times a day. A triangular indicator lies at the intersection between the hour and minute rims to let the wearer know how much juice is left. It turns from black to red when there are only

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10 hours left. Then it’s time to wind it up. “You can only truly break down what you understand.” The Canadian academic in business and management, Henry Mintzberg, has found the embodiment of his thoughts in the Richard Lange Jumping Seconds.

© A. Lange & Söhne

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LIVE ST YLE

Everyday Photograph: Johann Sauty

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Hermès Galop d’Hermès

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Breguet Marine Dame 9517

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Chopard Happy Sport Oval

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Vacheron Constantin Overseas

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Tissot PR 100 Sport Chic Chronograph

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Model: Adelina Biba Make-up & Hair: Abel Fernandes

TAG Heuer Carrera Lady

Special thanks to: Hôtel Président Wilson, Geneva Boutique Arel Forever, Lutry Capsule by Laura Cavallo Marcel 1907 Garage Klausen, Gland

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Spot light

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Defy the (family) holidays

By Sharmila Bertin and Mickael Gautier

A

watch always looks amazing on glossy paper, expertly presented to grab your attention. Then, ta-da... you flash forward to the future. You picture yourself with it, as fabulous as on the photo, poised on the end of your arm and you weigh up its “usefulness” in your already hectic life with a list of times you can wear it: every day at the office, with that pretty dress or smart trousers you’ve just treated yourself to, at special events (galas, weddings, graduations, christenings), daily workouts and Sundays. Or just because you want to, because that timepiece, the one you’ve just stumbled upon as you flicked through a magazine or browsed online, embodies the watch of your dreams. A fleeting whim or a deep-set desire? It doesn’t matter, you want it.

I’ve been giving one piece of advice for 15 years and it comes from my professional experience in watch sales as well as a

few mistakes I’ve made myself: try it before you buy it. Always.

Putting it on your wrist, even for a few minutes, enables you to assess its comfort, looks, sturdiness and see if it really is what you want. Trying it avoids post-purchase disappointment or confirms a decision and builds the trust you have in a brand.

When Zenith’s Defy collection, especially the Classic range with its openwork dials, first appeared, well, my heart fluttered. But it was the launch of the ceramic models that made me realise I had it bad for the watch brand, especially the white model. That said, everyone knows because I don’t hide my feelings: the Pilots are my favourite Zenith watches.

My husband has one, a GMT model that no longer exists in the Le Locle brand’s catalogue, but I can’t borrow it because the 47mm case size is far too big and its chunky steel case is too heavy for me. I love the Pilot, but the Defy has caught my

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eye. And I was lucky enough to be loaned one for summer and even go on holiday, with my hair in the wind and a Zenith on my wrist.

One of “my” Defy Classic’s best assets is how light it is with its titanium case waterproof to depths of 100m. It may be a small detail but, for me, with a small wrist and two kids, weight matters. I absolutely don’t want to feel weighed down or restricted in my movements, especially not on holiday.

To enhance the sense of freedom on my skin, I went for a link strap and double deployment clasp in the same metal renowned for its resistance. It’s super comfortable and provides a “refreshing” feeling even when temperatures exceed 30°C, which it often did in June and July. Yes, it’s a bit odd to say “refreshing” when you’re talking about a metal watch but that’s how I felt with this Defy.

Another asset: the case’s perfect size at 41mm, a standard unisex size that suits most people. The build incorporates the lugs, nothing hangs over, nothing bangs into the tip of the radius, forearm or ligaments. This total comfort is a huge advantage as even if I treated myself to a well-earned summer break, at no point did I stop being a mum, running around after my children, cooking meals, changing dirty clothes, giving baths, soothing moods with big cuddles...

And night-time was the only time I didn’t have a watch on for the whole stay.

The break may have done me good but the same can’t be said of my Defy. If you’re going to test a watch then go for it. No, I didn’t throw it off the top of a New York skyscraper or down into the Marianne Trench. Nothing bizarre and/or extreme because that’s not how I am and I respect this Defy, even if it’s not mine and “that’s what it’s there for.” However, I didn’t spare it from sandcastles on the beach, swimming in the salty Mediterranean, pool chlorine or sugary ice cream drips. It experienced what I experienced and I didn’t worry about it or how it was faring for a second. Sometimes I even forgot I was wearing it and only realised when I needed the time to plan the rest of the day, mealtimes or nap times.

In terms of looks, the Defy Classic is spot on. The dark grey titanium coating goes with any colour or pattern. Its versatility means you can wear it through the seasons, summer and winter, with smart or casual outfits. As for the dial’s design, its eye-catching openwork dial reveals a beautiful stylised star in the centre enhancing the lightweight feel throughout the piece as well as its 3D effect. The applied facetted markers on the blue minute track, like a miniature cliff, tower over the serrated date disc (at 6 on a white background) and the famous star’s arms symbolising the Le Locle brand. With a magnifying glass, there’s an entire perfectly structured world to behold and amaze everyone, even children! The hours and minutes couldn’t be easier to read with the luminescent hands whilst the self-winding 670 SK calibre provides an ultra-handy 50-

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hour power reserve. You can forget to put your watch on for two days without having to reset it and I appreciate anything that saves me time.

So yes, the test is a little more in-depth than just trying it on in a shop or your favourite store as I recommended earlier, but it gives me the chance to share how I feel and potentially – I truly hope! – confirm people’s decisions or clear up any doubts. One thing’s for sure: I’m really going to struggle to give up my new friend who’s shared so many happy times with my family and me.

© Mickael Gautier

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Hist ory

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The art of getting it right… or of being trashy

By Olivier Müller

Y

ou’d think it had come straight out of the depths of history. Its etymology can lead to getting it completely wrong: although “vulgarity” does indeed come from the Latin vulgus, its contemporary usage and the fact that it is powerfully pejorative are profoundly modern: thanks to Madame de Staël (1766-1817). In other words, before the 19th century, “vulgarity”, as we know it today, didn’t exist.

Fickle vulgarity And, the connection with watchmaking? A pretty close one!

Today, words are mixed up, meanings overlap and we end up depicting creations in the same light which have nothing whatsoever to do with each other. Vulgarity, this coinage which is used equally to describe an impropriety and to implicitly rebuke is, first and foremost, incapacity to control oneself, lack of circumspection, of foresight and of elegance. A total hands-off approach which outspokenly elevates triteness and bad taste to the realms of the art of living. Any watch can, as such, be qualified as “vulgar” without us really knowing which moral or stylistic baseline is used.

So many breakaways, yet we remained impervious Unfortunately, contemporary watchmaking conforms to a host of these shortcomings. Vintage style is the most striking example. “Celebrating icons” which “bridge tradition with modernity” is but an admission of appalling conservatism, of stagnant attachment to the past. Incidentally, the great watchmaking innovations have regularly been derided. Heuer’s Monaco, in 1969, was a gargantuan flop. Created too early, too audacious. In a nutshell: not conventional enough! Same sad fate for Audemars Piguet’s Royal Oak: the idea of a luxury steel timepiece was deemed… vulgar. Yet, of course, it was quite the contrary. It was reproached for defacing watchmaking nobility whereas it actually created a new segment, that of chic-sporty watches, which the whole industry would adhere to some twenty years later. The 1983-created Swatch was to meet with the same fate: a “vulgar gadget”… which would however save a whole industry paralysed by its own resistance to change.

Down with vintage!

Basically, vulgarity isn’t there where we think it is. Ok, for

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73 sure, vintage embraces almost all the characteristics of vulgarity: the gregariousness of a marketing trend, the boorishness of models which are enlarged shamelessly, the sloppiness of designers who no longer design, the immorality of inventing (hi)stories that have already been written, the outrageousness of prices for “creations” which are not so, the egoism and vanity of self-centring on one’s own past.

The art of “getting it right” On the other hand, the mediocrity of heading off on new avenues exists – “mediocrity”, another false friend! It’s got nothing to do with what’s ‘average’, but all to do with what’s ‘median’, ‘balanced’ from the Latin medius, literally “found in the middle”.

Perhaps things which are median may be lacking in ambition but, at the very least, they get it right. There are creative bursts which had no pretention whatsoever of being massively adopted but which, from the word go, got it right and, in the end, came up trumps. We can mention Jaeger-LeCoultre’s Reverso (a polo watch!), Cartier’s Santos (an aviator’s watch even before civil aviation existed), Omega’s Speedmaster (intended for motor racing and which finished up... on the moon), and Louis Moinet’s Compteur de Tierces (a simple personal astronomical measuring instrument which turned out to be the first chronograph in history in 1816), to name but a few... A myriad of creations deemed devoid of interest, common and, as such, “vulgar”, yet which got it right!

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Gu ide

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Original or reissue: which should you choose?

By Olivier Müller

T

oday, you don’t need to be an auction-house “insider” to pick up a few period watchmaking gems. Countless second-hand websites propose original models. So, what should you go for: an original, rare, expensive, mythical yet fragile piece, often inaccurate and for which repairs are likely to become increasingly tricky? Or a reissue, virtually identical down to the finest detail, which you can wear on a daily basis and which will just cost you a fraction of the price of an original and offers proven reliability?

Occasionally, it isn’t that easy to make a choice. Take Zenith, for example. The manufacture has just reissued its El Primero 1969 model, the famous A384. Its components were all digitalized so they could be reproduced, from its 37-mm diameter faceted steel case to its white and blacklacquered tachymetric dial. The only differences are the sapphire crystal which replaces the acrylic glass, the open caseback which replaces the steel one, as well as the

dependable version of the El Primero 400 calibre. All the rest (functions, dimensions, frequency and even the number of rubies) remains the same. Aficionados of close replicas will, moreover, make the connection with Omega: two years ago, the brand released a Trilogy box (557 pieces) containing three perfectly-replicated models of the original Railmaster, Speedmaster and Seamaster. A complicated choice!

All the makings of a star At Jaeger-LeCoultre, you’ll have to play at ‘spot the differences’. The Memovox Polaris was created in 1968 and has just been reissued. The manufacture’s wager is clear: focus on the original to explore the cutting-edge. As such, there’s a host of modifications. The dial offers three levels of finish which the 1968 model was devoid of, and lugs which have gone from polished to brushed. The hands are in steel (from gold-coloured on the original). An index has been added at 3 o’clock, the strap has changed, as have the

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crowns. The caseback, which was previously closed, today invites to admire a totally-revisited movement.

The same holds true for TAG Heuer. This year, the Monaco’s anniversary year (1969 – 2019), the brand has embraced a fairly-different reissue: the push-pieces are new, the 12hour chronograph counter has disappeared, the indexes are faceted, the blue is another shade, the minute-tracker has been revamped, etc. As far as these two models are concerned, the question is not so much a choice between the original or the reissue, but basically, which model you prefer.

In the shadow of the crown With Rolex, the issue is different. Original creations are still to be found but at stratospheric prices. And, contemporary models have constantly been updated. In short, Rolex updates its models but never reissues them.

The Oyster Perpetual GMT-Master is a symptomatic example.

The piece was created in 1955. Its famous “Pepsi” bezel became aluminium in 1959. In 1982, its second hand could be set independently of local time: this was known as GMT-II. In 2005, the bezel adorned ceramic. Thirteen years on, in

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77 2018, a third-generation movement saw the light of day (calibre 3285): new escapement, new hairspring, new barrel, amongst others. The choice only gets easier: acquire a historic piece which costs a fortune (around CHF100,000) or a sound investment that can be worn on a daily basis for less than 10% of this price. A question of budget and pragmatism.

Changing sports watches Last but not least, the sports watch field, especially dive watches. The question is different again as the technical capabilities of the watches of the times are outdated so they can no longer be used for diving. For example, purchasing a Blancpain Fifty Fathoms from 1953 is pure aesthetic delight but this period gem is totally unusable for diving.

As such, reissues of this model embrace the essence of the original design but are infused with substantial technical modifications which perpetuate the watch’s subaquatic pursuit. Bezel, crown, case, movement, strap, crystal, have been entirely redesigned so that Fifty Fathoms continues to be what it has always been: an operational diver. It goes without saying that you can always purchase an original, but it will be a collector, not a diver.

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Only Wat c h

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Watchmaking serving humankind

By Dan Diaconu

O

n 9 November next, in the reception rooms of the Four Seasons Hôtel des Bergues in Geneva, fifty strokes of the hammer will set the pace for the highlights of an incomparable biennial event. Because Only Watch is not just an auction offering the opportunity to acquire one of the fifty unique timepieces proposed for the occasion by major and small watchmaking brands. Its charitable purpose is its key motivation. The aim is to raise money to find solutions for Duchenne muscular dystrophy, a genetic disorder which affects young boys and which is characterized by progressive muscle degeneration.

It all began when Paul was diagnosed at the age of four as suffering from Duchenne muscular dystrophy. His father Luc Pettavino did everything in his power to help research. “Straight away, I wanted to use my skills for the benefit of research to find

therapeutic solutions for this pathology which, for the moment, has no remedies. As a creator-organizer of prestigious events and boat shows like the Monaco Yacht Show, I imagined a project which would raise a lot of money and whose energy would be positive, transmissible, empathic, joyful. And so, Only Watch was born. And seven editions later, we are fortunate to have been able to raise and distribute almost 40 million Swiss francs to researchers”.

The first year of Only Watch, 1.9 million euros were collected.

Since then, the amount has constantly grown exponentially and reached the sum of 10 million euros during the 2015 edition.

The record was held by the Patek Philippe timepiece in 2015 (a steel 5016 model) knocked down for CHF7,300,000. 99% of the proceeds fully benefit research projects. Yet, the greatest surprise is not just the financial aspect. “Well, it was more of

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79 a confirmation than a surprise: that humankind is capable of coming together ethically, benevolently and simply whenever a project is clear, creative, of general interest, easy to understand and where the “I” is absorbed by the “we”, fearlessly, with a desire to create beauty to do good”.

“With the money raised by Only Watch, the AMM (Monaco Association Against Muscular Dystrophy) has been able to establish an international network of public and private laboratories focused on developing innovative therapeutic approaches such as gene therapy, cell therapy and the repair of modified nucleic acids, in particular by modulating mRNA splicing. Some of these approaches are highly promising, others have already been assessed successfully in humans”, specifies Luc Pettavino. The Only Watch founder also emphasizes that it is a battle which needs to be undertaken over the long term.

“We aim to pursue these developments to ensure that the widest possible access is given to new, more effective and safer treatments. It’s a huge challenge and, more than ever, needs the chain of solidarity which we embody all around the Only Watch initiative”.

appearance and moved me incredibly. This extraordinary family gave its life so that research could advance. It wouldn’t have saved Paul but it can, let’s hope so, save the next generation.

We decided to come together for Paul, for the Pettavino family and for all those who suffer like them. And this is also why, during each edition, our timepiece talks about childhood that suffers and about childhood that dreams”.

Hence, every two years, the beats of the mechanical movements and those of the heart beat together in harmony.

For Maximilian Büsser, MB&F founder, being part of Only Watch goes without saying. “I met Luc Pettavino fifteen years ago – I was still at Harry Winston and it was his first Only Watch and, at the same time, I met Paul, his young son suffering from dystrophy, who unfortunately is no longer with us today. All of a sudden, a cause, among all the other worthy causes, took on an

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B u sine ss

The five master strokes that transformed modern watchmaking

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By Olivier Müller

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atchmaking hagiography is all about the past: the invention of the self-winding movement, tourbillon, chronograph etc. It’s like nothing has happened in the last 150 years. Or is it?

The Watches Magazine has reset the clock with five master strokes that will go down in history too.

2. Ethical gold, by Chopard Mankind can’t continue its infinite expansion in a world of finite resources. Overcoming human, climate and ethical challenges means reviewing certain manufacturing methods in luxury watchmaking. The first thing to reconsider: working with ethical gold to provide controlled mining conditions, fair

1. Collaborative watchmaking, by MB&F Since the dawn of watchmaking, timepieces have always had a single name behind them: the name of the brand selling them.

In 2005, Maximilian Büsser changed the game by creating collective watchmaking in the form of MB&F a.k.a. Max Büsser & Friends. He doesn’t put watches together; he puts talent together. He unites watchmakers, designers, creators and artists. You’re not buying a branded watch but a project by a collective. A new vision of watchmaking, a state of mind behind some of the best independent designs in the last fifteen years.

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payment for miners and total traceability. That’s Chopard’s goal with their 100% commitment to fairmined gold. The initiative may not have a lot of followers for now but you can’t deny its visionary foresight.

3. Hypersonic watchmaking, by TAG Heuer Guy Sémon (TAG Heuer) admits that he doesn’t know much about watchmaking: he’s an engineer. A talented one at that and someone who, rightly, believes that the principle of the Swiss balance wheel is an energetic aberration (almost 50%

Breguet used the most functional approach: the brand invented a magnetic pivot putting the delicate pivot between two bridges through magnetic levitation to avoid it breaking.

5. Huge power reserve, by Vacheron Constantin The power reserve is the subject of constant research... with minimal results. Two days, three in most cases. Vacheron Constantin had a great idea: slow down the watch’s frequency when it isn’t being worn. By switching from 5Hz to 1.2 Hz, its Traditionnelle Twin Beat can last 65 days without stopping or losing precision. Two balance wheels, two frequencies, one single pusher to switch between the two. As simple as it is brilliant.

waste). So he gave it a thorough review and made it soar from 36,000 vibrations per hour... to 7.2 million! The Mikrogirder 2000 may be a concept watch (precise to 5/10,000th of a second) but it’s broken all the high frequency barriers.

4. Magnetism mastered, by Christophe Claret and Breguet Bringing magnetism into a watch is totally counter-intuitive as it causes a great many issues. Christophe Claret proved otherwise with the X-TREM 1, where two steel balls hang in two sapphire tubes, tracking the hours and minutes with a magnet that moves them from inside the calibre.

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