THE WATCHES MAGAZINE 061 - SUMMER 2020

Swiss International Magazine Summer 2020 #061 Portfolio Watches & Wonders 2020

English Edition

ZRC

Shark-style silhouette Audemars Piguet - Breguet - Bvlgari - Cartier - Chanel - Hermès - Hublot - Jaeger-LeCoultre - Jaquet Droz Longines - MB&F x H. Moser & Cie - Mido - Montblanc - Omega - Panerai - Parmigiani - Patek Philippe - Piaget Rebellion - Roger Dubuis - ulysse Nardin - 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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ZRC

Grands Fonds 3000

By Sharmila Bertin

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owerful, intrepid and sleekly-streamlined like an underwater predator, the new masterpiece imagined by ZRC is as fearless as they come!

This X XL version of the Grands Fonds 300 which proved so successful for the Geneva-based brand in the 1960s signs a world first as it is the only watch slimmer than 20 mm capable of withstanding immersion to depths of 5,000 metres without the need for a helium escape valve. It has inherited the unusual silhouette from its predecessor as well as all the incomparable features such as the crown set at 6 o’clock, equipped with the Crown Protection SystemTM and the bezel which the Easy Clean System (ECS TM ) protects from being crystallized by sea salt.

Its 42 mm-diameter titanium case, closed by a steel caseback boasting a double seal and clamp ring, benefitted from incredible precision-machining which enables the various elements inside to compress together to resist pressure, as such preventing gas from penetrating and warping from occurring. This

powerful case crafted for sounding the deepest waters hosts the automatic Sellita SW200-1 calibre which delivers an energy reserve of 42 hours.

Its dial takes on the same blue-hued nuances as those perceived by a diver on plunging into the water, gradient tones reproduced on the ceramic ring topping the rotating bezel. In the centre, skeletonized magnum-style hands and a “lollipop” direct-drive, ticking over the hours, minutes and seconds, are coated with Super-LumiNova® and, thus, perfectly visible in the darkness of the ocean depths.

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E DIT OR IAL

Let’s write a new chapter 08

F

or most of us, the last four months that we’ve just lived through were ever-so strange. Of course, COVID-19 is still rife in several regions of the world but in Europe the situation is easing off little by little as I’m writing these lines. This pandemic has changed many things; to begin with our tempo of life. Back in February, as worry was slowly gaining ground, I headed off on a trip. Far away, at the other side of the world, I found out that the two major watchmaking trade shows had been cancelled, then my diary, which was actually pretty full, became empty all of a sudden and turned into an everyday notebook of white pages. Gasp! For me, this was the warning sign opening up the door to the black tunnel which we stumble through. The time machine got carried away, the emotional roller-coaster went into overdrive and daily life changed with lockdown.

Although time was already a parameter that was as difficult to grasp hold of as a fistful of at-times-fine, at-times-coarse sand slipping through our fingers, this period made it totally something else. Confined, locked down, we learned to communicate differently, humanely, with our loved ones and with our professional circle, to get news from each other, to meet up virtually, to work from home whilst juggling with family life, and we also learned to consume and sell in an alternative manner. For the watchmaking brands which still hadn’t taken the digital boutique plunge, lockdown offered the opportunity to roll out an e-commerce platform.

Personally, I’d never ordered as much online as during this last quarter. Businesses which had been rather timorous on social media started scheduling broadcasts, rendezvous – these famous lives – to stay

in touch with their community and to unveil their latest products. A whole new life came into being despite the nerve-racking events taking place and bonds grew stronger.

As I’m a compulsive “muller-over”, I imagined the world of tomorrow, more united, more exclusive, more qualitative. A bit like this new formula being rolled out by a good number of watchmakers, a more intimate alternative to the usual general public exhibitions. I must admit I find this behind-closed-doors idea rather seducing but the future will tell us how we should write this new chapter which life has just opened up for us.

Sharmila Bertin Editor-in-Chief

© Mickael Gautier

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TIM E , A HE RMÈS OB JECT.

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

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INSIDE

20 Cover Story ZRC

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06 08 16 18 20

Cover Watch ZRC Editorial We Love The Eye of Jewelry Cover Story ZRC

26 28 30 32 34

Vacheron Constantin Breguet Ulysse Nardin Hublot Omega

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36 38 40 42 44

Jaquet Droz Jaeger-LeCoultre Patek Philippe Rebellion Hermès

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INSIDE

70 Spotlight

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46 48 50 52

Bvlgari Montblanc Zenith Longines

54 56 58 60

Audemars Piguet Panerai Mido Watches & Wonders

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70 Spotlight 74 Technique

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

SUMMER 2020

IMPR E SSU M Swiss International Magazine Été 2020 #061 Portfolio Watches & Wonders 2020

Édition francophone

ZRC

La silhouette d'un squale Audemars Piguet - Breguet - Bvlgari - Cartier - Chanel - Hermès - Hublot - Jaeger-LeCoultre - Jaquet Droz Longines - MB&F x H. Moser & Cie - Mido - Montblanc - Omega - Panerai - Parmigiani - Patek Philippe - Piaget Rebellion - Roger Dubuis - ulysse Nardin - 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 Mathilde Binetruy -Dan Diaconu - Mickael Gautier Olivier Müller - Eléonor Picciotto - Ted Scapa - Benjamin Teisseire

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Publicité/Advertising ACE Publishing SA Alain Carrier acarrier@ace-publishing.com Yannick Ortolan yortolan@ace-publishing.com T +41 22 752 60 12 Traduction/Translation Atenao Impression/Printing Chirat Distribution Marchés principaux/Major markets Suisse, France, Allemagne, Royaume-Uni, États-Unis Autres pays/Other countries Abu Dhabi, Andorre, Australie, Autriche, Belgique, Brésil, Canada, Dubaï, Grèce, Hong Kong, Koweït, Maroc, Pologne, Portugal, Russie, Singapour, Taïwan, Thaïlande, Turquie, Ukraine 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 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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Merci Eric

We Love

MB&F x H. Moser & Cie Legacy Machine 101

By Sharmila Bertin

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ever before has a watchmaking partnership been so symbiotic! The new Legacy Machine 101, fruit of this incomparable marriage, embodies the synergy between two visions, two passions, two identities: those of Maximilian Büsser and of Edouard Meylan, respectively at the helm of MB&F and H. Moser & Cie. Two rather discreet guys, boasting a long-standing friendship, great respect and, now, a 40 mm-diameter steel timepiece proposed with four dial colours, each available in just fifteen examples.

MB&F borrowed the stylistic language which made H. Moser & Cie’s Concept collection ever-so successful, this famous family of watches whose faces are free from logos, indexes and any type of fancy frills yet remain perfectly recognizable, and applied it to this timepiece, the purest one in its catalogue. So, goodbye to white-lacquered sub-dials: the hours and minutes are displayed towards 2 o’clock through

a pair of leaf-shaped hands and the power reserve indicator – the watch delivers 45 hours of energy once the hand-wound calibre is fully wound – is ticked over by a mini Lancine-style hand. The shades of the Legacy Machine 101’s dials which are misty yet electrifying also apply one-of-a-kind H. Moser & Cie characteristics, such as the well-known Cosmic Green and Funky Blue, Red fumé and Aqua Blue. It goes without saying that the star of this collaboration is the large balance-wheel suspended by two arms whose sedate ballet commands the passage of time.

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© MB&F

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www.scapa.ch THE WATCHES MAGAZINE

SUMMER 2020

The e ye of Je we lry

Precious post-lockdown time

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By Eléonor Picciotto

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ight weeks lounging around in pyjamas and, though they were ever-so snazzy, oh how good it feels to start dreaming once again of essential objects which are wonderfully pleasant even totally desirable.

COVID-19 actually provided the opportunity, perhaps even forced the watchmaking industry to reinvent itself by launching its first-ever virtual show. Spurred on by the Richemont Group, brands were able to unveil their new collections via the Watches & Wonders platform.

In the top 3, it goes without saying that we have to kick off with Cartier’s elegant cuff watch. A host of twisted links embracing a hexagonal case. A sort of stylized chain bracelet which displays the hours and minutes on its small white dial driven by a quartz movement. This newcomer from the Parisian house is available in several hues of gold – yellow, rose and white – set off (or not) with diamonds on the bezel, the dial and the bracelet... or all three together in the jewellery version.

Second ranking is held by Jaeger-LeCoultre’s timeless Reverso One. This flamboyant model, inspired by the 1931 Reverso Lady, features a rectangular face adorning a wine-lee shade, guilloché engraving and sunraybrushed finish complemented by a tone-on-tone bracelet.

It reiterates a few of the details borrowed from the Art Deco movement such as the two gadroons edging the dial whose route is interrupted by two rows of diamonds and the curved, silvered Arabic hour numerals hovered over by two small Dauphine-style hands.

In the late 1960s, Jacqueline Kennedy-Onassis, better known by her nickname Jackie O. given to her by the media back in the day, was considered as one of the most glamorous ambassadors of Piaget’s Limelight watch which, today, steals pride of place on our podium. Virtually half a century on, the brand continues to breathe life into this piece and this year proposes it with a white gold case entwined by two arms set with precious gems starting with diamonds and ending with blue sapphires. The colour of the stones becomes increasingly intense to form nuances which merge into the navy-blue tone of the dial.

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The extra-little plus, dare I say it – of this timepiece selection is embodied by Chanel’s new collection called Mademoiselle Privé Bouton. This line portrays the quintessence of femininity, audacity and fashion, in particular through a cuff concealing a secret watch which we could definitely imagine as the luxury jewellery accessory setting off the cuff of Gabrielle’s famous

signature jacket. Actually, this exclusive seven-piece edition is composed of unique models, adorned with a pearl or a lion etched in a block of gold or with diamonds strewn over black tweed with calfskin braiding.

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Shark-style silhouette

By Sharmila Bertin

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orever true to the audacious silhouette which won it success back in the 1960s, the Geneva brand unveils a new state-of-the-art watch, formidably cut out for exploring the ocean depths, and with it, breathes life into a world first.

Personality, reliability and technical sophistication are the keywords which define, like a second skin, the Grands Fonds 300 timepiece, the wear-on-the-wrist diving instrument imagined by ZRC back in 1958. The Geneva brand founded in 1904 etched its initials in contemporary watchmaking history by creating a legendary watch at the end of the 1950s

after having submitted a bid for tender, and advised to do so by the French National Navy’s watchmaker, and having followed the extremely precise, complicated specifications by the book. The GF300 – GF for Grands Fonds and 300 for its waterproofness measured down to depths of 300 metres, endowed with all the qualities required and boasting a dozen-odd patents, - became the official companion for French seafaring troops in 1964 then, as time went by, a real cult item prized by watch lovers and collectors.

It was reborn, somewhat by chance, in 2015, when a series of 300 pieces, identical to the original version and created

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exclusively for ZRC’s 111th anniversary by Georges Brunet, the founder’s great-grandson and currently at the helm of the family-run business, was unveiled. It was such a success that all the pieces were sold in the wink of an eye, or almost. Obviously, with the silhouette of its 40.5 mm-diameter steel case topped with a crown at 6 o’clock, the disarming pureness of its face enhanced by a vintage-touched look, its technical state-of-the-artness focusing in particular on the bezel and its sturdiness, the GF300 has everything it takes to (re)entice a wide public made up of watchmaking aficionados as well as novices. “The design of the Grands Fonds which

ging from 2,590 for a “classical” three-hand GF300 to 3,390 for the model which hosts a calendar, both watches come complete with a NATO-style textile strap. Ok, quite a sum, but much less than the frequently-excessive prices rolled out by some rivals. Especially as the design and the fine craftsmanship of the GF300 are such that the after-sales service is hardly ever called on. What’s more, the watches are produced in small series throughout the year, as such enhancing the desirability of the object and sometimes all the pieces of a limited edition are sold as soon as it’s launched as was the case with the three bronze versions of the 1964 Spirit in 2019.

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has stood the test of time, i.e. over sixty years have gone by since it was created, still appeals as much” states Georges Brunet.

Although he was the first to be surprised by this enthusiasm, the young boss was also the first to want to expand the ZRC collection by capitalizing on its icon’s marked identity. And, with frantic energy. So, he set out to work on two main trends, re-editions comprising four models – the classical watch on a steel bracelet or textile strap, a three-hand version enhanced with a calendar and a piece totally dressed in black DLC – and the 1964 Spirit series which groups together references boasting highly Sixties-inspired looks, developed a special edition, ultra-resistant to polar temperatures to accompany the French explorer and extreme diver, Alban Michon, on his Arktic North Adventure expedition sponsored by ZRC, initiated exclusive partnerships with ocean professionals such as the Groupe de Plongeurs Démineurs (GPD) de la Méditerranée (Mediterranean Clearance Diver Group). Absolutely nothing can stop the get-up-and-go and creativeness of this extraordinary entrepreneur.

Besides the style of the watch, its imposing presence on the wrist, its history and its technical feats, ZRC allures with the clear-sightedness of its position as regards prices which, depending on models, verge on the 3,000 Swiss franc mark, ran-

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In 2020, ZRC heads for the abyss with its Grands Fonds 3000, an XXL version of the original GF300. Although it boasts some family resemblance with its illustrious elder sibling, this latest newcomer powerfully asserts its predator character and instantly flaunts its incredible prowess: breathing life into a world first by being the only dive watch without a helium escape valve, with a thickness of less than 20 mm (19.65, to be precise), and capable of withstanding immersions to depths of 5,000 metres. “It’s not a real depth record-breaker as great depths have already been exploited and extensively discovered by other brands, but it’s a technical record to be able to do it with such a slim monster and without compromising its easeof-use” specifies Georges Brunet.

The sturdiness of this athletic younger sibling is all down to the

materials used. Its 42 mm-diameter case is in grade 2 titanium, closed by a steel caseback boasting a double seal and clamp ring which ensure waterproofness by resisting pressure and by preventing warping from occurring. Incredible precision-machining enables all the elements nestling in this metallic case to compress together, as such inhibiting gas molecules from penetrating. So, basically, as nothing enters, then nothing exits, so no need for a helium escape valve. For Georges Brunet, it is fundamental to pursue the Grands Fonds’ stylistics “i.e. its performance and its simplicity whilst offering it a technical boost which is the capacity to descend to great depths without, what I call the gadget, the helium escape valve, means of compensation like gel or outrageous exaggeration of case volume which would make the watch overly-heavy, overly-massive and, in the end, impossible to wear”. In addition to the above, there are

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of course all the other innovations which exist on the GF300 including the Crown Protection SystemTM, a half-moon-shaped link which prevents the strap from being clasped to the wrist if the crown is not totally screwed, and the Easy Clean System (ECSTM) which cleans the inside of the bezel by enabling fresh water to flow freely inside and remove impurities such as sea salt deposits.

The GF3000 face, encircled by a rotating bezel topped with a blue ceramic ring and protected by a 5 mm-thick cambered sapphire-crystal glass which in no way alters the readability of time data, adorns the same blue-hued nuances as those perceived by a diver on plunging into the water. The top part of the dial is blue like the sea’s surface and merges into horizontal gradient tones becoming abyss black. Although we discover the famous skeletonized Magnum-style hands, a common feature in the majority of ZRC’s watches, the minute hand, a must-ofmusts for diving, is varnished in red. The direct-drive keeps its

“lollipop” shape with its phosphorescent dot and vermilion tip.

All the time displays – arrowed indexes, Arabic numerals as well as the dots – are coated with blue-glowing white Super-LumiNova®. At 6 o’clock, wording specifies that the watch is automatic (Sellita SW200-1 calibre, 38 hours of power reserve), antimagnetic and waterproof to a depth of 3,000 metres. Why 3,000 when it withstands dive-depths of 5,000? “It’s a nod to the GF300, a jump from 300 to 3,000” explains Georges Brunet as if ever he needed to justify the ultra vitamin-enriched cocktail of his latest opus, before adding “but it’s above all for safety and security reasons because when you announce waterproofness to 3,000 metres, then the object needs to be able to resist depths of 4,500 at least, to be sure it’s 100% reliable for a 3,000 metre dive. The safety margin is really important”.

We’ve understood perfectly: the new Grands Fonds is every bit a shark!

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Vac he r on c onstant in

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Strange little bird

By Mathilde Binetruy

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weet-tweet, chirp-chirp... Have you noticed? The health and safety measures rolled out over the last few months have reduced the noise pollution in large towns and cities where birdsong now reigns supreme. This urban recital together with the return of sun-filled days boosts the mood of the moment given over to contemplating the wonders of nature. Vacheron Constantin is totally in the swing of things with its watch Les Cabinotiers “The Singing Birds” – Blue Tit. The Maltese Cross-logoed brand, top of the class with its exquisitely-accomplished métiers d’art and state-of-theart movements, has brought them together brilliantly in a one-of-a-kind ode to the blue tit piece. First off, we discover the pureness of a work of art decorated with champlevé enamel using a palette of ten colours and their nuances imagined by Les Cabinotiers department then painted by artisan enamellers. We can admire the blossoming of lush-green leaves on which a bird gently perches. There’s quite a contemplative aspect about looking at time through its prism. This slightly plump

passerine with its fine legs and its tiny beak, flapping its wings, is an excellent way to cast aside (and even forget) stress and anxiety. And, it imposes fewer constraints than having to change the goldfish’s water every day.

The pastoral scenescape of the dial is enhanced even more by the gleaming mechanics of the little gem.

Roll of the drums: the automatic 1120 AT calibre was chosen to equip the watch as a result of its slimness and reliability. A legacy dating back through over 260 years of history, it boasts just 2.45 mm thickness and stands out through its construction deemed as a paradigm of watchmaking engineering. Imagine: in spite of a satellite hour and minute module on the face side with its guilloché engraved gold mass winding the barrel on the back of the movement which just about measures 5.45 mm, nestling in a 40 mm-diameter, 12.37 mm-high case. These satellite hours are dragging ones supported on a trio of carriers each bearing a rotating disc featuring four numerals which take turns to move along the minute tracker. Its particularity? It is displayed

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© Vacheron Constantin

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in the shape of a 120° arc. In other words, the watch works like two cerebral hemispheres which constantly interact but which are endowed with their own specific capacities. Contrary to what exists in us Humans, the left side of the dial is emotional: it conceals the hour and minute module under the enamelled blue tit illustration.

Whilst the right side is the hub of logic: dedicated to displaying the time.

Last but not least, this unique edition honouring the blue tit gifts us with a delightful surprise as it was imagined as a medley. A hummingbird, a blue jay and a robin complete the Les Cabinotiers “La Musique du temps®” series, pure magical enchantment for our eyes. Yes, you’ve guessed…

No need to head out onto your balcony or scroll through social media desperately seeking bucolic birds, you can now have them forever with you, adorning your wrist.

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B r e gu e t

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The poetic purity of a cloud

By Sharmila Bertin

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he face of the most feminine watch in Breguet’s collections, which is just as delicate and scintillating as a fresh snowflake falling, unveils a virgin-white enamelled hue topped with swirling snailed numerals, all encircled by ribbons of diamonds.

A savvy balance between the subtlety of a curve evoking the camber of a shoulder, the sensitivity of a contour that’s as rounded as a mother’s womb and the elegance of a silhouette, the most feminine timepiece in the watchmaking realm perfectly portrays the lady known as the Queen of Naples. Caroline Bonaparte (1782-1839), the younger sister of Napoléon Bonaparte (1769-1821), wife of the Marshal and Admiral Joachim Murat (1767-1815) and mother of four children, was a superbly-modern woman in her day. A dazzling beauty,

independent, sophisticated and intensely drawn to arts and crafts: the spirit of the Queen of Naples features in the various current-day timepieces which make up this eponymous Reine de Naples collection, worthy successors of the wristwatch which Abraham-Louis Breguet (1747-1823) created between 1810 and 1812 for the Emperor’s sister. The 8918 reference, which the watchmaking brand unveiled at the start of this year, reiterates the gentle, natural grace on its face which Caroline Murat personified.

To gift this new timepiece with a radiant face, Breguet applied a particular savoir-faire which its Joux Valley manufacture is expert in: the sacred art of Grand Feu enamelling, a first for this collection. This meltinglysoft, vitreous matter, with its milky, velvety, gleaming

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© Breguet

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robe, embraces the oval of the dial like a fluffy cloud, a snow-covered cloak, a daisy corolla. This enamelling technique requires mastery, patience and luck, as the passage through the furnace for firing the matter is decisive for obtaining a perfect result. The hour chapter, remaining true to the calligraphy designed by AbrahamLouis Breguet for optimizing data reading, is composed of oversized, endlessly-tapering Arabic numerals, known as Breguet, and crafted in azure enamel. This intense blue is reproduced on the minute-tracker comprising miniscule stylized stars, lozenges and fleur-de-lis, the traditional small steel Breguet hollow moon-tip hour and minute hands, and the master watchmaker’s signature inscribed between 11 and 12 o’clock. At the bottom of this work of art, as delicate as a piece of Chinese porcelain, a pear-cut diamond encircled by silvered oval chamfering diffuses its sparkling glow, echoing the two

ribbons of brilliant-cut diamonds, one running along the flange, the other sprinkling the bezel.

The Reine de Naples’ spirit espouses its case with its highly-original silhouette which is perfectly recognizable at a glance. This white-gold-fashioned rounded case measures 36.5 x 28.45 mm and is enhanced by a caseband adorned with fine vertical fluting and a crown at 4 o’clock topped with a briolettecut diamond. It hosts the calibre 537/3, a self-winding mechanical movement set at a frequency of 3.5 Hz and delivering a power reserve of 45 hours. The opening on the caseback invites to admire the decorated oscillating weight as well as some of the workings. This magnificent timepiece is complemented by a sky-blue alligator strap with stone-set folding clasp for attaching it to the wrist.

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U lysse Nar diN

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A blaze of ice

By Sharmila Bertin

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t the start of the year, the Locle-based watchmaker unveiled two timepieces embracing two radically-different, even diametricallyopposed galaxies, one inspired by molten lava, the other by polar cold. From blazing infernos to ice floes, the emphasis is on extremes.

silhouette, their size (43 mm-diameter), through their bearing on the wrist, and which boast the marks of our planet’s most extraordinary natural elements. First, we’ve got molten lava, incandescent lifeblood, spewed by volcanoes. Then, we’ve got polar cold, brutal, solid like a rock of ice.

“Juggling extremes” could be the slogan of the avantgarde collection created by Ulysse Nardin which audaciously nurtures technical power and futuristic style. No other watch in today’s watchmaking scenescape acts (or reacts) like a Freak X or displays time in such an incredible way. “Juggling extremes” without a show of fear but, quite the contrary, with energy and conviction: day and night, heaven and hell, black and white, fire and ice. “Juggling extremes” to unveil two timepieces which impress through their

This duo, which everything physically opposes, beats with a single heart: the UN-230 calibre, a self-winding mechanical movement called “baguette”, beating at the gentle frequency of 21,600 vibrations an hour, delivering a considerable three-day power reserve and hosting a carrousel which spins around its own axis once every hour. Time is not ticked over by two traditional hands found on most watches – no, that would be much too conservative for the Freak X! – but by the central bridge retaining the balance wheel (for the minutes) and by one

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© Ulysse Nardin

of the wheels (for the hours). This free-flowing, pure show, highlighted by the regular toing and froing of the regulating device makes the need for a dial totally obsolete.

The Magma version owes its dusky-dark yet flamboyant look inspired by an erupting volcano to its red case criss-crossed by black stripes. The random patterns obtained by agglomerating carbon fibre and epoxy resin to sculpt the caseband means that each piece flaunts its own unique design. Only the bezel and the curvy parts towards the lugs are crafted in titanium and coated with DLC. As such, the watch is incredibly light and scratchresistant. Dashes of vermilion Super-LumiNova® are scattered here and there over the black dial: hour markers, tips of the “hands” and minute tracker. The Freak X Magma is worn on a black leather strap edged

with vermilion stitching whose surface reproduces the asperities of a volcanic rock thanks to meticulous graining.

The Ice model offers a rather spectral look with its titanium caseband topped with elements adorning a mattwhite hue. Ditto for its face which harmonizes alabaster and metal enhanced with navy blue on its rectangular indexes, the minute tracker poised on the flange and some of the movement’s workings. The central part of the white leather strap lined with rubber and attached by a folding clasp was imagined by observing ice floes and thus presents horizontal perforations which conjure up the gills of a shark. No, not a common little fish (waytoo conservative), but a Great White, the brand’s totem animal. Because at Ulysse Nardin, there’s no room for anything ‘common’.

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HU B LOT

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See the world through roseor blue-tinted glasses!

By Sharmila Bertin

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his tonneau-shaped watch, proposed by the Nyon manufacture and inspired by the codes which made Big Bang such a success, welcomes ever-so trendy soft, pastel colours with open arms this summer.

If we take a quick look over recent watches, unveiled a few months ago or in previous years, to find the rare gem of our dreams, we discover rather quickly that the vast majority of pieces available on the market flaunt perfectly rounded cases and dial colours that are pretty basic, even common, like black and white. And, whenever we’d love a bit of originality, a timepiece that’s unlike any other, well, we’re quickly disappointed and even frustrated. Fortunately though, there are innovative brands like Hublot which proposes

a product offering that’s varied and somewhat one-ofa-kind like the four variations of the new Spirit of Big Bang which wows with its tonneau-shaped silhouette.

One-of-a-kind because the materials used do, of course, exist in other watchmaking brands yet they’re not as accessible or as accomplished as in the Nyon manufacture. For example, the ceramic used to craft the 39 mm-diameter, 12.60 mm-thick case of this quartet. It has the advantage of being very hard, virtually scratchproof, corrosion-resistant and incredibly light and, frankly, this last point is quite an appreciable quality in summer when our wrists have to deal with heat and perspiration, especially when you compare it with traditional metallic cases. Moreover, ceramic remains unmoved when kissed by the sun

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© Hublot

which just loves making everything fade. Basically, ceramic creates an amazing shield which helps protect the movement, in this case the self-winding HUB1710 calibre boasting a power reserve of 50 hours.

One-of-a-kind also because we’re talking about Hublot, a company that goes much further in avantgarde development and doesn’t settle for making everything just black and white. Quite the contrary… as the colours the Spirit of Big Bang adorns whisk us off directly to a beach which, as dusk sets in, is graced with pastel hues: a soft sky bathed in pale pink light.

To enhance such an effect, the manufacture chose to dress the bezel in titanium or King Gold, a red gold alloy which invites intensity and radiance in, and to encircle it with a ribbon of fifty brilliant-cut diamonds (around one carat). Here, we discover, incidentally, the stylistic codes borrowed from the famous Big Bang: the six screws known as “H” and the lugs which caress the length of the left and right flanks.

And, even more-so one-of-a-kind because it’s rare to find a watch which uses the same colour for the case/ dial/strap trio. For the Spirit of Big Bang, the dial echoes the contours of the case and embellishes its surface with matching pastel blue or pink, set off with a satin-brushed, sunburst finish. The relief-style, facetted indexes, emphasized with a dash of white luminescent material, appear to pop out of the flange fringed by a black minute tracker. This phosphorescence, which comes to life in the dark, also features on the openworked body of the large baton-style hour and minute hands. The also-centrally-placed direct-drive, either silvered or golden based on the model chosen, and its counterpoise highlighted with the Hublot logo, ticks over the seconds. As for the date, it is displayed in black on a white backdrop at 6 o’clock. To pursue this spirit of harmony, the strap is in braid-trimmed pastel-coloured alligator, lined with white rubber and attached by a steel or King Gold folding clasp.

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Ome ga

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Mysterious dark tourbillon

By Sharmila Bertin

T

he totally-fascinating, incredibly-enigmatic tourbillon which swirls at the heart of the dial of the new De Ville is not just a feast for the eyes but also a technical feat as it is the first to be granted the prestigious Master Chronometer certification.

The mere mention of the name Omega conjures up a host of images of Speedmaster and Seamaster, of space conquests and James Bond, in our minds. And yet, there are less “popular” fields where the brand also excels and for which few, apart from aficionados and collectors, are aware. For example, did you know that in Omega there’s an Atelier Tourbillon (Tourbillon Workshop), a sort of almost-secret think tank where watchmakers specialized in designing this spectacular

regulating device work? Well, I actually know of it because I had the opportunity of working in the sales department of this watchmaking firm for several years, many moons ago. But you? Now, you’re aware of it and you’re going to discover the latest opus crafted by the atelier’s expert hands: the new De Ville Tourbillon Master Chronometer.

Although the watch does indeed flaunt undeniable family resemblance with the other members of the collection, it has its own strong personality, unique identity. First and foremost, its physique is one-of-a-kind and its style powerful, in particular through the amazing contrast offered by its dark face and highlighted by the warm glints of its body. Secondly, with this piece, Omega

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Š Omega

breathes life into a first central tourbillon equipped with a hand-wound mechanical movement and gifted with the prestigious Master Chronometer certification.

Certification which proves that the watch went through eight key tests, that it met this challenge majestically and that it is perfectly capable of resisting magnetic fields up to 15,000 gauss, can deal with shocks, is waterproof and, above all, highly-accurate.

The De Ville Tourbillon Master Chronometer watch is presented in a 43 mm-diameter case which blends two gold colours and alloys specific to Omega, which are acclaimed for their quality, their radiance and their ability to tackle tarnishing. The already-famous SednaTM gold and its coppery-polished cloak adorns the lugs, bezel, crown and back of this precious case as well as the movement’s decorated bridges and disc unveiled through a sapphire-crystal porthole when the timepiece is turned over. The rather less-known-forthe-moment CanopusTM gold dazzles the case with its

silvery, satin-brushed light as well as the Omega logos inlayed in the winder and on the clasp which attaches the black alligator strap.

The three-dimensional dial, fashioned in SednaTM gold covered with black PVD, is utterly mesmerizing.

A bona vide miniaturized geometric scenescape. Its centre boasts a one-minute tourbillon whose spinning carriage is sculpted in hand-polished and bevelled ceramized titanium. A small gold facetted lozenge, hovering over this fluttering heart, ticks past the seconds in tune with the folds of a ring, dressed in gold too. Two partially-concealed hands, for which we only perceive the tip, display the hours and minutes respectively embodied by a series of simple and double applique baton-style indexes and a discreet scale set in the centre. This scenography is set in motion by the coaxial escapement Omega 2640 calibre which delivers a power reserve of 72 hours viewable via an indicator placed on the caseback.

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Ja qu e t Dr oz

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Seven wonders

By Sharmila Bertin

A

fter having refashioned the case a little, in particular size-wise, the watchmaker based in La Chaux-de-Fonds unveils seven new references in its Grande Seconde Quantième. A series that offers such an array, that there’s sure to be something to please everyone.

It can never be stressed enough but it’s always more difficult and even riskier to modify an existing model to enhance it more, to boost it with an up-to-the-minute touch or even to conceal an imperfection, than to create a brand new piece from A to Z. For Jaquet Droz, the exercise is made more complicated as the original work dates back to 1784, as this pocket watch imagined by the founder Pierre Jaquet-Droz (1721-1790) had to be adapted to become a wrist-wearable timepiece – today, considered as a brand icon and ambassador – and to

which, over time, useful complications were added without altering its stylistic expression. Amongst these recent models we can cite the Grande Seconde Quantième which, besides the traditional hour/minutes/ seconds inscribed in exclusive 8-shaped graphic design, boasts a date counter ticked over by a hand. This watch was slightly reworked and is now proposed in seven new references which make up a series that’s diverse enough in terms of choice to ensure that everyone can find the watch of their dreams.

Both in life and watchmaking in general, trends exist but tastes are not formatted (thank goodness!), and although just over a decade ago rather large-sized watches were designed to seduce a male public and models were “gendered”, those days are now gone forever for many watchmaking brands (thank goodness

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© Jaquet Droz

for that too!). For the Grande Seconde Quantième, the case’s initial diameter was reduced, moving from 43 mm to 41, without altering its exquisiteness or visual harmony in any way whatsoever. This new size offers two advantages: firstly, it democratizes the watch, making it accessible to every wrist and, at the same time, crushing the gender barrier; secondly, its comfort is enhanced as it better embraces the skin, even for the slenderest. Moreover, the seven new references showcased at the start of this year are in keeping with two styles, one rather classical with a mix of red gold and Grand Feu enamelling dear to Jaquet Droz, the other more contemporary blending steel and more neutral hues.

For the enamelled versions complemented by gold, blue, Bordeaux or brown alligator straps clasped by an ardillon buckle, the shades chosen blend perfectly with the warm coppery glints of the gold. We discover, of course, the watchmaker’s signature must-of-musts ivory white, as well as intense navy blue, vibrant Bordeaux and surprising taupe grey, colours which are pretty rare on the watchmaking stage and even totally original as (almost) never used before in Grand Feu enamelling. In the lower half of the dial, the Grande Seconde highlighted by a direct-drive with a hollow counterpoise hovering over a white railway-style tracker (or black on the ivory-hued variation) hosts the

famous date, embodied by a graduated red gold ring and a miniature hand tipped with a dash of vermilion varnish. In the top half, Lancine-style hands, encircled by a smaller railway-style tracker featuring Roman numerals, tick over the hours and minutes.

On the more “modern” models, the applique indexes facetted in grey gold or adorned with blue or grey replace the Arabic or Roman numerals, the date ring and the hands are rhodium-plated in blue-hued steel or cloaked with grey to better centre stage the mattblack, titanium grey or sandblasted silver dials. These watches are accompanied by matching calfskin straps attached by a steel folding clasp.

Apart from the portrayal of the figure 8 on the dial, all the pieces in the series host the same motor: the JD 2660Q2 calibre, a self-winding mechanical movement, set at 4 Hz and equipped with a double barrel. The power reserve delivered is as per the vast majority of Jaquet Droz timepieces, i.e. 68 hours. In other words, you can leave your watch on your bedside table Friday evening and head off to enjoy your weekend activities, then slip it back on your wrist Monday morning without needing to twist its crown. Yet another advantage to add to the already long list of great things to be found in the Grande Seconde Quantième!

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Jae ge r - Le C ou Lt r e

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A date with Memovox

By Sharmila Bertin

A

mongst the watchmaking newcomers which the manufacture, referred to as the “Grande Maison”, unveiled during the first quarter is a unique, highly-limited edition crafted in steel, dressed in blue and equipped with a mechanical alarm set off with a timer.

“Ding-a-ling…”. The alarm rings to oblige us to exit the land of dreams, to stretch our arms up high to the sky and to ensure we get out of bed on the right side before beginning a beautiful day. This melodious yet vibrant tone signals the end of the night and the start of a brand new adventure. The most common alarms are chimed by a traditional carriage clock or a phone, an object that we love and hate at the same time, but ever-so rarely by a watch. Yet, timepieces boasting mechanical

alarms are fascinating, as well as being wildly elegant, like Jaeger-LeCoultre’s Memovox series.

The name Memovox, born out of the contraction of two Latin words, memoria (memory) and vox (voice), appeared in the middle of the 20th century when Jaeger-LeCoultre created a wristwatch driven by a hand-wound mechanical movement and hosting an alarm function. The timepiece revealed in 1950 at Baselworld sparked curiosity, even though it wasn’t the first to propose this type of complication. It embraced two barrels to prevent the alarm from consuming all the energy including that intended for the traditional time data and donned two crowns used for setting the two functions separately. Like all icons, the Memovox evolved, forever at the cutting-edge of innovation,

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© Jaeger-LeCoultre

forever integrating new complications useful on a daily basis. In 1956, the Grande Maison showcased an automatic version, then in 1959, it simultaneously issued a variation flaunting a calendar and a dive watch featuring an acoustic reminder, the Memovox Deep Sea, before going on to design the world-renowned Memovox Polaris in 1968. The volume of the sound the alarm rings out varies depending on its use: high whenever it’s set on a bedside table, discreet when it’s worn on the wrist.

In the 1970s, the reliable mechanical heart which breathed life into these pieces was revamped yet again to switch to high frequency with 28,800 vibrations an hour, i.e. 4 Hz – now a standard but not so back in the day – and as such was given the nickname, speed beat.

Almost fifty years on, in 2020, the famous 956 calibre has been reworked yet again for the latest newcomer in the collection, the Master Control Memovox Timer, but this time round gong-wise. Previously attached to the caseback, it now bypasses it by hugging the flanks of this 40 mm-diameter steel case. And, thanks to the sapphire-crystal porthole which decorates the back of the watch and the openworked oscillating weight, we

can admire the hammer striking the gong to sound the alarm.

As its name states, the new 250-piece-produced Master Control Memovox Timer comes complete with a timer function, in addition to its traditional mechanical alarm, which, just like an hourglass, lets you set a countdown before a specific time when the alarm will be triggered.

This system helps plan a day or get organized before an appointment, for example. In the centre of the fine sunray-brushed dial which espouses two hues of blue to mark out the displays (light for the minute tracker, dark for the hour chapter) hovered over by a pair of Dauphine-style hands and a direct-drive, are a silvered ring bearing relief Arabic numerals, the emblematic triangular marker for showing the time for triggering the alarm chime and a miniature hand tipped with a red-varnished Jaeger-LeCoultre logo. A date set against a white backdrop at 3 o’clock completes this elegant ensemble.

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Pat e k PhiliPPe

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Celebrating work completion

By Sharmila Bertin

A

s the construction of its brand new building comes to an end, the watchmaking brand proposes a steel limited edition to bring virtually five years of titanic work to a close.

Back at the start of the second half of 2015, Patek Philippe announced the construction of a gigantic building in the municipality of Plan-les-Ouates, located in the centre of the canton of Geneva. This municipality had experienced impressive demographic growth at the beginning of the millennium in particular through the installation of the first manufacture inaugurated by Philippe Stern, the then President of Patek Philippe, quickly followed by other brands, as such turning Plan-les-Ouates into an economically-dynamic town and the hub of Geneva-based watchmaking. Almost

five years after the first foundation stone was laid by Thierry Stern, at the helm of the watchmaking firm since 2009, this 133,650 m² structure, created with a budget of some 600 million Swiss francs, is now finally completed.

This new building with its state-of-the-art architecture hosts all the crafts required for producing around 62,000 timepieces a year, though not with a view to increasing volume even more so but for the sake of grouping everything together. The spectacular surface is divided over ten floors with four underground. The ground and first floors are dedicated to manufacturing and hand-finishing movement components; the second accommodates machining, polishing and assembling adornments as well as stone-setting;

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© Patek Philippe

the third comprises several units such as R&D, fine watchmaking and prototyping; the fourth is devoted to métiers d’art (which Patek Philippe refers to as “haut artisanat” (i.e. fine craft)), training and a conference room which can seat almost 300 people; and finally, the fifth floor, which boasts a breathtaking panorama over Geneva, centre stages a restaurant for 880 diners and four private lounges.

The completion of such a project really deserves to be celebrated with the creation – watchmaking brand oblige! – of a watch, the Calatrava Ref. 6007A available in a thousand pieces. Its polished steel case topped with a large cambered bezel measures 40 mm in diameter and 10.34 mm thick. It hosts the 324 S C calibre, a self-winding mechanical movement set at 4 Hz and delivering between 35 and 45 hours of power reserve, whose dancing golden oscillating weight and workings

are visible through the sapphire-crystal caseback. This transparent porthole also features a Calatrava Cross – Patek Philippe’s emblem – in the centre and the wording “new manufacture 2019” printed in white.

The modern-styled face of this Calatrava adorns an elegant grey-hued blue embellished with three different finishes: delicately sunburst under the minute tracker, circular satin-brushed for the ring which comprises Arabic hour numerals fashioned in grey gold coated with white luminescent material, snailed for the triangular markers and decorated with a “carbon”style graphic texture on the central disc. Essential time data is indicated by two silvered, openworked, phosphorescent hands and a white-lacquered bronze direct-drive. The calfskin strap, reiterating the dial colour, is gifted with a braided effect, reminiscent of weaving, and is clasped by a steel ardillon buckle.

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R e b e llion

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With the soul of champs

By Dan Diaconu

“

Ideally we are what we think, in reality we are what we do”. Ayrton Senna’s thoughts, perceived as an art of living, have become the leitmotiv for numerous champions, in particular his nephew, Bruno Senna. Although the racing driver excelled behind the wheel of his Rebellion R13 racer during Le Mans 24 Hours endurance race in 2018 and 2019, he also reigned supreme during the whole last LMP1 season and ran away with an amazing victory in the 4 Hours of Shanghai last November. To celebrate the champion’s panache, Rebellion has dedicated a limited series to him issued in just 20 pieces.

To embody it, the brand chose its RE-Volt model. And although this model is proposed in a wide array of technical materials, titanium, DLC titanium and 5N rose gold, the firm selected forged carbon for this edition.

On the RE-Volt Carbon Forged Bruno Senna, every single detail expresses and embraces the brand’s passion for motor sports. Its 40.35 x 38.5 x 13.5 mm tonneau-shaped case harmoniously blends taut lines and curves just like the bodywork of endurance racers. Its random marbling designs make each piece different from the others. The case is used as a setting for a composition imagined hand-inhand with the racing driver who signed his name at 6 o’clock. Its skeletonized calibre as such flies the colours of the racing driver’s native Brazil. The green indexes stand out from the yellow which adorns the bridges. This high-tech architecture is hovered over by a pair of blue-hued hour and minute hands coated with luminescent material. On this timepiece cut out for masterstrokes, key features are displayed

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© Rebellion

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on the wearer’s wrist. And, the result? Absolute delicateness where Rebellion signs a composition boasting understated design and optimal readability no matter the level of lighting. Given the presence of anti-reflective sapphire crystal either side of the case, light circulates freely. All the components of this layered mechanical architecture are perfectly centre staged and, at the same time, set off the watch’s one-of-a-kind style.

Like all watches in the RE-Volt collection, this limited series is driven by an in-house-developed calibre and assembled by Rebellion watchmakers using 165 components. This hand-wound mechanical movement set at a frequency of 28,000 vibrations an hour, i.e. 4 Hz, delivers a power reserve of at least 48 hours once fully wound. Reliability and endurance guaranteed.

The RE-Volt Carbon Forged Bruno Senna is complemented by a large highly-sturdy, amazinglycomfortable strap fashioned in black vulcanized rubber, attached by a double folding clasp. The watch box includes a second easily-interchangeable yellowcoloured strap. This option energizes the look of the timepiece and boosts its sporty personality. The blend of vibrant colours breathes life into a masterpiece bubbling over with the rebellious spirit ever-so dear to the brand, perfect for magnifying an avant-garde style.

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He r mè s

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Triple gallop

By Olivier Müller

H

ermès pursues its one-of-a-kind creative route, embracing its saddler soul and its spirit of French luxury. An ever-so unique, neveroutdated watchmaking route. The brand creates, innovates, delights in playing with time as if having fun with an object. This year’s Montre Hermès is an excellent vintage which its Director, Laurent Dordet, decodes for us.

Arceau L’Heure de la Lune “This piece has enjoyed great success ever since it was launched in 2019 and it still continues to fascinate and charm us at Hermès and collectors. We made a choice of going for a Moon Phase for men and came out trumps at the GPHG as soon as the piece was unveiled. Every single one of the first series has been sold out. What’s really interesting is that L’Heure de la Lune appeals just as much to Hermès collectors as to others, newcomers, who’ve ventured into our

galaxy through this watch. These new developments using extremely-rare celestial stones are partly thanks to exchanges with them. We’re now proposing three highly-exclusive novel interpretations which strengthen the watch’s sustainable foothold on the watchmaking stage. And, we’re already working on new proposals, on the case and the dial”.

Slim d’Hermès GMT “The limited launch series was a resounding success.

The 120 palladium pieces were sold instantly. We really adore this GMT, it’s a complication that’s totally in line with Hermès, the messenger and god of travellers, and perfectly in accord with our spirit of fantasy and freedom. This Slim GMT illustrates how we take on this rather classical complication but in a resolutely Hermès style. It’s our first rose gold variation and will be numbered though not limited”.

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© Hermès

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Cape Cod Martelée “Hammering is a specific savoir-faire which we’ve been using for ever-so long in Hermès, in particular on belts, yet it’s a first-time-ever for us in watchmaking. This timepiece turns specific codes upside down, be it on the case work or on that of the dial. The hammering effect is omnipresent and gives each piece a one-of-a-kind stylistic look. I wholeheartedly believe that Cape Cod’s got a great future. It’s a collection which we’ve been relaunching for several years now and which has really high potential. It definitely has all it takes to become an iconic model in the women’s watch segment”.

Arceau Cheval Cosmique “Our Métiers d’Art pieces have become an annual must-not-miss event. Collectors wait eagerly for them. Here at Hermès, we don’t go for a craft, a métier, but a theme – this time the cosmic horse – where we use as many rare crafts as required to embrace our artistic direction. Hermès has acquired true legitimacy in this realm, that’s definitely clear.

Anytime we can, we propose a watch duo, for men and for women, something that pleases greatly. Such is the case for this Cheval Cosmique which blends engraving, sculpture, enamelling and stone-setting”.

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B vlgar i

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“All roads lead to Rome”

By Sharmila Bertin

W

ith this new series of watches with its totally up-to-the-minute look, the Italian brand invites us on a journey around the world to discover a selection of dream destinations, with an itinerary focusing on nine must-visit capitals and cities which have played a role in its history.

Inspired by its Italian origins in particular the ancient architecture of Roman monuments and the graphic designs on coins from the Imperial age, back in 1975 Bvlgari imagined a watch discreetly-named Bvlgari Roma in reference to its place of birth to thank its one hundred most loyal customers. This exclusive piece, highly sought after by collectors and lovers of the brand, was so successful that, in 1977, it became a fully-fledged collection, Bvlgari Bvlgari, as well as

a powerful visual signature through its “allegiance” proudly engraved on the bezel surface.

Forty-five years and a handful of stylistic changes later, the Italian watchmaker-jeweller embarks on a new chapter in the life of this timepiece family by proposing a cosmopolitan adventure, a journey to the four corners of the globe, to satisfy desires to get away or to relive precious memories with its series Cities Special Edition 2020. For this expedition, Bvlgari has chosen a travel plan that it holds dear comprising nine capitals and large cities which feature in its history and which once upon a time played a part in its development.

Rome, bearing witness to the beginnings of the brand, founded by Sotírios Voúlgaris (1857-1932) in 1884, and prolific muse, is the first stop-over and departure point of this incomparable, virtual voyage. Next up is

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© Bvlgari

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Dubai with its audacious even extravagant energy; then Tokyo, ever-so modern yet incredibly ancestral city; Paris nicknamed “the most beautiful city in the world”; London, financial centre bubbling over with literary and poetic accents; Ibiza, virgin white island cradled by the blue waters of the Med; Milan and its innovative artistic spirit; Mexico City where explosions of colours are but second nature and, last but not least, New York, the city that never sleeps. For each destination, a watch is associated which bears the name of the city stamped on the bottom of its bezel, whilst the upper part displays the brand’s name, all inscribed in Bvlgari’s characteristic Roman typography. But, there’s more! Each model is accompanied by twelve unique art prints specially created by young artists, which diffuse a rather lyrical, symbolic vision: schools of Koi swimming peacefully for Tokyo, a soft-hued teapot-style flowery design for London, a vibrantlycoloured graphical reinterpretation of the face of the talented Frida Kahlo (1907-1954) for Mexico City and a forest full of prickly pears contrasting the immensity of the sea for Ibiza.

When it comes to the style, “BB” Cities unveils a totally black case, fashioned in steel coated with a layer of

black DLC, measuring some 41 mm in diameter – a size that’s perfectly unisex – and set off with a rose gold crown. Time is displayed on a delicately-sandblasted black-lacquered dial via baton-style indexes and two elongated Arabic numerals hovered over by hour, minute and second hands, all in rose gold to weave a striking contrast with the dark ensemble. The date appears unobtrusively in white on a black backdrop at 3 o’clock. On the technical side, the features are driven by the BVL191 calibre, an automatic manufacture movement, partially visible through the sapphirecrystal caseback which delivers a power reserve of 42 hours.

And, because interchangeability has (almost) become a sine qua non, each piece is presented with two straps, one in chocolate calfskin and the other in black braiding-styled textured rubber, along with an embossed black leather travel pouch in which you can carry your watch comfortably to the other side of the world.

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Mont b lanc

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Powerful identity

By Benjamin Teisseire

Y

ear after year, Montblanc’s 2015-introduced 1858 collection is gaining a reputation as a real watchmaking icon for the brand. The 2020 vintage establishes the snowy-domed brand even more as the one which offers premium-quality watches at affordable prices. Let’s discover the Montblanc 1858 Blue newcomers.

Two elements definitely inspired the 1858 collection: the link with nature and the resolutely vintage look inspired by Minerva watches from the 1920s and 30s, designed for exploration. After the forest and military green hues, it’s time for blue to take pride of place. The shade chosen is reminiscent of ice and its variations, ranging from deep blue to virtually translucent blue.

Strong personality Montblanc’s 1858 is recognizable at a glance, something that makes it stand out from the crowd.

The Geosphere is the perfect example with its two cambered hemispheres at 12 and 6 o’clock which display universal time in a simple yet highly-effective way. It’s an “in-house” complication, developed specifically for the collection. It has become an identity marker for Montblanc and this 1858 Geosphere.

By espousing the stylistic codes of the Minerva pieces, the brand from Hamburg enhances its character and appeal even more so, enticing watch lovers and collectors alike. The indexes and Arabic numerals invite to delight in a strong vintage touch identical to that of the Montblanc logo of the 1930s, through the cambered cathedral-type hands and railwaystyle minute tracker. The bidirectional blue ceramic and steel bezel, decorated with four engraved, luminescent cardinal points, infuses the timepiece with its seasoned explorer character, which is also flaunted through its excellent readability. The gradient

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© Montblanc

blue which adorns the dial gifts the ensemble with an extra touch of up-to-the-minuteness. The same holds true for the grade 5 titanium used on the 42 mmdiameter case. The watch is highly-robust yet ever-so light, impresses yet is perfectly elegant despite its thickness. Unquestionably a great success.

Useful, original complication For its 1858 Geosphere in blue, Montblanc added a new module to its automatic MB 24.09 movement – based on the Sellita SW300-1. The two globes are embraced by a fixed scale featuring the 24 time zones, along with a blue rhodium-plated day/night indicator. The meridian benchmark for the longitude on each hemisphere is illustrated by a blue Super-LumiNova® coated line.

Moreover, the dial comprises a second time zone at 9 o’clock and a date aperture at 3. The perfect instrument for transcontinental explorers.

The wearer can easily set it via the crown by aligning the UTC 0 line with Greenwich Mean Time, portrayed by a light blue line on each globe. This then synchronizes the two globes. They start to rotate in opposite directions.

Setting the time couldn’t be simpler, it just takes a quick jump one hour forward or back. And, last but not least, the second time zone at 9 o’clock is set using the corrector at 10 o’clock.

Montblanc, the watchmaking brand to keep an eye on Although some may have questioned it, it goes without saying that Montblanc does indeed have its place in the Swiss watchmaking world. Thanks to the work undertaken by Nicolas Baretzki, the brand’s CEO, and by Davide Cerrato, Managing Director of the Watch Division, fans of timepieces which stand out from the crowd, are recognizable and affordable, know that they can always trust the German firm for evermore enticing proposals.

And, since Minerva became part of the business in 2006, even the savviest collectors are sure to be beguiled. The latest example to date is the sumptuous Montblanc 1858 Split-Second Monopusher Chronograph with its bluenuanced Grand Feu-enamelled dial, its incredibly-pure retro-styled tachymetric spiral and its one-of-a-kind Minerva chronograph calibre. A timepiece limited to 100 pieces which, without a doubt, bona fide collectors will be fighting over given it attractive 39,500 Swiss franc price tag.

For aficionados with less extensible budgets, Montblanc’s 1858 is also available this year as an iceblue Automatic for 2,370 Swiss francs, Monopusher Chronograph for 4,700 and Geosphere for 5,700 with blue Sfumato strap or 6,000 with steel bracelet. Three versions which leave all competition way behind.

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Z e nit h

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From attic to wrist...

By Sharmila Bertin

A

fter having discovered a one-of-a-kind dial hidden in its now-famous attic, the Loclebased manufacture has breathed life into a special timepiece, only available for its visitors and on its brand-new e-commerce platform.

Whether it’s a secret dominion where bits & pieces of our childhood, and even that of our parents, are stored away, Ali Baba’s cave overflowing with treasure troves (real or imaginary) or just a sort of cubbyhole where

we pile everything in that we don’t need any more but don’t want to throw away, the attic is secret, mysterious and sometimes even scary. The one housed in the old Zenith manufacture building in Le Locle has literally become a temple, a sacred space, thanks to one man, Charles Vermot. In the 1970s, he decided to go against the orders of his bosses who wished to halt production of the 1969-created El Primero calibre and blindly turn to quartz, so he collected technical blueprints and the tooling required to manufacture this mechanical motor

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© Zenith

which he hid away in a place they would never be found, a place where no-one ever ventures: the attic.

Yet, it’s in this same place, which witnessed the rebirth of the world’s first-ever high-frequency automatic chronograph movement now in its fifties, that Zenith teams recently made an incredible discovery.

A little box was hidden away in a corner under the eaves, under a ton of dust. Although, on the outside, it didn’t look like anything out of the ordinary, on the inside it contained something that would make anyone jump for joy: a series of one-of-a-kind dials, in excellent condition. Were they supposed to have been used to support the famous tricolour face of the legendary chronograph to create a collection or formally replace it? Who knows… because, as these white dials featuring counters adorned with three shades of blue aren’t in the archives, they’re considered as prototypes and now, almost fifty years on, have become watches.

“Time to reach your star” states Zenith’s slogan, time is ripe for these discs to exit the attic and, at long last, embrace their destiny. To conjure up this re-edition, which actually isn’t a real re-edition at all, the Le Locle brand reproduced this highly-particular dial and combined it with the case of the A386 reference – the iconic chronograph – using the original blueprints and without making any changes. Or almost: the caseback now features a sapphire crystal for admiring the El Primero calibre’s workings and oscillating weight. But

everything else remains the same: the steel case, the 38 mm diameter, the piston-styled pushers.

The white-lacquered face of the Chronomaster Revival Manufacture Edition hosts an hour chapter boasting rhodium-plated applique indexes, which are luminescent as topped with Super-LumiNova® and intersected by the graduations of a fine minute tracker.

The hour markers are encircled by a black ring which displays the seconds scale, which is, in turn, encircled by the tachymeter set on the flange. The central batonshaped hour and minute hands flaunt a two-tone body, white tapering to black towards the tip whilst the chronograph direct-drive is varnished in red and highlighted with a phosphorescent rectangle. But, the real star of the dial is the cut-out counter trio equipped with miniscule silvered hands and these three shades of blue: the lightest ticks over the small seconds (at 9 o’clock), the in-between one hovers over the chronograph hours (at 6 o’clock) and the darkest the minutes (at 3 o’clock). A rather discreet date appears in an aperture at 4:30.

Because this new Chronomaster has an ever-so strong link to the manufacture’s past, it is sold exclusively to visitors who come to Le Locle, who come to discover the famous attic, open to the public since 2019, and via the new e-commerce platform included on Zenith’s website since May.

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Longine s

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1832: heralding the start of a wonderful adventure

By Sharmila Bertin

T

he ever-so-proud of its roots winged-hourglass brand, which adores infusing its timepieces with its history and even reissuing its vintage models, unveils a series of newcomers complementing the timeless collection known as 1832, i.e. the year the brand was created.

Some dates should be considered as red-letter days as they celebrate moments of grace, open a new chapter, herald the start of a wonderful adventure. For Longines, everything began back in 1832 when, at the age of just 23, Auguste Agassiz (1809-1877) settled in Les Longines, a locality close to Saint-Imier, a lush green town in the Bernese Jura. With his two partners, he opened a watchmaking counter and set about fashioning the first pocket watches labelled “Raiguel jeune &

Cie”, a name which would be changed to “Agassiz & Cie” around 1838 then “Longines” circa 1867 shortly after the manufacture had been inaugurated by Ernest Francillon, Auguste Agassiz’s nephew and Director of the firm since 1854. For the business today, 1832 is therefore a magical number, a special combination of figures to which it pays a vibrant tribute by creating a collection of timeless timepieces which, this year, centre stage new dials and small complications, all driven by four different automatic calibres.

Following on from the delicate ivory-coloured shade already proposed in the range, Longines has now selected another classical hue to adorn the faces of its 1832: black set off with a matt finish enhanced by the silvery touches on its Dauphine-shaped hands, facetted

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applique indexes and a circular-grained minute tracker. To delight a wide audience and to ensure there is something for everyone in this series, the wingedhourglass brand introduces a rich array based on two distinct diameters (30 and 40 mm) and simple yet everyday-practical features, from essential time data enhanced by a date (in white on a black backdrop) to month/date display (in a double aperture at 3 o’clock) and poetic moon phase (at 6 o’clock), which gift each model with a radically-bespoke style.

calibre, a well-proven movement beating at a frequency of 25,200 vibrations an hour and delivering an energy reserve of 64 hours, already acknowledged in Heritage collections, in particular in the Legend Diver, Présence, HydroConquest and Master models. The reference boasting a moon phase completed by a date ticked over by a hand hosts the L899 calibre, similar to the L888 in terms of frequency and power reserve, just like the L897.2 housed in the model featuring a month/date indicator.

The cases are carved in steel, topped with a polished bezel, sealed by a sapphire-crystal caseback and waterproof to depths of 30 metres. Although this configuration is shared by all 1832 pieces, the motors nestling inside these metallic cases breathe life, as mentioned above, to somewhat-individualized displays. The smallest model is driven by the L592 calibre, set at a standard 4 Hz frequency, whilst the 40 mm-diameter version is powered by the famous L888

Longines adds a final touch to the 1832 family with a precious variation embellished with a mother-of-pearl dial whose reflects stand out even more through the dazzle of its diamond indexes and slightly-iridescent marron glacé alligator strap.

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A u de mAr s Pigu e t

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Remixing a piece of its history

By Benjamin Teisseire

U

p until 1951, every Audemars Piguet watch was a unique piece. And, before it became known as the star of sports watches, the Brassus-based manufacture was already reputed for its complication pieces and its “dressed” mechanical chronographs.

Today, it has chosen to revisit its 1633 pre-model, a mechanical wound chronograph dating back to 1943. Spotlight on Audemars Piguet’s [Re]master01 Selfwinding Chronograph.

The spirit of the watch goes far beyond a simple reedition, as Michael Friedmann, Head of Complications, states: “To create the [Re]master01, we decided to embrace the spirit of the ‘now’, 2020, and portray the power and elegance of one of our chronograph wrist watches from 1943. It’s not a vintage re-edition but a contemporary remastering of one of our past creations”.

Staying true to the original Shape-wise, Audemars Piguet espouses the stylistic codes of its 1940s’ chronographs. We discover the pure

elegance of the historic case. Its contours are highlyattractive, just like a smooth pebble which we want to caress. You could be led to believe that this roundness would be rather impressive on the wrist. Yet, in actual fact, not at all. The 14 mm-thickness is superbly softened by the case’s sun-brushed polished finish, the bezel’s refinement… and, above all, the characteristic teardrop-shaped lugs. In absolute vintage style, of course. And, it works incredibly well. The delicacy of the lugs and their curvature gift the watch with almost ethereal lightness, highlighted even more so by the olive-shaped push-pieces – which are ever-so vintage too. The original took on a 36 mm diameter – impressive back in the day – whilst its contemporaries peaked at around 31 or 34 mm. The [Re]master01 offers us some 40 mm, making it a highly-concentrated chronograph, easy-to-wear on any wrist. Another nod to the past: the “Audemars Piguet & Co Genève” signature, a reminder of the presence of the brand in the lacustrian city in the mid 70s.

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© Audemars Piguet

55 A blend of colours Audemars Piguet wished to conserve the iconic twotone of the 1533 pre-model. The combination of the steel of the case and the 18-carat rose gold of the extra-fine bezel, ovoid push-pieces and finely-fluted crown creates an almost discreet, highly-elegant contrast, which is never easy to achieve when working with two-tone. Yet, when worn, it’s more-so a tricolour that’s centre staged.

The Champagne-hued dial with its drawn-out goldenglinted features plays with light and offers a myriad of tints ranging from pale yellow to deep gold. The colours are, nonetheless, in perfect harmony with the silverysteel of the case and the delicate rose-pink of the gold bezel.

The manufacture has kept the original 3-sub-dial layout – even though back in the time 2 counters were in vogue – but their positions have changed, in line with new calibre architecture needs. We discover the distinctive circular finishes and the red-shaded 4/5 in the chronograph 30-minute sub-dial set at 9 o’clock. A dash of blue on the chronograph hands adorns the face of the watch and echoes the tachymetric scale fashioned in the same colour. The hour, minute and small second hands are crafted in 18-carat rose gold and set off the elegance of this [Re]master01 to perfection.

Resolutely up-to-the-minute Content-wise, Audemars Piguet invites its latest state-

of-the-art integrated chronograph in. The selfwinding 4409 calibre is a variation of the new 4401 launched last year in its Code 11.59 Selfwinding Chronograph.

An integrated movement comprising column wheel, vertical clutch and flyback function. The date is the only non-kept feature, for obvious reasons of balance and to stay true to the original. The key difference is that, in 2020, the mechanism’s complexity can be perceived offering enthusiasts a pure moment of delight. The happy owner can admire the Brassus brand’s customary fine-watchmaking finishes through the sapphire-crystal caseback as wished. Mirror-polished beveling, Côtes de Genève, circular-grained discs, polished screws, everything has been given the utmost care. The final touch is found in the 22-carat rose gold oscillating weight which echoes the bezel and adorns clous de Paris guilloché engraving, adding an ultimate highlyArt-Deco-style vintage note.

Musically-speaking, it is not that easy to create an excellent remix when starting out with a great classic. In watchmaking, the same holds true. Yet, this 50-piece limited-edition [Re]master01 is an exquisite achievement in this field. As Audemars Piguet reveals, it is actually the “first remastering project”, thus suggesting that other magnificently-reworked versions are on the cards, given the Brassus manufacture’s historical wealth.

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Pane r ai

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Sustainable development

By Dan Diaconu

O

n 11 January 1949, Panerai filed a patent which detailed a brand new product. It wasn’t a mechanism but a substance made with tritium, a hydrogen isotope, endowed with the particularity of emitting cold light. Six years later, the brand unveiled a crown-protecting bridge equipped with a locking lever.

These two innovations led to the creation of Luminor, one of the Italian brand’s iconic collections. Since 2011, Panerai’s Laboratorio di Idee has constantly been exploring the opportunities presented by novel materials to make dive watches evermore attractive, evermore sturdy. The products unveiled in 2020 draw on these many experiments and illustrate the firm’s declared desire to: remain over time.

Raw material Panerai enhances its catalogue with references whose cases are crafted in latest-generation materials. As such, its 44 mm-diameter Luminor

Marina Fibratech TM (PAM01663 and PAM001119) boast a case made of natural, eco-sustainable basalt fibres, 60% lighter than steel. Whilst its Luminor Marina Carbotech (PAM001118) centre stages a case fashioned in carbon fibre. On the agenda: lightness and shock and corrosion resistance. And, its Luminor Marina Goldtech (PAM001112) is now permanently listed in the collection. Its red gold is characterized by a high percentage of copper, 24%, combined with a low quantity of platinum (0.4%). As for the PAM01117, it stands out through its lightness as, along with the strap, it weighs less than 100 grams thanks to the performance of its titanium structure obtained using DMLS technology (Direct Metal Laser Sintering), a 3D print process.

All the time data on these timepieces are driven by a self-winding movement developed and assembled in the manufacture’s Swiss workshops. The P.9010 calibre incorporates a system which ensures that the

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© Panerai

hour hand and the date can be set simultaneously.

Once fully wound, it delivers a power reserve of three days thanks to the existence of two barrels.

A dazzling “anniversary” trio To celebrate the 70th anniversary of the luminescent material created which would give its name to brand’s famous family of watches, Panerai has issued a 270-piece limited Luminor Marina series. Besides its 44 mm-diameter case waterproof to a depth of 300 m and crafted in a material obtained by basalt fusion, FibratechTM, this model PAM0119 stands out with its one-of-a-kind X1-type Super-LumiNova®, developed

by RC Tritec, which features on the timepiece’s iconic elements. As such, the crown-protecting bridge, the crown itself, the locking lever as well as the dial and

the overstitching on the SportechTM-fashioned black strap light up in the dark spectacularly for an ever-so long period of time.

The Florentine brand also proposes two other limited editions which showcase the same luminescent characteristics. The Luminor Marina Titanio DMLS TM (PAM0117) combines a titanium case with a sunray-brushed blue dial and a matching-coloured SportechTM strap. The carbon fibre Luminor Marina CarbotechTM (PAM01118) opts for monochrome black adornments. Last but not least, this trio is covered by an extended 70-year guarantee. Companions for life, for sure!

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Mido

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A sure shot

By Sharmila Bertin

W

ith this new limited edition, dressed in blue and featuring a large date, driven by a powerful self-winding mechanical movement and proposed at a more-than-reasonable price, the Locle-based watchmaker has got it down to a T! It’s not always easy to find a pretty watch without having to break the bank or find yourself paying back a loan for decades to come, right? Whenever we check out recent models, we’re frequently left in a state of shock at just how incredibly, spectacularly high prices for automatic timepieces are, basically out of us ordinary folk’s league. Yet, if we look well enough, we can actually stumble across little treasures, across a watch which boasts the winning formula of being beautiful, automatic, wonderfully crafted and available for a reasonable sum. Anyway, there’s no point in

wrecking your brain any longer questing for this little wrist-wearable grail: Baroncelli, the timeless collection from Mido.

The latest newcomer to the range listed in the Locleestablished watchmaker’s catalogue does indeed flaunt all the aforementioned assets, as well as being available in just 2,020 pieces to coincide with the year of its launch. Its pricetag doesn’t explode your credit card or your wallet as it’s available for 1,090 Swiss francs.

Of course, it’s still quite a sum, but it’s somewhat affordable, perfectly decent when you compare it to prices practiced by certain brands. The Baroncelli Big Date Limited Edition makes for a great investment for a first watch, a piece that’s elegant and discreet to wear on a daily basis as well as being a great object to gift yourself with.

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The double gadroon case is forged in steel which is coated with a rose gold-coloured layer of PVD (Physical Vapour Deposition), an even, resistant, hypoallergenic matter.

This case with its coppery glints measures 40 mm in diameter, a size that suits women and men ever-so well, and is waterproof to depths of 30 metres. Face-side, it’s topped with a cambered sapphire crystal and, casebackside, a porthole fashioned in the same resistant, virtuallyscratchproof material. The transparent caseback unveils the workings of the calibre 80 which drives the watch, a self-winding mechanical movement created by ETA which beats at 21,600 vibrations an hour and delivers a power reserve of 80 hours.

Its dial adorns an exquisitely-intense blue enhanced

by a satin-brushed, sunburst finish. The hour chapter comprises applique Roman numerals coated with casematching, rose gold PVD. The central hour and minute hands, which are also golden-hued, take on a dauphine style, a triangular silhouette evokes the direct-drive counterpoise. At 6 o’clock, a double aperture displays the date in large black figures against a white backdrop, a contrast which lets the wearer read the data at a quick glance.

If you wish to be tempted by this blue-as-the-ocean Baroncelli, then just wrap its alligator-style calfskin strap, which matches the dial, around your wrist, attach it with its steel and rose gold PVD folding clasp… and delight!

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wat c he s & wonde r s

© Joël Von Allmen

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Hermès Arceau L'heure de la lune météorite Martienne

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Jaeger-LeCoultre Master Grande Tradition Grande Complication

wat c he s & wonde r s

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MB&F HM10 Bulldog RT

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Montblanc 1858 Geosphere

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Panerai Luminor Luna Rossa

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Parmigiani Toric Fleur

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Rebellion Predator S

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Roger Dubuis Excalibur Diabolus in Machina

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Ulysse Nardin Diver X Cape Horn

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Vacheron Constantin Overseas Quantième perpÊtuel ultra-plat squelette

Spot light

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The passion of white

By Sharmila Bertin & Mickael Gautier

T

he J12 timepiece is gifted with this tremendous capacity to send me back through time and to whisk me into the past at lightning speed, and I just love it. I see myself in my life as it was twenty years ago, a Parisian, freshly graduated and hired in an advertising agency, a bit worried about the end of the world foreseen by Paco Rabanne who I come across regularly on Boulevard Raspail, already an aficionado of Chanel nail varnish, addicted to Left-Bank café terraces which I invade with my gang of girlfriends. Life is wonderful, easy-going and totally carefree (in spite of Paco Rabanne).

We’re sitting around a table, sipping on our Coca-Cola (light because Coke Zero hasn’t been invented yet), all of us wearing a wristwatch. Mine’s small, square, quartz (yes, I know…) and boasts the surname of a leading Italian fashion designer. All around me wrists flaunt major Swiss watchmaking names, mainly brands based in the Joux Valley. I discover the one my neighbour’s

wearing. Impossible not to notice it, it’s not just totally amazing, it’s also the first time that I’ve seen such a model. “It’s a J12. By Chanel. It’s an automatic and in black ceramic”. Really? Me who knows this brand off by heart, me who tracks every move Karl Largerfeld makes, me who devours the fashion shows on the TV channel Paris Première with my eyes, well, I feel pretty stupid all of a sudden. The year is 2000 and the J12 and I have just got acquainted. It’s been lent to me for a few minutes so I can try it on and admire it (and who cares that the strap adjusted for the male owner’s wrist is three times too big for me). I immerse myself in its ebony gaze and, at the same time, caress its ever-so soft body. Who knows, maybe I even whisper sweet nothings to it, maybe I even promise it that it will be mine one day. But, anyway, this muted desire was basically thrown out the window three years later when the white J12 saw the light of day.

White, shunned for ever-so long, now became a mustof-musts colour, in my home as well as in my wardrobe.

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More than that actually, we could even say it became a real fascination. It’s a shade that also takes me back to the past (here we go again…), that conjures up childhood memories, having fun with my brothers, but also arguing with them, sunshine, cicadas and fragrances of thyme and olive oil. The whitewashed walls of my grandparents’ house on the shores of the Mediterranean, the little dots of cloud that gently interfered with the azure summertime sky, the light dresses we’d wear to the beach as our feet kissed the sand. White is light, and light puts everyone in a good mood. Inevitably, given such cheerfulness, the J12 with its virginal cloak, pristine like a snowflake, could only delight me.

Twenty years on, I’m still sitting at a table but this time in Geneva (with a Coke Zero), having a one-to-one with

one of my best friends. His wrist adorns the Holy Grail, the be-all and end-all I adored when I was twentyeight years old, pureness perfectly embodied with its monochrome hue. And, as it’s something I do all the time with everyone (even strangers) whenever I spot a watch that interests me, I ask if I can try it on. Of course! I ask if I can take a photo of it. Of course I can.

I ask if I can keep it forever. Of course… I can’t. But, my friend proposes to lend it to me for a few weeks. As I accept and say oh yes, I know I’m going to shed a few tears the day I have to give this model that I yearn so badly for back.

Funnily enough, white watches are still rare on the scene even if some watchmakers are timidly giving it a go. In 2003, if I dig through my memory, only the J12 > comes to mind. People probably prefer more popular

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© Mickael Gautier

shades, more fit-in-everywhere hues (boring, to say the least) like black, whereas a watch is first and foremost an emotion as well as a statement, affirming and boosting one’s personality. But, contrary to popular thinking, white goes with everything! It brightens everything, awakens everything. This is also why I love steel, titanium and platinum: I love light. And the J12 reflects it like no other watch, even if Mickael moans because he can’t shoot the great pic of it he’d love as it dazzles so much. Like a star on the wrist. Far from easy to capture, for sure, but then again, who’d want to capture the stars?

The contact of the ceramic against the skin is as silky as a feather. So much so that, and this is unheard of for me, I actually fell asleep several nights in a row with the watch still on my wrist. It’s simple: I don’t feel it as it’s so light. The case measures 38 mm in diameter, a unisex size. And, that’s another detail I appreciate: the J12’s androgynous silhouette means it can be worn by a woman or a man. The proof… the first time I came across it back in 2000, it was on a guy’s wrist. Its look is unique, it’s totally out-of-the-box. It’s not a sports watch even though it has a sporty spirit, it’s not a dive watch even though it’s waterproof to depths of 200 metres, and it’s not at all, really not at all, a classical watch even though it’s become a great classic over time. Totally at ease in any situation, it goes wonderfully well with

formal wear like a suit – something that you’d never find in my wardrobe – but I prefer to match it with a little simple white cotton dress or denim shorts and Stan Smiths.

Last year, the J12 celebrated its nineteenth anniversary, the occasion for Arnaud Chastaingt, Director of the Chanel Watchmaking Creation Studio since 2013, to alter a few details here and there, to “change everything, without changing anything” as he loves to say. By placing the old and the new side-by-side, we can spot these miniscule transformations. Personally, I think it’s even more refined (is that actually possible), more accomplished perhaps. But what’s important for me, the watch lover that I am, is the new heart that drives its features which I believe to be essential (hours, minutes, seconds in the centre and date at 4:30: I don’t need anything else), the manufacture 12.1 calibre which delivers a power reserve of 70 hours. And 70 hours, whenever the vast majority propose something like 42, whenever you’ve got kids and you live like a racing car launched at top speed between meals, school runs, homework, bath-time, well, it’s a luxury I don’t ever want to go without. In a few months’ time, I’ll be celebrating my forty-fifth birthday and I already know what I’m going to ask for as a present.

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T e c hniqu e

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The end of watchmaking progress?

By Olivier Müller

P

rogress hasn’t always existed: it wasn’t heard tell of before the end of the 17th century.

Contrary to popular belief, it was only as of 1680 that “progress” became conceptualized, defined.

Watchmaking and progress haven’t always been perfectly in phase. The first has often been one step ahead. For example, Harrison was at the height of his work on longitude when The Encyclopaedia of Diderot only perceived progress as a “move forward or onwards”.

Nowadays, the trend is reversed: mechanical watchmaking only takes baby steps whilst science leaps and bounds like a giant. So, have we come to the end of watchmaking progress? Well, it all depends what we call “progress”. TAG Heuer’s 50

Hz escapements, the silicon hairspring, Breguet’s magnetic pivot, Richard Mille’s materials... none of this was conceivable twenty years ago. Our watches are more accurate, more reliable, sturdier: progress is indisputable.

Useful or not-so-useful progress!

Except everything falls apart if we add the notion of usefulness to progress: the 1/10,000th of a second measurement is of no use whatsoever to human beings who are unable to perceive it. Wearing a watch that resists two-tonne torsions isn’t useful progress: the wrist (and its poor owner) will have given up the ghost well before. “This work does however further fundamental research”, qualifies the historian Dominique Fléchon. “Watchmaking is basically not the

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© Omega

best choice for integrating this work”. Before going on to add, with a wry smile that “there are countless watchmaking patents that serve no purpose at all…”.

Emotion inducers Here and now in the 21st century, watchmaking progress should probably be sought elsewhere. “Haute couture, painting, music, are no longer considered as professions but as art. Can we speak of progress in art? Obviously not”, states the watchmaker Vincent Calabrese. A position also advocated by Jean-Marie Schaller (Louis Moinet): “become better, be pertinent and, in the end, generate emotion: that’s progress”.

And David Candaux concludes: “watchmaking progress must always be linked with respect for know-how and tradition. Many examples of “progress” actually do the opposite and make these disappear”.

What’s more, as a Richemont Group Director of Development emphasizes, “we need to move beyond progress in just movements. As regards adornments,

there’s been colossal progress, with the arrival of cases crafted in ceramic, forged carbon, scratchproof gold, without even mentioning straps fashioned in recycled materials, high-tech rubber, etc.”. Jean-François Mojon (Cyrus, MB&F, Hermès, etc.), adds to this by evoking “the visual expression of our watches, with novel types of display, combining several oscillators, unconventional designs, etc.”.

In contrast, it’s rather disheartening to observe that focus is more readily put on creating watches waterproof to depths of 11,000 metres than on power reserves which have been peaking, in most cases, at 40 hours for a quarter of a century now. “More often than not, progress consists in eliminating the forbearer, replacing the old by the new – especially when what’s new guarantees higher margins”, concludes Mathias Buttet, Head of Hublot R&D.

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