A modern rendering of the style established by Abraham-Louis Breguet (1747-1823) over two centuries ago, the Classique collection takes on added dimensions this autumn with two new versions of the Calendrier 7337 model. They are available in a 39mmdiameter case in white or pink gold, offering an easy, clear and, above all, comprehensive reading of the time.
On the silvered gold dial appear the hours and minutes, slightly off-centre at 6 o'clock. They are presented on a surface guilloche in the traditional Clous de Paris pattern, over which slide two blued Breguet hands with hollowed-
out tips. A satin-finished ring bearing Roman numerals and a circular-grained minute track defines this display, which nevertheless encompasses a discreet small seconds counter between 3 and 4 o'clock. Overlooking this, there is a moon phase composed of a bluelacquered sky studded with luminous sequins. It is made of silicon oxide and aluminium, and of cottony clouds with a sandy texture. The nocturnal celestial body appears, radiant with its handhammered disc. On the outer edge of the dial disc, decorated with a barley grain guilloche, two open fan-shaped windows echo each other on either side
of the dial to present, in white on a dark background, the day at 10 o'clock and the date at 2 o'clock.
These features are brought to life by the 502.3 QSE1 calibre, an automatic movement that oscillates at a frequency of 3 hz and provides an energy reserve of 45 hours. Assembled with 236 components and equipped with a flat silicon balance spring, this mechanical heart is one of the thinnest manufactured by Breguet.
As everyone learns from an early age, autumn is the season following summer and preceding winter. The vegetation surrounding us is now wrapped in a coppery coat. The grey clouds spill their burden of rainwater on our heads more regularly and the jumpers appear in our wardrobes. So far, "nothing new under the sun", to quote Solomon's words*, supposedly spoken three thousand years ago. Yes, but (because there is always a "yes, but"...), after the heat waves we experienced from the end of spring to the end of summer, one might wonder in what state will our autumn be. Will it be "Colchicums in the meadows" or "Under the sun, just below"? Will it be a light cashmere or a heavy wool? Summer extension or winter pre-release? I don't even dare to inquire about the forecasts made by climate experts, because these weather changes make me so anxious.
I'll sum it up in three words for those who may have spent a holiday on Mars or in a cave somewhere on the planet: heatwave - drought - wildfire. On top of this, there are those who are talking about going back to heating with coal this winter. I'm not going to open an environmentalist debate here, but just ask a question: do you love
your children, your parents, brothers, sisters, cousins? Because I do love mine. Even though I might not be the perfect citizen, I do try to make efforts on a daily basis, whether it be in my consumption habits or in educating my children. Because they need to be aware of the state of our Earth, that the unbearable temperatures we experienced this summer are not only likely to become the norm but could even get worse. The same goes for the lack of water and the burning forests.
My wish for this autumn (and it's my birthday soon) is that we shake things up to preserve the environment. It's no longer a question of raising awareness, we're well past that stage, but of acting so that there is a "tomorrow" for humanity. I'm not just referring to the little people like me, but to the big companies and industry leaders whose core business involves timekeeping. There are so many things we take for granted and so many habits we should adopt right now, such as controlling our production, banning waste, cleaning up our environment, avoiding unnecessary travel, opting for recyling and upcycling or even turning off the lights in our office when we leave at night. If we all get involved, there is strength in numbers, we will succeed, together, in protecting our Earth and our future. Because if there is no tomorrow, there will be no time either. And yet I am confident. I know we will make it.
* Solomon (± 970 BC - 931 BC), king of Israel and biblical figure
BIG BANG INTEGRATED
Titanium case with integrated bracelet. In-house UNICO chronograph movement.
It flies by endlessly like the landscapes I see rolling past when I turn my gaze to look out the window of the train that, I hope, is taking me to the right destination, on time.
6 months ago, everything was dull and grey, trees stripped bare, but today I’m looking at a totally different scenescape, the work of time, a full cycle repeated year-in, year-out, like an hour hand running round a dial.
Nature is luxuriant, lush green, yet with stigma, here, there and everywhere, left by overly-hot, overly-dry days which, in turn, will once again give way to exquisite autumn colours, followed by winter ones, and so on. Time, present on Earth since the day Humans started pursuing it, also guides every living species, ticking by their life and death.
Since childhood, time has been symbolical for me, pacing my daily life, our daily life. Time for learning, time for must-not-miss snacks, time for bedtime stories and, though perhaps far too quickly, work times to comply with. A well-established sequence, preferably running smoothly, like a set
of Swiss clock cogs and wheels. Although we’ve no control over the hours, minutes and seconds scuttling by, we’ve tried, to a certain extent, to appropriate it, to lock it up in small, large, specific, high-tech enclaves.
Time speaks to us through the watches we wear on our wrists, watches that are dear to us, that conjure up the past, current-day trends or boast futuristic design.
As a photographer, I’m closely in tune with time, down to a few fractions of seconds that can turn a picture into a memory that will remain engraved for years if it’s correctly shot, with perfect timing, or will whisk it off into oblivion, forgotten in a flash, in an anonymous click. Isn’t this in fact the sign of the bewildering ease that we’re experiencing in this era where nothing really seems to count, where we get rid of and create things so frivolously without a care in the world, it seems, for the time and energy put in and, for what? to end up like this?
Time is incompressible and, like a bulldozer, is driven by a force that we can’t command or stop. It has been
ticking by since way-back-when and isn’t about to stop. We’ve been able to combine watchmaking with perpetual movements, create incredible complications for ultra-accurate timepieces, capable of displaying Moon phases and, in some cases, requiring no adjustment for hundreds or even thousands of years when it comes to the ever-so rare pieces. But, what’s the point of all this if us others, us human beings, squander our time by shortening that of our amazing planet and our peaceful existence?
Maybe it’s too late to stop impacting tomorrow negatively, yet we’ve definitely still got time to change our impact and develop good habits for ourselves and offer future generations great times to come.
ARCEAU LE TEMPS VOYAGEUR
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Everyday utility for a comprehensive reference in time, the date display is traditionally provided by an aperture or a hand counter... but not for Armin Strom! Indeed, the Biel-based brand, known for its avant-garde approach to watchmaking, has an innovative interpretation of the date display, directly inscribed on the black ceramic bezel of its new watch. After the success of the Orbit - First Edition model in March 2022, limited to only 25 pieces, it is now unveiling a version in the System 78 collection, with a limited production run: Orbit – Manufacture Edition.
Housed in a steel case measuring 43.4 mm
in diameter and set at a frequency of 3.5hz, the ASS20 calibre with automatic winding by micro-rotor has a mainspring with equal force, providing 72 hours of power reserve and incorporating a column wheel to control the date. This can be viewed thanks to a long hand finished with a red arrow bearing the A of Armin Strom. There are two positions: fixed at 12 o'clock or active thanks to the push-button at 10 o'clock on the case. A first press activates the date display, a second press resets it to zero. A retrograde mechanism enables a direct shift from 31 to 1.
At 9 o'clock, a black-lacquered sub-dial houses the hours and minutes coated
with Super-LumiNova® incorporating a small seconds sub-dial.
A steel link wristband fitted with a folding clasp enables this sporty watch to be fastened to the wrist.
© Armin Strom
Panerai and the sea. A love affair lasting for more than a century. Indeed, the Florentine watchmaker has always enjoyed close ties with the ocean world. More particularly with the Italian military navy, to which it has been a supplier of precise instruments since the 1900s.
In 2017, it entered into a partnership with the Luna Rossa team taking part in the next America's Cup, the prestigious sailing competition to be held in Barcelona in September and October 2024.
Ever inspired by the Great Blue, Panerai is unveiling a series of Luminor Luna Rossa watches produced in a limited
edition of 1,500 pieces. The colour palette chosen for the aesthetics of this watch gives it a harmonious look. A matte white dial is curved with an hour circle composed of long hour markers and large grey Arabic numerals emitting a green phosphorescence in the dark. The same shade of Super-LumiNova® can also be found on the body of the central hands displaying the hours and minutes. The only vivid touch in this ocean of froth is the small seconds hand at 9 o'clock, with its curved pointer varnished with vermilion.
Housed in a 44 mm steel case highlighted by a crown-protector bridge
on its right-hand side, the hand-wound P.6000 calibre beats at a rate of 21,600 vibrations per hour, providing a threeday power reserve.
The watch is worn on a wristband that combines rubber and textile marked with a bright red central stripe with the Luna Rossa logo in white, closing with a steel pin buckle.
Be it yellow, pink, or even grey, a symbol of luxury and purity, gold transforms watches into works of rare elegance that tend towards the timeless. Vacheron Constantin's reinterpretation of the 222 model, the result of Jorg Hysek's astute design in 1977, and the craze generated during the last edition of Watches and Wonders Geneva demonstrate the unfailing interest in this noble metal.
Over the decades, yellow gold has established itself as the queen of precious materials. The delicacy of rose gold offered an alternative during the 1940s and 1950s. Thereafter, the genius of designers opened up the field
of possibilities. Thus, at the time the Galop d'Hermès watch was presented, its creator, the American designer Ini Archibong, highlighted the aesthetic opportunities afforded by the sheen of
gold. "The material I work with is light. I learned to design aerodynamic shapes and futuristic lines that make use of surfaces and explore light effects."
The research carried out on alloys also extends beyond the nuggets fused into jewellery, such as Omega with its SednaTM gold, an in-house assembly enhanced with copper and palladium.
Since 1933, Rolex's emblematic Rolesor, combining gold and steel, has been playing with the hues and shades of the material. Within its own foundry, the brand with the crown has also been deftly working with gold. Everose gold, a mixture of gold, copper, and titanium, yields warm shades that are more resistant to the vagaries of time. This year, however, preference is given to 18-carat yellow metal for the case of the YachtMaster 42. More than ever, sport is chic.
The Girard-Perregaux Laureato 42mm combines a rose gold case with a deep black onyx dial.
This reflection of a lifestyle, whereby elegance and casualness are one and the same, imbues the personality of the Zenith Chronomaster Sport.
Hublot has also been breaking codes since its inception. Gold meets rubber. A major first! At the start of this year, six exclusive models commemorate what has become one of the company's leitmotivs, the art of fusion. This philosophy can also be found in the new Square Bang Unico collection of square watches, featuring a reference in King Gold, an alloy made in-house that also contains platinum. The alchemist watchmaker excels in manipulating element 79 of Mandeleev's famous periodic table. He alone knows the formula for scratchproof gold, Magic Gold.
Henceforth, aspirations are taking the path of sustainability. Chopard has made this its hobbyhorse. The manufacturer sources artisanally mined gold. It also supports the alliance for responsible mining in Latin America through the "Fairmined" labelling process. As a result, the cases of the refined L.U.C Full Strike Tourbillon and L.U.C Strike One models unveiled in the spring are machined in ethical gold. A major advantage for luxury in the 21 st century!
The noun “tradition” from the Latin traditio, which means “action of transmitting”, is of vital importance for modern-day watchmaking as the creation of new watches, the innovation of new mechanisms and the conception of new materials are based on it, on this “way of behaving, this way that customs or beliefs are transmitted fromgenerationtogenerationinsidea group” (Cambridge). It’s an essence, of course, but above all a forwardlooking stimulation, an invitation to excel and to make a new contribution to the industry of time.
You just need to take a glance at the
watchmaking scenescape to notice how much it has developed, blossomed, enough to become more accessible so that everyone can find the watch of their
for ever so long or bought on an impulse, is all down to great men like AbrahamLouis Breguet (1747-1823) whose work enabled the sector to move forward in great strides.
dreams, the one that fulfils their desires, their expectations and their budget, the one that marks a special occasion or is worn on a daily basis. This opportunity or even good fortune to be able to gift yourself with such an object, wished-for
This craftsman of time, considered as the father of contemporary watchmaking through his numerous mechanical inventions, also redesigned the stylistics of timepiece dials by stripping them of their excess of decorative adornments specific to the period making it easy to read the time of day and, at the same time, infusing them with a one-of-a-kind visual signature. This
TRADITION IS AN ESSENCE, A FORWARD-LOOKING STIMULATION, AN INVITATION TO EXCEL
learned man, born in Neuchâtel where he began his watchmaking studies before moving to Versailles to pursue his apprenticeship with well-known figures such as his fellow-countryman Ferdinand Berthoud (1727-1807) and Gex-born Jean-Antoine Lépine (17201814) then on to Paris to open his workshop at 39 quai de l’Horloge, on Île de la Cité, in 1775, was a visionary.
As his intention was to reach as many people as possible, he took an interest in commercializing by introducing the idea of engagement and developed the serial production of watches, objects until then reserved for the elite.
The French Revolution, piling on evermore chaos and terror, would mark a turning point in Abraham-Louis Breguet’s life, forcing him to leave Paris for Switzerland in 1793 with his son Antoine-Louis (1776-1858) just seventeen years old. He was obliged to hand over the keys to his business to a trustworthy person, his workshop manager, who kept him informed of everything during his exile through ongoing correspondence. As such, the watchmaker was aware that
annual sales of his watches were poor, around thirty-odd pieces between 1795 and 1796. He was also aware that his working capital was virtually zero. He returned to France filled with angst.
When Abraham-Louis Breguet arrived, he quickly noticed there had been a change in clientele, which no longer hinged exclusively on the ‘select few’ but included a large part of the population. An increasing number of people were becoming more and more fascinated with reading the time. Yet, the instruments manufactured back then and intended for everyday use weren’t very reliable and were rather costly. So, in 1796, AbrahamLouis Breguet decided to create a large, easy-to-develop timepiece, equipped with a sturdy 25-line movement boasting a large central barrel delivering a power reserve of 36 hours, and adorned with a dial that was usually white-enamelled, divided into twelve sectors graduated in 30, 15 and 5 minutes, displaying floral-style Arabic or Roman numerals, hovered over by a slimline hollow moontip central hand: the souscription watch. Technically-speaking, it was almost diametrically opposed to all the pieces
he had imagined on his Île de la Cité premises.
The word “souscription” (subscription), used towards the end of the 18th century in various fields, from clothing to interior design, involved paying a deposit equivalent to a quarter of the final amount (around 600 pounds), which was paid in full when the watch was handed over. This method of purchase enabled Abraham-Louis Breguet to collect the funds required to ensure he could run his workshop, roll out serial production and procure supplies for making these watches, which were delivered on a first-come, first-served basis. The souscription watch, launched in 1798, was a commercial success with near-on fifty pieces sold, i.e. half of the workshop’s annual production and, in 1799, Abraham-Louis Breguet introduced the tact (à tact, meaning “touch”) watch, a timepiece featuring a mobile hand attached to the outside of the case enabling the wearer to know the time discreetly by feeling the position of the hand and that could also be acquired through this same deposit system.
Tradition revived
Two centuries later, Breguet joined the Swatch Group run by another visionary: Nicolas G. Hayek (1928-2010). In 2005, following an in-depth study of the rich heritage passed on by AbrahamLouis Breguet, the unequalled, simple souscription and tact watch architecture was revived to adorn the face of modern-day models, from the simplest (reference 7057), displaying the time and power reserve, to the most complicated (reference 7047) equipped with a fusée tourbillon, part of a collection known as Tradition.
Tradition oblige, and quite rightly so, the stylistic language developed by the great master watchmaker, a few years
after he had set up his Parisian workshop, was diffused once again on the face of these exceptional pieces with, in particular, guilloché hand-engraved dials edged with a satin-brushed ring, floral-style Arabic numerals, known as
centre staged fine fluting delineated by two bands. Each model flaunted unprecedented architecture that played on light, transparency, contrast and relief, face-side and caseback-side.
Breguet style, or Roman numerals and slender-bodied gold or blued steel hands tapering off with a small circle – the famous hollow moon-tip – and a triangular point also known as Breguet style, as well as on the case whose sides
The platinum Tradition Tourbillon Fusée 7047, a flagship piece of this family of watches, unveiled in March 2010 is a masterpiece of technical know-how driven by the hand-wound calibre 569. As its name suggests, it is equipped with a fusée tourbillon mechanism whose fusée and chain transmission enhances the optimization of operational regularity by ensuring constant coupling and the conical-shaped fusée integrates differential gears that
IN 2005, THE UNEQUALLED SOUSCRIPTION WATCH ARCHITECTURE WAS REVIVED ON MODERN-DAY TIMEPIECES.
transmit a continuous flow of energy to the movement. The 60-seconds tourbillon, housed at 1 o’clock in its large-sized cage, is equipped with a titanium upper bridge and a steel bar (known as a ‘barette’).
This sculptural, mesmerizing piece perfectly embodies the architecture imagined by Abraham-Louis Breguet.
On the consistent and undeniably upto-the-minute shot-blasted décor, a silvered gold disc, with Clous de Paris guilloché-engraved centre, held by three blued screws and set at 7 o’clock, displays the hours and minutes. The 50 hours of power reserve provided by the movement are indicated on the barrel drum at 10 o’clock.
In 1804, four years before she became Queen of Naples, Caroline Bonaparte (1782-1839), younger sister of Napoleon Bonaparte (1769-1821) and wife of the Marshal of the Empire Joachim Murat (1767-1815), acquired her first Breguet. In just a decade, this young monarch, who was passionate about art and culture and fascinated by Abraham-Louis Breguet’s work, purchased 34 watches and clocks from him and, as such, ranked as one of the master’s most faithful customers, “the best customer he ever had”, mentions Emmanuel Breguet, historian born in 1962, seventh Breguet generation
and current Vice President, Head of Patrimony and Strategic Development of the eponymous brand, in the treasure chest of information revealed in his
arm from the ingenious engineer, which he delivered two years later. This object, believed to be the first-ever wristwatch and which has since vanished from sight, is described in the archives as an elegant, slender repeater watch, complemented by a thermometer, attached to a braid woven with gold threads.
book Breguet Watchmakers Since 1775: The Life and Legacy of Abraham-Louis Breguet (1747-1823). In 1810, she commissioned a piece to wear on her
As well as Caroline Murat, AbrahamLouis Breguet’s prestigious clientele included other ladies infatuated by his talent and the beauty of his creations, like Queen Marie-Antoinette (1755-1793), Empress Joséphine (17631814), Napoleon Bonaparte’s first
A FACE STREWN WITH DIAMONDS CREATED AROUND A BARREL ENGRAVED WITH A ROSETTE MOTIF: TRADITION 7035
Tradition 7035
wife, and her daughter Hortense de Beauharnais (1783-1837), to mention but a few. A strong bond existed between the watchmaker and women that is still perpetuated today through the Reine de Naples collection and extraordinary jewellery watches such as the Crazy Flower and L’Orangerie, but also through pieces incorporated in the various product lines: Classique, Marine, Héritage and Tradition, of course.
The highly-feminine Tradition is proposed in two references, 7038 and 7035, driven by automatic calibres, 505SR and 505J respectively. The rose gold 7035 reference, unveiled but a year ago and limited to 88 pieces, faithfully reiterates the range’s codes yet suffuses them
with its own personality. On its face, it displays the different elements making up its movement with deliciously-daring freedom. This symmetrical layout is set off with a profusion of precious stones gifting the piece with incomparable radiance. In the centre, the large-scale barrel adorns an engraved rosette motif whilst the dial off-centred towards 12 o’clock and strewn with diamonds features the Arabic hour numerals displayed on a white mother-of-pearl ring hovered over by two golden hands. A bed of brilliantcut diamonds scattered using the snowset technique covers the plate and bridges spreading out to the bezel. The retrograde second at 10 o’clock enchants with its soft gradient-tones comprising two rubies and seven sapphires.
Tradition is a philosophy that transcends time, and the same holds true for the Tradition collection that leaves its mechanical mark on the new watches imagined in the workshops of Breguet the brand established at the heart of the Joux Valley.
In 2022, the manufacture complemented the collection by showcasing two timepieces: a platinum Tradition Tourbillon 7047 with a revisited look compared to the 2010 version as
touches of blue are sprinkled on the guilloché-engraved dial, the legendary regulator’s titanium cage and the fusée
decorate the hour and minute disc at 12 o’clock and the date semi-circle whose hand fans out from 3 to 9 o’clock, creating an intense contrast with the dusky grey shade of the plate-bridge combo.
and chain transmission, still driven by the calibre 569, and a white gold Tradition Quantième Rétrograde 7597 that takes on this beloved, candid, luminous hue to
This last reference, driven by the automatic calibre 505Q vibrating at a standard frequency of 3 Hz and delivering a power reserve of 50 hours once fully wound, boasts a pusher set at 10 o’clock on the fluted band of the 40 mm-diameter case that just needs to be unscrewed then pressed to position the
“REAL PROGRESS IS PROLONGING TRADITION” MICHEL CRÉPEAU FRENCH POLITICIAN
hand tipped with a white lozenge on the desired date. This navy-blue tone, forever present in Breguet’s world, also adorns this impressive duo’s alligator straps embellished with large scales.
“Real progress is prolonging tradition” declared the French politician and former Minister of Justice Michel Crépeau (1930-1999). At Breguet, for almost two and a half centuries, from the first inventions signed by Abraham-Louis Breguet to the state-of-the-art technical and technological innovations initiated
by the current-day watchmaking firm, everything has been undertaken holding true to a noble craft to breathe life into watches that are made to match the exquisiteness the founder himself would have wished for.
“Architecture is how the person places herself in the space. Fashion is about how you place the object on the person”. This line of thinking pursued by Zaha Hadid (1950-2016) reflects on how to integrate creations in an environment and relate them to daily life. This British-Iraqi architect’s creations stand out through their ability to embrace their environments perfectly. Watchmakers also address the issue by tailoring the sizes of their watches to be in tune with the times. After decades of oversized models, small-scale is now back in style. As such, a host of timepieces flaunt cases with diameters of less than 40 mm. As
well as their propensity to suit women’s and men’s wrists, anytime, anywhere, these new references emphasize the importance of wearer-friendliness when it comes to design. Optimal comfort, excellent data readability and seductive power are all the rage.
The HO8 watch, imagined by Philippe Delhotal, Creation and Style Director of Hermès Horloger, epitomizes this. The
39 mm diameter of its cushion-shaped titanium case infuses this piece with harmonious lines. All the stylistic details, inspired by the ready-to-wear creations of the Parisian fashion house, add to its unique personality. The omnipresent blue and grey ensure this newcomer is totally in line with what’s in vogue.
Likewise, iconic pieces are taking on a smaller common denominator. To celebrate the 50th anniversary of its Royal Oak, whose lines were inspired by Gérald Genta (1931-2011), Audemars Piguet proposes a wide array of references created around 39 mm and 37 mm cases in precious metals, yellow
gold, rose gold or platinum. The steel versions perpetuate the personality of the original 1972 model. This time-to-scale-down homothety is also visible on Tissot’s PRX, which has unveiled 35 mm models.
In 2003, Zenith enhanced its collections with the Chronomaster Open. The aim was to centre stage the heart beating at a high frequency and its emblematic El Primero. This time round, the starlogoed manufacture has revisited the style of its model with a case flaunting more up-to-the-minute lines totalling a diameter of 39.5 mm versus 42 mm previously, proposed in steel and rose gold. With this new size, every detail has been thought about to improve visual harmony and to offer comfortable wear. In short, lugs are slimmer and polished bevelling that’s more pronounced around the edges makes a comeback.
Size reduction can also be seen in sporty references such as Blancpain’s Air Command, now available with a case of just 36.2 mm. This collection, presented three years ago and inspired by a legendary model from the 1950s, boasts chronographs equipped with a flyback function proposed in 42.5 mm diameter and also in 36.2 mm in red gold or titanium. Some may tend to think that the smaller sizes are designed for the ladies. Yet, the manufacture has good taste and never mentions gender.
You might be familiar with this: a prancing horse on a yellow rectangle, the emblem of the city of Modena in Italy. It is also a symbol of testosterone, power, and speed, not to mention that distinctive red colour that is much more than just a linguistic feature. Somewhere in the male consciousness there is a word written in large letters: FERRARI. The company established in Maranello by Enzo Ferrari has written some of the most beautiful pages in the history of motor sports. Its numerous racing cars have carried its colours high on circuits all over the world. And beyond that? That's where Richard Mille comes in. The watchmaking brand possesses the
invaluable gift of knowing how to amaze and for over twenty years has been designing watches with an assertive identity offering an unprecedented level of technical sophistication. Its credo:
endurance, GT races, and E-sport, which is in full expansion. The only thing missing was an exceptional timepiece to seal the alliance between the two houses. The RM UP-01 Ferrari is the perfect answer.
innovation and precision, vectors of emotion. It is not by chance that Ferrari and Richard Mille allied their forces in 2021 through a multi-year partnership concerning in particular Formula 1, WEC
It's a model that's right on the money. Just imagine: 1.75mm thick. "With a project like this, all the knowledge acquired over years of hands-on experience and all the watchmaking standards have been side-lined," explains Julien Boillat, technical director for watch design at Richard Mille. "We had to put aside our years of practice in order to conceive this ultra-thin watch, while maintaining the brand's own
"WE HAD TO PUT ASIDE OUR YEARS OF EXPERIENCE TO CONCEIVE THIS WATCH."
technical features." This is because the other key point of the project was the performance of the movement, namely the RMUP-01 calibre measuring only 1.18 mm and weighing 2.82 grams, yet endowed with a 45-hour power reserve with a balance running at a rate of 4hz with 28,800 alternations per hour.
At Richard Mille, we enjoy meeting challenges. For a long time now, the brand has been identifying new obstacles to be overcome. Salvador Arbona, technical director for movements, sums up the company's philosophy embodied in the project: "The minimal thickness of the movement prevented us from positioning a traditional movement superimposed with cogs and a switch.
We then proceeded to occupy the available surface area while obviously limiting the size of the case, working with Julien (Boillat, editor's note) to find the most optimal ergonomic case shape
possible." In the end, the result was a barrel-shaped titanium case with a supersonic look, ready for the adventures of everyday life. It is aerodynamics for the wrist, at least for the clients who are lucky enough to wear one. The others will follow the same way as usual: using the fantasy machine that is watchmaking to imagine acquiring this gem one day. And, why not a Ferrari to go with it.
“Music has charms to soothe the savage beast” states a popular proverb taken from the philosophical writings of Classical Greece, whilst colour is known to awaken, appease, electrify and play a role on our mood. Yet, both have a positive impact, occasionally even life-saving. Have you never felt tears welling up in your eyes as you listen to a piece of music that really touches you deep down? Have you never felt shivers running down your spine when you discover a gigantic reproduction of a work of art aerosolbombed on a building façade? Have you never felt the buzz when you glimpse a rainbow shimmering through the clouds after a summertime storm?
For the most sensitive souls among us, our emotions are often guided by music and colour, their cheerful notes, their rhythm and their intensity. Variables to
be mastered, variables to discover in a watch. Time, music, colour. A poem taking shape.
Like a fragrance floating in the air, carried along by the wind, a melody
filled with a thousand hues sounds out from the heart of Le Brassus, in the Audemars Piguet manufacture, and flies off across the globe, celebrating the fiftieth anniversary of its legendary ambassador, the Royal Oak watch, imagined by the just as legendary Gérald Genta (1931-2011), and celebrating life in general. After these two and a half difficult years, this explosion of bold tones is but the perfect remedy to put a massive smile on our faces and a twinkle in our eyes. For this new partnership with the Joux Valley watchmaker, Carolina Bucci, the Florentine designer who specializes in jewellery, decided to forgo the ancestral
OUR EMOTIONS ARE GUIDED BY MUSIC AND COLOUR, THEIR CHEERFUL NOTES, RHYTHM AND INTENSITY.
technique of hammering metal that infuses creations with a frosted effect, which has become her signature, but instead placed the focus on play on light. This Royal Oak limited edition, available in just 300 pieces, somewhat discreet at first glance with its totally black-dressed ceramic silhouette, tantalizes when its glints centre stage a contrasted palette of joyful shades. Flashback to disco years? A game of hide and seek with a fireworks display? A must-have dose of visual multivitamins? Our senses are sparked. “Bewitched”.
The dial of the Carolina Bucci-imagined piece comprises a brass disc topped with a sapphire plate. On this crystal, a host of little squares have been carved using microstructuring, laser mastery that produces the famous Tapisserie-
pattern checkerboard. And, beneath the crystal, metallizing breathes life into this graphical, technicolor result. The name Audemars Piguet is also featured in white lacquer on the sapphire. Reliefstyle indexes and large rose gold central hands set off with luminescent material adorn the ever-changing face of this Royal Oak. The hours, minutes and seconds are completed by a date nestling discreetly at 3 o’clock, and all is driven by the automatic 5800 calibre (50 hours of power reserve) housed in the 34 mm-diameter case. Eight hexagonalheaded rose gold screws, echoing the tone of the displays, ensure the famous collection-specific octagonal bezel remains firmly in place.
The following tune is, in actual fact, an entire album with its five tracks weaving
its way through a different beat, musicality and palette. We journey into the very heart of this melody as the dials of this quintet, created on the shores of the Orbe, the Jura river that flows into the Lac de Joux, reiterate the colourful stylistics of a recording studio equalizer. Here, the squares that make up the iconic Méga Tapisserie pattern of the Royal Oak Offshore, the ‘chunky’ version of the Royal Oak imagined by Emmanuel Gueit in 1993, take on hints of printed colours normally found on VU meters (aka Volume Unit meters), the device displaying the signal level in audio equipment, well-known to musicians and music lovers. They rise in columns from the bottom of the dial towards 12 o’clock and stop just below the white gold appliqué AP monogram, starting out with navy blue, moving through a range of electric tones and finishing off with bright red. The ensemble is hovered over by
the rhythmic dance of the trio of hands – hours, minutes, seconds – coated with luminescent material, brought to life by the automatic 5909 (for the 37 mmdiameter models) or 4309 calibre (for the 43 mm ones). Cases are available in titanium or gemstone-set white gold for both sizes, and black ceramic for the 250-piece limited edition (43 mm).
In the Music Edition collection, the two precious versions propose a jewellery interpretation of the equalizer. As such, the dial and bezel are elegantly strewn with rubies, peridots, tsavorites, and blue, green and orange sapphires, i.e. 166 stones for the 37 mm and 230 for the 43 mm. This patchwork, inset in the metal using the invisible-setting technique, boasts gems that are Harmony-cut beforehand, a stone-cutting process that enables the various facets to catch the light whilst retaining their colour
ON THE ROYAL OAK
power. The ensemble is dazzling, resounding like a concert.
To exquisitely set off the Le Brassusbased watchmaker’s tribute to the realm of music, which it has been linked to for two decades now, certain details of this special Royal Oak Offshore series have been revamped: the elements that connect the lugs to the strap flaunt an embossed texture and now conjure up the notched surface of power jacks, and the crown-protecting bridges emulate the architecture of faders, these long control buttons scattered across mixing boards. The straps aren’t to be outdone either, as the watches boast interchangeable straps, fashioned in
rubber, printed with a blue-hued mosaic for the 37 mm-diameter models and ribbed-style for the other references. Colourful music, musical colour: it’s up to us to discover our own philosophy.
The idea of bringing back to life a mythical hand-wound movement originated while sitting around a table between Zenith and Phillips Watches and then Kari Voutilainen. This watch was honoured with more than 230 chronometry prizes in the 1950s. Great people make great watches. It was also while sitting at a table that I spoke with Julien Tornare, the dynamic CEO of the Locle-based manufacturer, about the genesis of the Calibre 135 Observatoire Limited Edition unveiled in June in Geneva.
Could you describe how you were inspired to "bring back to life" the most awarded movement of the 1950s?
The project took just under three years to develop. We met for lunch, Romain Marietta, Products Development & Heritage, Zenith, Aurel Bacs, Senior
Consultant, Phillips, Alexandre Ghotbi, Head of Watches, Continental Europe and Middle East, Phillips, and myself in Geneva. It was in the winter of 2020, after the auction for the 50th anniversary of El
Primero. That's when the question came up about the serial 135 calibre, whether we had any left, from our friends at Phillips. Aurel and Alexandre are very familiar with the history of the brands, their heritage, the grand calibres, and of course follow all the watch auctions. They were well aware that this movement was mythical in Zenith's past. We checked in our archives and there were no commercial versions of this calibre left in stock at all, although there were small wooden cases of the 135-0.
So, these are movements dedicated to competitions only, a bit like horses bred for racing?
"PEOPLE IMMEDIATELY GRASPED THE EXTENT OF THE MAGIC IN THIS PROJECT"
JULIEN TORNARE CEO OF ZENITH
Absolutely. We came up with the idea of developing a project with these old movements, which are incredible, but in very small series, far from a production of 100 or 200 pieces. However, we informed Phillips that they were in a raw state as they were not designed to be encased. At the outset, Romain and I thought that we should work on the refurbishment and decoration of these movements after checking their operation. From this came the idea of involving a third key player to lend them an even more exclusive, more prestigious aspect.
How did you decide on who to cast as the watchmaker? Did you have several names in mind?
Kari Voutilainen was immediately our no. 1 choice, for two reasons: he is an extraordinary watchmaker and
a very humble man. For this project, he matched exactly the profile of confidence we were looking for. We knew that he would contribute his own personal touch while respecting the spirit of Zenith. For me, it was important that the company's codes be maintained.
Was there much debate over the design of this watch?
We proceeded step by step, with different stages for the design, discussing the lugs, the shape of the case, and also discussing the look of the dial, its colour. We wanted to stick close to the final 135 commercial product but with Kari's "touch". There was no need for a lot of back and forth. I wanted to ensure that he had enough breathing room to express
himself because there is no point in restricting a creator like him. Everything unfolded naturally, and Romain was very pleased to have Kari with us.
The watch quickly sold out. Did you expect this?
At the time of the launch, we knew that with our networks, between Phillips, Voutilainen, and Zenith, the series would be an immediate success. We could easily have sold a hundred of them, which is rather surprising for a three-handed watch at CHF 132,900. That's a lot of money. Yet people immediately saw the magic in this project - a collector's watch that will become even more valuable over time. It all happened in a flash. Although some clients were frustrated at not being able to buy one of these watches, we did not deliberately choose to produce a small series. We had a very limited
number of movements. However, in terms of prestige, the fact of marketing these movements was a very good operation, even a little crazy. The first timepieces began delivery in July.
Do you plan on getting together again with a new idea?
We got along very well and the drive to do a more commercial project together remains, however, you have to be careful not to overdo a good thing. Zenith already worked with Phillips and then again with Kari. If we were to develop projects every year with the same people, there is a risk of becoming redundant, while at the same time obscuring the unique aspect of this cooperation.
What do you think of the collaborations that other watchmaking companies are undertaking?
We were the first to do it, and it's funny, I say this in all humility, we develop projects and then we notice that big names in watchmaking start doing similar things. I often say to our teams that it is a huge compliment for us to have such brands coming after us, drawing inspiration from what we do. A few years ago, one didn't necessarily go looking for good ideas from Zenith. We greatly rejuvenated the average age over the last five years without abandoning the clients who have been with us for many years. The heritage and authenticity, the "real" side of the brand, is still present in Zenith, while at the same time keeping it contemporary and modern.
Would you consider re-launching the calibre 135 in the near future?
The calibre 135-0, no, never, because it belongs to Zenith's past. However, the commercial version of which 11,000
pieces were produced between 1949 and 1962, we could indeed relaunch it but it is not in the pipeline. At the same time, there is nothing preventing us from having in the future a serial calibre 135, as precise as it is elegant, with a beautiful history but a contemporary spirit, alongside our El Primero, in our catalogue of movements.
"AT ZENITH, WE CAN ALWAYS FIND HERITAGE AND AUTHENTICITY WHILE BEING CONTEMPORARY AND MODERN"
JULIEN TORNARE CEO OF ZENITH
The emblematic Mille Miglia rally, from Brescia to Rome, is a driving experience for gentlemen and ladies, but also a profound human adventure between impassioned enthusiasts.
In 1987, Karl-Friedrich Scheufele experienced the Mille Miglia for the first time as a spectator. He came away spellbound by what is still considered to be the most beautiful and legendary motor race in the world. Then and there he decided that Chopard would participate in this event in one way or another. At that time, he persuaded his father to invest in a car: a raspberry-coloured Mercedes 300SL. "A dreadful colour... so much
so that no one wanted to drive it", his dear friend, distinguished driver, and ambassador of the brand, Jacky Ickx, still laughs about it to this day.
Two years later, in 1989, Karl-Friedrich Scheufele attended a speed race in Germany on the famous Nürburgring track with Jacky Ickx, whom he had not met before. He then spontaneously
suggested that they race in the next Mille Miglia together. "It's quite a laugh", he says, "I have the car, but no driver". He agrees... but when the day finally came, the Le Mans legend indicated he would be sitting in the co-pilot's seat. "I'm going to sit next to you, but I'm not going to drive," he told Karl-Friedrich Scheufele, "and I'll probably fall asleep." Thus began a genuine, deep, and eternal friendship between the two men. 35 years later and almost 31 Mille Miglia races together, Jacky Ickx has become a member of the family. KarlFriedrich Scheufele left the paddocks of Brescia for Rome at the beginning of
THE IMPOSED CONSTRAINTS ARE TRANSFORMED INTO AN ADVENTURE, THE PITFALLS ALONG THE WAY INTO MEMORIES.
the summer in tandem with his daughter Caroline-Marie, alongside 400 cars dating from the pre-war period to the end of the 1960s.
The 2022 edition is now completed with the Mille Miglia 2022 Race Edition, a limited series of 1,000 watches in stainless steel and 250 two-tone watches in ethical pink gold. KarlFriedrich Scheufele subtly applied blue, his favourite colour, to the graduated bezel of the 44mm diameter case. The watch is fitted with an Official Swiss Chronometer Testing Institute (COSC) certified automatic calibre. Perforations on the auburn calf leather wristband lend a vintage feel, with a rubber lining textured to resemble the tread on Dunlop Racing tyres from the Sixties. Simply strap it on to your wrist and glance at the two counters to check the time... especially when you are experiencing
back-to-back engine failures, which is what happened this year when we drove James Dean's iconic 1955 Porsche 356 Speedster.
Nevertheless, after such a rally, with more than 1,000km on the odometer, 2,000 photos in your iPhone, nights as short as naps, the whims of a car that you have little control over, the constraints imposed on you become an adventure in themselves. The pitfalls along the way become memories, but above all, it is an experience in which many of us would have given up at the first turn... No matter, we'll talk about it again next year.
Derived from the Greek (mono: single, and chroma: colour), the term monochrome, used in the field of art, presents an harmonious spirit that has made its way into the world of decoration and fashion. It was renamed color block or, more recently, dopaminedressing, a way of injecting into everyday life a palette of bold colours to be worn alone or, for the most daring personalities, in duo. A trend that swept through the watchmaking world with the first all-black and then all-white watches. Hublot is undoubtedly the absolute master of this type of design, always dazzling with new material and new shades. The brand pursues its objectives
to their fullest, without compromising on the wristband, the pairing of markers and hands or any other element, where other players in the sector would have simply given up. In addition to the highly
coloured signature that Hublot watches bring to the wrist, they are worn as a statement, an expression of one's personality, a thumbing of the nose at convention.
Two monochrome Big Bang Unico models, each limited to 200 pieces, are joining the Nyon watchmaker's catalogue, one of which is only available via its online boutique. The first, entitled Summer Edition, incorporates the colour of the year according to Pantone. It has a beautiful purple hue, both tender and luminous, to adorn its 42mmdiameter case - including the bezel, pushers, crown, and "ears" - in light aluminium. Thanks to an anodising process, the colour is permanently affixed, and cannot be scratched. On the transparent dial, violet reigns supreme in a radiant architecture, sometimes enhanced by white luminescent material.
It accommodates the Arabic numerals and hour markers, central hands, chronograph seconds hand punctuated with the Hublot H, small seconds counter at 9 o'clock, minute totaliser including the date at 3 o'clock, and raised edge. But not only that! In keeping with the color block principle, the wristbands are also purple, with an interchangeable One Click system in textile with a Velcro® or grooved rubber fastener and a folding clasp. The effect against tanned skin is just amazing!
The second piece, Essential Grey, adopts the same uniformity as the Summer Edition albeit with a different shade and material as it is clad in satin-finished titanium. Its wide bezel decorated with six curved screws, a translucent face in a shade of grey, between the elements of the display of the time functions and those of the mechanical heart that gives
them life. This is the manufacturer's Unico HUB1280 calibre, a movement incorporating a chronograph with column wheel, vibrating at the standard 4hz frequency, and providing a threeday power reserve. This Essential Grey comes with two matching wristbands, rubber or textile, for a total grey look. What about you, which monochrome look are you going to fall for?
Flipping through the dictionary to understand a phenomenon as obsessive as time, envelops us on a daily basis as much as it does.
Luminosity (noun): the quality of something that emits light, reflects a bright light. Synonyms: claritybrilliance - limpidity. What does this have to do with watchmaking, you may ask? It's probably down to my sensitivity, yet this explanation provided by the Larousse dictionary is for me the one that best translates the feeling I get for a Rolex, the Oyster Perpetual Day-Date 40, one of the year's new releases. Luminous. Brilliant. Magnificent.
It's impossible to become lost in the maze of time with it, as it offers a complete overview of the day's progress. It enables you to look back on previous days and look forward to new ones. It
also encourages us to build our own time. The time we have to offer those we love, the time we have to devote to an activity. Much more than a watch
displaying the time, the Oyster Perpetual Day-Date 40 is a source of inspiration.
Indeed, how can you not be drawn in by the clarity of its dial? Clear and smooth, delicately bluish, it evokes the tranquillity of a mountain lake in the middle of winter, its calm waves covered with a film of frost. The azure, translucent hue, sometimes turquoise when the light bounces off the sunny surface of this dial, is soothing. A harmony on which the two batonshaped hour and minute hands and the PVD-coated second hand glide with fluidity over the facetted applied hour-markers and Roman numerals.
The entire piece, crafted in white gold, is accompanied by two displays that have ensured the success of this model since 1956, the year of its inception, and impart a different feel to time. At 12 o'clock, a fan-shaped window stretches from 11 o'clock to 1 o'clock indicating, in black letters on a white background, the current day. 26 languages are available, watchmaking being a universal art. At 3 o'clock, the date is displayed, again in the same colour combination, under the Cyclops magnifying glass integrated into the sapphire crystal. Like the banks of a pool of water, a silky-pleated bezel curves around this glacier-like setting.
Respecting the codes laid down for nearly 70 years, the watch that is referred to as the "Presidents' watch" because it has been worn on the wrists of the world's great and good, employs only precious material - yellow and
white gold and Everose - sometimes enhanced by the presence of diamonds. This year, for the 40mm case of its DayDate, Rolex opted for a noble metal that is certainly difficult to work with but has a unique brilliance: platinum. The exclusive case, water-resistant to a depth of 100 metres, houses the calibre 3255. This automatic movement equipped with a Perpetual rotor provides an energy reserve of approximately three days. Also in platinum, its three-link President wristband with folding clasp feels like a second skin. A luminous second skin. Brilliant. Magnificent.
"Any sufficiently advanced technology is indistinguishable from magic." Materialising this insight of the author of 2001: A Space Odyssey, Arthur C. Clarke (1917-2008), poses quite a challenge. In addition to the fact that innovation should be put to good use, it must also take a back seat to its user. For TAG Heuer, the adventure began in 2015. Connected watches were reshuffling the deck for traditional watchmaking. Could luxury still play a role in this electronic environment? The brand sharpens its weaponry with exclusive models. Success is still the order of the day. Today, the items in
the Connected collection actually account for 15% of sales. With its many attributes, the new Calibre E4 Porsche Edition can rightfully appeal to an increasingly demanding clientele.
Resulting from its partnership with the Stuttgart-based firm in 2019, the Connected Calibre E4 Porsche Edition propels connected watches into an
unprecedented intelligent dimension. The design is based on the glacier blue ambience of the German manufacturer's top-of-the-range electric sedan, the Taycan. This colour embellishes the crown, the push-buttons, and the seams of the black calf leather wristband with its carbon-like texture. The 45mm diameter grade 2 titanium case incorporates a dial that is 30% brighter than the previous generation. On its OLED screen, reality goes beyond fiction with animated displays in which the temporal information is shown. The wearer can select a unique face with high-tech graphics from a wide range
of choices to personalise the watch. In addition to the functionalities specific to the Connected range, sports options are not overlooked thanks to the presence of numerous sensors. Whether it's during a run, a bike ride, laps in the pool, fitness exercises, or a round of golf, the wealth of data recorded will lead to improved performance.
Nevertheless, design alone is not enough to create a sensation. For the Calibre E4 Porsche Edition, original services were also developed. The result? The Internet of Things is entering into a special relationship with luxury. The watch becomes an extension of the dashboard of a Taycan or any of the compatible latest-generation hybrid models such as the Panamera, 991, Cayenne, or Macan, thanks to the Wear OS My Porsche application that facilitates dialogue between the smartwatch and the car.
In order to benefit from all these practical functions, users require a Porsche ID, a Porsche Connect subscription, and the My Porsche app installed on their watch and smartphone. The owner can then track the level of the car's battery or fuel tank and the number of kilometres left to drive. It also offers the possibility of adjusting the vehicle's heating and air conditioning quickly. Other options will expand these possibilities. The future is now!
There’s no word of praise worthy enough to portray the Métiers d’Art – Tribute to Great Civilizations collection imagined as part of the partnership between Vacheron Constantin and the Louvre and unveiled during a dream dinner gala under the famous glass and metal Pyramid. A series of four 42 mm-diameter rose and white gold watches, produced in just five pieces per reference, that celebrate a fragment of the History of humanity on their faces, the enchantment of iconic pieces from Antiquity centre staged in the former royal palace, today the most visited museum in the world. As such, four eras are exquisitely
highlighted: the Persian Empire under the reign of Darius the Great (between the 6th and 5th centuries BCE), the Middle Kingdom of Ancient Egypt (between
(from -323 to -31 BCE) and the Roman Empire of the Julio-Claudian dynasty (from the 3rd century BCE to 68 CE).
the 21st and 18th centuries BCE), the Hellenistic period of Antique Greece
“From the very beginning, our wish was to work hand-in-hand with the Louvre and discussions were initiated end 2019. The design and métiers d’art teams travelled several times to the museum to glean inspiration. The theme of Antiquity was an inevitable choice as the Louvre boasts such wealth and treasures. Once we decided on these four civilizations, the designers selected the masterpieces, which feature on the dials of this collection” explains Christian Selmoni, the Geneva-based
“THE THEME OF ANTIQUITY WAS AN INEVITABLE CHOICE AS THE LOUVRE BOASTS SUCH TREASURES”
CHRISTIAN SELMONI VACHERON CONSTANTIN STYLE & HERITAGE DIRECTOR
manufacture Style & Heritage Director. “The design team visited the Louvre on Tuesday when it’s closed to the public so they could get as close as possible to the works and spend time studying them. I was personally knocked for six every time when it came to Mesopotamia and Antique Persia. The artistic quality is unbelievable! And, the same thing happened with the Lion de Darius: it’s so intensely powerful that it was perfectly clear we had to depict it. As for the Victoire de Samothrace, the statue of the goddess is huge, reigning at the top of a staircase in the Louvre. And, it was inevitable too. And, we felt exactly the same emotion with the Grand Sphinx de Tanis. For the Buste d’Auguste, our choice was guided by the sensitivity of Catinca Ciobanu, our SeniorDesigner,whofounditstunning”.
To breathe life into this artisticmechanical quartet, stamped with the Geneva Seal (Poinçon de Genève), Vacheron Constantin opted for the 2460 G4/2 calibre, equipped with a gold engraved oscillating weight illustrating the Eastern façade of the Louvre. This manufacture movement, delivering a power reserve of 40 hours, drives the hours, minutes, day and date via four discs, displayed in apertures poised symmetrically on the dial. The handless dial, as such, invites the métiers d’art to express themselves freely.
“You have to think that, for us, behind the work of art focus, there’s all the work on the rest like the backdrop that also represents the same civilization, the same period and sometimes the same place. We remained absolutely true to History. For the Victoire de
Samothrace, the caseback is orangeybrown enamelling, the outside is grisaille enamel, fringed with a gold frieze engraved with a pattern borrowed from the Vase de Pergame, a very wellknown funeral cup from Antique Greece. WithoutthehelpoftheLouvrecuratorsto guide us through the ‘peripheral’ works, we’d still be leafing through the museum catalogue. It was a joint effort, if I may say so”, continues Christian Selmoni.
The Grand Sphinx de Tanis, the Lion de Darius, the Victoire de Samothrace and the Buste d'Auguste. All majestically reinterpreted, all offering striking relief work. Each timepiece embraces its part of History as well as tales that intertwine and offer various levels of contemplation. "The dials were all created in four steps: an external frieze, a backdrop occasionally divided into two sectors hosting several métiers
d’art, a transparent sapphire crystal on which, lastly, metallization was used to etch fragments of text. And, without the Louvre’shelp,we’dneverhavebeenable toextractthesetextsletalonereproduce them faithfully within the context of the work of art”, states Christian Selmoni. “All this meticulous care as regards authenticity infuses the pieces with an exceptional level of perfection and crafting. A blend of métiers d’art, creativeness, reinterpretation and transcription of an antique world in a contemporary world. Although we illustrate ancient civilizations through this series of watches, we also have highly up-to-the-minute creations”. Our gaze, enthralled, journeys into every nook and cranny of this miniature realm and loses itself with pleasure.
Various decorative techniques requiring infinite precision feature in this
EACH TIMEPIECE EMBRACES ITS PART OF HISTORY AS WELL AS TALES THAT INTERTWINE.
collection and, with an admiring look, Christian Selmoni specifies: “Catinca, our designer, knows the métiers d’art perfectly well. She incorporated them in her ideas for this collection, by choosing to use micro-mosaic and stone marquetry, champlevé and grisaille enamelling, engraving, and to backdrop carve the discs”. The consistency when choosing the areas of know-how emerges virtually instinctively, intuitively, complemented by a highly-developed vision of creation, tools and crafts. Even before Catinca technically viewed the piece for real, everything flowed out of her imagination in keeping with the codes of the times and the authenticity of artistic and historic language.
“This series’ quality also stems from the rich, in-depth contemplation that came into play right from the start, and the result is highly graphic and boasts intrinsic stylistic characteristics. We can delight in their beauty without being
aware of their origin. A bit like with a work of art: we may not understand it yet it means something to us and moves us”, concludes Christian Selmoni.
Oxygenate. Get some fresh air. Change your atmosphere, your ambiance, escape from a troublesome situation or simply seek the lightness of the world, of your world. Create an environment open to nature, a house full of bay windows to let the wind dance through the rooms and the sun shine in. Dive into an ocean, a lake, let yourself be enveloped by its muchdesired freshness after the long months of heatwave, let your body be embraced by the softness of the water, float with your eyes closed, your face turned towards the sky. Climb a mountain or a hill, it doesn't matter as long as you have a good view. Stretch
out your arms in a cross, breathe in deeply, feel the life in your lungs, your belly inflates, and exhale slowly with a sigh. An essential oxygen therapy to feel good about yourself and others, by creating air bubbles, rainbows.
straight to the point while providing an impeccable mechanism. This is a description of the watches imagined and produced by Ulysse Nardin, whose inspiration lies in the marine and underwater world, the beauty of the Earth, since its inception over 175 years ago. These sophisticated, miniature landscapes to be worn on the wrist appear mainly in the Freak, Diver, and Blast collections.
An aerial architecture freeing up movements as much as it seduces the eye, a liberated structure that goes
After the success of the first blue reference in 2021, the Diver X Skeleton returns this year in a Black version adorned with touches of ultravivid yellow. As aggressive as a frenzied
wasp, this limited edition of 175 units combines the design of the Diver and the Blast Skeleton. It actually takes its inspiration from the two-tone colour of the diving tanks found on the backs of divers. These long tubular tanks of between 4 and 20 litres contain a mixture of compressed air and gas that, fitted with a connection system linked to a regulator, enable them to breathe autonomously underwater. The connection with this essential deep-sea tool is accentuated when the watch is worn on the textured yellow rubber wristband. This is as soft as it is comfortable, finished with a ceramic and titanium folding clasp, while the allure conferred by the black polyamide R-Strap made from recycled fishing nets and fastened with a Velcro®-type patch brings out the various flashy elements on the case and dial.
The dial, in fact, is an abstract painting in itself, with its superimposed design creating a relief-like effect. The blackened hour-markers generously coated with white Super-LumiNova® recall the sensation one experiences when floating on the surface of the water and letting yourself be rocked by its undulations. They seem to be suspended along the rim, which houses a fine yellow minute track, above the visible workings of the manufacturer's automatic UN-372 calibre. This redesigned openworked version of the UN-371 movement, made up of 171 components, carries a balance spring, an anchor, an escape wheel, and a large silicon oscillator. It is tuned to a frequency of 21,600 vibrations per hour, or 3hz, providing an energy reserve of approximately three days once fully wound via its cruciform oscillating weight.
A COMBINATION OF YELLOW AND BLACK OR A RAINBOW OF COLOURS MAKES A STATEMENT ON THE WRIST.
This watch face revealing a powerful movement integrates a large central X coated with black PVD, symbolising the disruptive values of Ulysse Nardin, architect of its own destiny, developing its own trends and following its own codes. A rare personality within a field where the various players are often lacking in imagination, evolving creatively in a closed circuit. This large consonance, trimmed in yellow like a silhouette against the light, is overlaid by the dance of the hour and minute hands. This aesthetic echoes the hourmarkers and the second hand, which are punctuated by an equally yellow rectangle. This combination of colours appears on the diving scale displayed on the rotating bezel. Crafted in black Carbonium®, this light and resistant material is made from the compression of carbon fibre residues used in aeronautics. The latter has a hollow
shape that contrasts with the curvature of the domed sapphire crystal protecting the dial. The case is water-resistant to a depth of 200 metres and is machined from black diamond light coating (DLC) titanium. The perfect ergonomics enable its 44mm diameter to be easily adopted by all wrists, even the thinnest.
Another moment of freedom inspired by the X, again in colour, but with a very different palette for the Blast Rainbow, available on an alligator and rubber wristband. A rainbow, of course, albeit one interpreted by Ulysse Nardin, hence no unicorns or magic cauldrons here, but a furiously rocking, unbridled design enhanced by gems levitating on the dial marked with the Locle watchmaker's favourite letter and on the fixed bezel in black DLC treated steel. To create this precious explosion, 38 rubies and sapphires in
MYSTERIOUS AND OMNIPRESENT AT THE SAME TIME, THE X SYMBOLISES THE BRAND'S DISRUPTIVE VALUES.
orange, yellow, green, blue, violet, and pink were used, totalling 3.65 carats. To these are added 12 hour markers. The dazzling crown caps a 45mm-diameter case, water-resistant to 50m, whose black bipartite case middle combines titanium and ceramic. A combination of technical material resulting in a piece as light as a fluffy cloud.
Entirely transparent, the face of this limited edition of 50 pieces seems like a kinetic work, between geometric forms and moving elements. The backdrop shows an oversized X emerging from its rectangular frame in the centre. At 12 o'clock, a platinum micro-rotor powers the 2.5hz automatic calibre UN-172
with a 72-hour power reserve. At 6 o'clock, a flying tourbillon sets the pace for the hour and minute hands.
The power of watchmaking oxygen therapy empowered by Ulysse Nardin is much more than a breath of fresh air. It is a philosophy of life.
When creating, is it better to evoke the legends of the past, to be inspired by the icons of yesteryear, or to start from scratch? Longines sliced away, like the mythical King Gordias. The "at the same time" approach is conceivable. The process comes to life in the form of the Spirit Zulu Time.
Its name calls for opening the history books. Since 1 March 1956, the NATO Phonetic Alphabet dictates its laws in the sky and at sea. Thanks to this alphabet, people can communicate anywhere in a universally recognised language. Each letter is assigned a universal pronunciation. Zulu is used to denote Z. Zulu is also used to designate
the Prime Meridian of Greenwich time zone corresponding to 0 hour (UTC+0).
The dial's composition conveys a nostalgic visual emotion with its
aviator watch-inspired appearance and harmonious colour combination. It features large numerals coated with Super-LumiNova®. In addition to the traditional trio of hands, there
is also a fourth very distinct hand ending in an arrow, in gold, blue, or orange depending on the variation. This points to a bidirectional rotating bezel enhanced by a ceramic insert in black, green, or azure, featuring a 24-hour scale. The open layout and the omnipresence of the luminescent coating ensure excellent legibility in all light conditions.
The crown acts as the conductor of the orchestra, adjusting the reference time once the second hand has been placed at 12 o'clock, and then, by changing position, synchronising the local time and the date. In order to display a third time zone, the bezel is
simply moved in one direction or the other depending on the time difference. Functionality is thus the order of the day. The ballet of the hands comes to life within a 42mm-diameter steel case water-resistant to a depth of 100m. The latter protects an automatic calibre developed and assembled in-house, the L844.4, offering 72 hours of autonomy. This remarkably high-performance movement, equipped with a silicon balance spring, is distinguished by its Official Swiss Chronometer Testing Institute (COSC) certified chronometry.
Precision is also the distinguishing feature of the Ultra-Chron. This diver's watch is remarkable for its mechanism and its design inspired by a model originally conceived in the 1960s. The brand with the winged hourglass proposes a contemporary evolution of it, taking up the main aesthetic codes.
Its 43mm-diameter steel case, waterresistant to a depth of 300m, comes in an elegant cushion shape design. It is fitted with a unidirectional rotating bezel with a sapphire insert. On the black grained dial decorated with the logo of yesteryear, one finds a composition equipped with markers. Shades of red also add vitality to the graphic design. Inside the case beats the L836.6 calibre with 52 hours of power reserve. This self-winding movement has a highfrequency balance like the 1968 diver's watch, oscillating at 36,000 vibrations per hour. After passing a series of tests, its chronometric precision was certified by the independent Geneva laboratory Timelab. Then as now, pursuing the path of perfection leads to excellence.
For some five years now, green has been making its mark among the great classics that adorn watch faces such as black, forever-trendy to the point of becoming boring, white, occasionally set off with a hint of silver, and blue that’s often navy. The green tone is generally a deep one, inspired by the beauty of nature, the tops of a pine forest viewed from the sky, and changes if the dial is adorned with a sunburst finish, intense if lacquered, enamelled or varnished. In nature, however, green boasts an opulent palette and we just need to open our eyes to embrace this authentic beauty that surrounds us. Every plant that buds,
uncoils, stretches and grows, features an impressive array of greens as it goes through these phases: energizing, virtually fluorescent as it burgeons, mossy with unbelievable softness as it
grows, emerald as it reaches maturity and yellowing at the end of its cycle. For its travel watch unveiled over the summer, Laurent Ferrier chose the
delicate, harmonious hue that a leaf graces when it detaches itself from the parent-stem to consort with the world, a shade that goes under the name of “Magnetic Green”. And, if truth be told, all it takes is a quick glance over this new model to be enthralled, to let your imagination run wild, to crave to explore the planet.
With the “Série Atelier” Classic Traveller Magnetic Green, its real name, we dream of jumping onboard a ship, a plane, a train. No matter the locomotion used, even a pair of trainers would do, because the thrill’s in the adventure itself. As well as being
positively elegant, the Geneva-based watchmaker’s timepiece is a faithful friend. Its face, whose satin-brushed sunburst centre fuses into a circular finish around the edges of the flange, is set off with white gold teardrop indexes, slimline appliqué triangles that seem to dive into the lush, green immensity. In the centre, the hour (local) and minute hands, crafted in assegai style – one of Laurent Ferrier’s visual signatures – dance to the rhythm of the automatic LF230.02 calibre, developed hand-in-hand with the Fabrique du Temps, equipped with a golden unidirectional micro-rotor and delivering a power reserve of 72 hours. Pretty much what it takes for a roundthe-world trip without having to worry about winding. A snailed small seconds counter at 6 o’clock completes this data. Travel oblige, home-time appears in an aperture at 9 o’clock, parallel to the date window at 3 o’clock.
Like all Laurent Ferrier watches, in particular the ones flaunting the socalled ‘pebble’ silhouette, the 41 mmdiameter titanium case is a talisman just waiting to be touched, an object to delicately skim the tips of your fingers over to feel reassured. This precious piece, flanked by two pushers on the left to set local time, wraps around the wrist with a forest green nubuck strap clasped by a titanium ardillon buckle. Time to head off and discover the garden, aka our world: its gate’s wide open, beckoning you in.
Become an Alice wandering through a garden infused with a fairytale atmosphere, where fauna and flora blend in harmony, a wilderness park bursting with a thousand and one delights. Bvlgari chose to unveil its Eden The Garden of Wonders collection, which includes two platinum jewellery pieces, Giardino Dell'Eden Tourbillon and Giardino Dell'Eden Piccolissimo, imagined by Fabrizio Buonamassa Stigliani, Product Creation Executive Director, in a lush green Parisian wonderland.
There’s but one adjective to conjure up this perfect, vibrantly-coloured
duo, espousing diamonds, rubies, pink tourmalines, tangerine garnets, lemon, violet and pink sapphires, tsavorites, paraibas, emeralds and rock crystal, and that’s extraordinary. A powerful creative
cue doubled by great ingenuity instilled by Bvlgari. “It all began around a year and a half ago, from two sketches and a concept: feature a snake, an invisible one, camouflaged between elements borrowed from nature, where you could only make out its head or tail, and a watch that was also hidden away, meaning you’d have to look for the time between the petals and the leaves”, explains Fabrizio Buonamassa Stigliani. “We studied flowers, butterflies, a whole plant and animal kingdom from Bvlgari’s archives, like the incredible vintage brooches from the 60s and 70s, which gave us our inspiration”.
“WE WANTED TO CREATE THE EFFECT OF A GARDEN THAT INVADES YOU, THAT RAMPS OVER YOU, A SOMEWHAT FANCIFUL GARDEN” FABRIZIO BUONAMASSA STIGLIANI, PRODUCT CREATION EXECUTIVE DIRECTOR, BVLGARI
And, instead of being static objects, on the contrary, they’re filled with a special tempo, as Fabrizio Buonamassa Stigliani tells us, “the idea behind the Giardino Dell'Eden Tourbillon is to wear something that’s alive. We added lots of elements to create the effect of a garden that invades you, that ramps over you. We worked on Bvlgari-typical three-dimensionality, yet moved beyond conventional geometrical realms. It’s a somewhat fanciful garden”. And tremendous work as “we had to develop a secure system to fasten the flowers to the case which, in turn, had to be mobile so the movement could be wound. And, so that the bracelet would tailor to the size of the wrist, we created a sort of mesh to attach the flowers. Like this, theycanbedetachedthenrepositioned. We also came up with a technique for the clasp with this leaf that you tilt and turn”. In short, everything has been
designed for enhanced versatility and wearer-friendliness, yet without ever revealing behind-the-scene secrets.
These watches, exquisite dial-side and caseback-side, are also stunning inside. Something that Fabrizio Buonamassa Stigliani held dear: “We wished to merge the art of miniaturization with the art of stylish engineering by using our skeletonized tourbillon along with our Piccolissimo movement which, at the time, had just been developed and whose production was about to start”, i.e. two hand-wound calibres driving the hours and minutes in the centre, one entirely openworked and the other barely measuring 12 mm in diameter and 2.50 thick.
A marvellous stroll through this dazzling paradise!
Its curved lines come into view. Then it bursts forth, breaks through, and disappears. Before re-emerging. Like a wave, the Grands Fonds is back in its original form. ZRC pays a new tribute to its model that has become an icon of the seas since it was designed and adopted by the French Navy in the 1960s. Two new references have been added to the Réédition 38mm line. What do they have in common? Every detail has been thought out to reproduce as faithfully as possible the design of the historical timepieces.
Being one with the water and also one with all wrists, male and female. This
duo succeeds marvellously thanks to the emblematic monobloc case in 316L steel with hexagonal bezel, fitted with a crown at 6 o'clock, chiselled into a diameter of 39 mm. The proportions
once again defy fashion and trends. The Geneva-based brand opted for exacting reproductions in every detail. Even the glass box sapphire crystal has the same curvature as the Plexiglas of old. It sits on top of a dial that is also domed without a raised edge.
of the 2022 editions accentuate their versatility. The lines, both distinctive and timeless, the very prominent angles and the rounded shapes of the Grands Fonds
Two Magnum-type hour and minute hands and a "lollipop" style second hand point to an hour circle composed of four cardinal numerals and elongated markers of the S2 model. The bezel is patterned with circles embedded in ceramic. This light, robust, scratch-resistant material replaces the original black epoxy for a longer life. The GF38163 has a sporty
EVERY DETAIL HAS BEEN THOUGHT OUT TO REPRODUCE AS FAITHFULLY AS POSSIBLE THE DESIGN OF THE HISTORICAL TIMEPIECES.
chic character, perfectly complementing any item in a contemporary wardrobe. The S3 is reminiscent of the sporty diving and the Grands Fonds of 1968. The 60-minute scaling on the aluminium bezel is an extension of the numberless minute track on the dial's perimeter. The GF38263 is also distinctive due to its date at 3 o'clock. The thinner hands ensure excellent legibility on this beautifully composed watch. The ubiquitous Super-LumiNova® grade X1 ensures optimal time data legibility under any light conditions.
The Réédition 38mm also takes advantage of ZRC's research into programmed material deformation technologies. Their application to the design of the two-piece case back reinforces their ability to withstand underwater pressures. Tested to a depth of 1,000 metres, the case is
uncompromisingly water-resistant to below 300 metres. An ideal resistance for protecting the Sellita SW200-1 automatic calibre in its elaborate version powering the time indicators.
All models come with a steel wristband identical to the original, which is extremely robust. The presence of the four independent screws makes the Grands Fonds quite ambivalent. With a single tool, it can be fitted with a NATO colour from a wide range of options. These amphibious creatures never cease to amaze thanks to their adaptability.
Amaze. "To disconcert someone, to astound them by something unexpected."
One of the definitions given by any good dictionary is perfectly suited to the new watch creation signed by MB&F. Its aesthetic has been known since the launch of the Legacy Machine no. 1 in 2011. A large flying movement calibrated at 3hz supported by a sculptural stylised arch levitates and animates the dial to the rhythm of its regular to and fro movements. A sapphire dome surmounts the dial. Yet a disconcertingly symmetrical composition distinguishes the LM Sequential EVO watch. At 6 o'clock, an off-centre disc affords the possibility of reading the
hours and minutes. Two pairs of counters with dissimilar dimensions dominate the space. The larger ones are graduated five by five to 60, the smaller ones to 30. These markings suggest the inclusion of a
chronograph. Five push-buttons housed in the middle of the 44mm diameter zirconium case steer the hypothesis in an improbable yet very real direction.
Fruit of the fertile imagination of the erudite watchmaker Stephen McDonnell, the calibre of this watch is remarkable for its ability to measure time like no other mechanism up to now. In the past, the Irish watchmaker succeeded in creating a tour de force by completing its perpetual calendar from scratch for the Legacy Machine Perpetual 2015. Here, this original erudite movement incorporates not one, but two chronographs! Beyond the technical performance, the exhilaration provoked by this breathtaking assembly, and the related aesthetics, the presence of this duo conceived for everyday use surprises by its ease of use. Complexity
THE CALIBRE OF THIS WATCH IS REMARKABLE FOR ITS ABILITY TO MEASURE TIME LIKE NO OTHER MECHANISM UP TO NOW.
at the service of simplicity. An ingenious system dubbed Twinverter offers various alternatives. Thanks to its binary switch, the pair can operate independently, simultaneously, in "cumulative" mode, or as a "sequential" option.
The LM Sequential EVO can coordinate two measurements and then stop them at the end of each event. If you would like to know how long you spent on two different activities, a push on the Twinverter facilitates intermittent timing. During a sporting event involving several laps of a race course, comparing the times of two consecutive performances can be done easily. A stopwatch will record the first. Its alter ego starts to run as soon as the latter finishes. A push of the stop button results in its counterpart starting to measure the second performance. The flexibility of the tandem opens up a wide range of possibilities.
MB&F's twentieth calibre comes to life in the form of a hand-wound movement assembled with 585 components, including two cylinders. The 72-hour power reserve provided allows owners the freedom to explore all possible options. Although the etymology of chronograph originates in ancient Greek, "to write time", the Latin translation of chronographus, also fits the LM Sequential EVO model: "which records time". A way to keep in mind the feats and the entertaining moments that punctuate our lives.
Certina, like many Swatch Group brands, spends a lot of time and effort reintroducing vintage models to the watch market. Some say it’s an easy way to make a quick buck. I find it particularly exciting to see how the designers can reinterpret a piece for a whole new audience in modern times. To ensure that the watch reaches the expected success, the key here is to rerelease popular old models. And while the Certina Argonaut is a standard vintage chronograph, the Argonaut Chrono 200m is as rare as it gets. That’s why it was such a surprise that this was the model Certina reintroduced as the DS Chronograph Automatic 1968.
Aside from the uninspiring product name, the timepiece is as incredible as it gets. Argonauts were made in a relatively short period between 1968 and 1972. During these four years,
TO THE WATCH MARKET.
Certina introduced eight references to the market. They were well-built, manual wind chronographs that even made it to the wrists of the Hungarian
Air Force pilots of the 1970s. Luckily these beautiful timepieces are still easily sourced on the secondary market. This, I cannot say about the Chrono 200m.
Certina only made the Argonaut Chrono 200m for one year, between 1968 and 1969. Unlike the other Argonauts, it had a water resistance to 200m, a rotating 60-minute bezel, and a unique dial design. It featured extensive orange indexes on its black dial and a set of broad white hands.
The new DS Chronograph Automatic 1968 has all the features as its vintage counterpart with a few updates. The
case is now 43mm (instead of 38mm). Inside, the watch beats an automatic A05.H31 Certina caliber based on the Valjoux 7753. Such a fun coincidence that the vintage Argonaut chronographs also had Valjoux calibers inside them. Two-register models came with Valjoux 23 and three-register chronographs with Valjoux 726 movements. Lastly, the case back now has a display window. It’s a shame that the steel model comes with a NATO strap, though. It makes it complicated to admire the movement. Besides the needed improvements, the watch carries the same charm we vintage lovers adore in the 1960s models.
Next to the steel DS Chronograph Automatic 1968, which looks just like the Argonaut Chrono 200m, the brand also brought out a PVD coated steel model. This monochrome color-themed watch has a black leather strap with a quick-
release system and a black and white dial but otherwise, the exact details as the steel version. The price of both models is around the 2k mark. You can have the steel DS Chronograph Automatic 1968 for 1'930 CHF and the PVD version for 1'970 CHF. You may be undecided whether you want this timepiece or not. Well, no need to worry about the popularity of the watch. It’s a timepiece with a proven design for a great price that wears exceptionally well. The connection to one of the most remarkable vintage chronographs Certina ever made is just the added bonus.
September marks a month of transition. We still have grains of sand between our toes, chlorine in our hair, and a craving for a spritzer on the terrace while at the same time feeling the need to immerse ourselves in the effervescence of the new fall season. The mood seems to be both light and serious. It's the perfect time to adopt one of the biggest style trends of the moment: the double wrap wristband. Spotted in collections over the past few years - first by Hermès on its Cape Cod, then its Nantucket, and even the Apple Watch in true signature leather - the double wrap wristband is increasingly being featured by watch
brands. Nevertheless, it is out of the question to do so in a classical manner. For example, to enhance its Mini Trésor, Omega drew inspiration from the historical Toile de Jouy tapestry
and porcelain motifs - a fabric printed in the south-east of Versailles in the 18th century. The basis of its thinking? Three unique designs, each bearing the identity of the Biel-based brand:
ocean flora and fauna tinged with blue in homage to the maritime heritage, a black butterfly in reference to aerial and space exploration, and a red floral motif suggesting a passion for planet Earth.
The result? A double wrap wristband paired with Moonshine™ gold and the off-white Grand Feu enamel domed dial of the Mini Trésor.
Other companies capitalise on icons of timeless values tied to the hype of the moment. In the mood for precious metal and a chic look? Yellow gold is what you need. The comeback of discreet but identifiable external signs of wealth has recently been accompanied by a return to the long-heralded ostentatious,
flashy, and sometimes even vulgar signs of affluence on wet, tanned skin, as evidenced by a large chain bracelet. Say goodbye to flamboyant connotations and hello to refinement. The yellow gold is given a more minimalist treatment, resulting in an ultra-glamorous Serpenti Tubogas from Bvlgari. The creation that has spanned more than seven decades, coiling around the wrists of the most elegant women, continues its transformation with this sober version. The reptilian teardrop-shaped case along with a flexible wristband with a finish reminiscent of scales are back. Finally, after months without nightclubs and sleepless nights, the desire to reconnect with music, dance, and neon lights has gained the upper hand since last year. Models in fluorescent tones are making their appearance, imbued with the energy of electro music. Chanel re-imagined its Première watch in a
blackened steel version with a chain wristband interwoven with multicoloured leather. Strongly evoking the summer period, memories of dance floors and wild parties on the beach to the sound of "Pump it Up", the timepiece prolongs the pleasure of sunny days. One might even be tempted to combine it with a plane ticket to Ibiza. Remind me, when is the next holiday? STRUNG
It has become a buying argument for many clients of investment age: heritage.
As the following scene illustrates. Bücherer Boutique, Geneva, July 2022. Raphaël, in his early thirties, strolls past the shop windows accompanied by two of his old friends. He came over from France specifically to buy a watch. However, not just any watch. "So this is my story, I became a father just last week. I've cometobuyawatchthatIcanpasson to my son." He is speaking on behalf of an entire generation. Acquiring a watch is no longer just a matter of personal pleasure, on the contrary. Henceforth, the joy of buying a timepiece has become less self-centred. We also
consider our watch as an item that lasts for years, a link to the family, and a way of passing on the baton, in short. It doesn't have the same meaning. Here, in this instance, there is also an emotional,
symbolic element. Patek Philippe was among the earliest to understand the importance of this link between the past and the future.
In 1996, the brand launched an advertising campaign with the now famous slogan: "Youwillnevercompletely own a Patek Philippe. You will just be the custodian for future generations."
The image represents a father and son, a mother and daughter, sharing an activity: travelling, learning... Absolute genius of a statement! The advert developed by the Leagas Delaney agency was right on target.
Twenty-five years later, it is more relevant than ever, as the 35-45 age group has never been so attached to the idea of "passing on" to the next generation. However, careful, not with just any watch. One is capitalising
on a desirable and rare piece; this is an investment. There are a number of references in this area: the Cosmograph Daytona, the Submariner, or even the Oyster Perpetual from Rolex, the Royal Oak from Audemars Piguet, and also the Nautilus from Patek Philippe. Should one always opt for a luxury brand? Not necessarily. Another idea would be to buy the bestseller of the year, such as an edition of the Swatch x Omega collaboration in 2022. The new clients are experts on the subject.
It used to be that in watchmaking, there were collectors (many), enthusiasts, purists, and speculators. These people constituted the portfolio of the manufacturers with their habits and rituals. The "heritage" consumers joined them.
This is refreshing, because the values they advocate - durability, the instinct for preservation, tradition, and so on -
are linked to watchmaking and prove that buying a watch is above all a question of emotion. What is important is the desire to reconnect with a memory and re-inscribe it in the present with a material, embodied object. This enables one to recognise where one comes from and to project into the next generation. Montaigne said "Itisawayofextending one's being". This is how Raphaël left the Bücherer Boutique with a Rolex Oyster Perpetual and this engraving on the back: "Gabriel, 12-07-22, with all my affection. Daddy".
Code name? C07. Its mission? Fitting perfectly into a watch that will be unveiled at a major event: the 160th anniversary of Tissot. Presented in 2013, the Luxury Automatique Powermatic 80 captivates with its sporty-chic look that sets a trend in the making. Nevertheless, it is its self-winding movement that is causing a stir. The evolution of a reference produced in several million units, the ETA 28242, this calibre stands out for its ambitious technical specifications. With this calibre, the Swatch Group brand is embarking on a new era.
In an extremely competitive ecosystem,
differentiation becomes an added advantage. The impressive features of the Powermatic 80 provide a timely response to the delicate balancing act of delivering excellent value for money
models. The technological advances are there for all to see, with the presence of a beryllium bronze balance combined with a silicon spring. Variations also feature
a spring in NivachronTM, a titaniumbased alloy invented by Nivarox. Its antimagnetism is ten times greater than that defined by the NIHS watchmaking standard.
The chronometry of the Luxury Automatique's calibre, oscillating at 21,600 vibrations per hour (3hz), also meets the requirements of the official Swiss chronometer test. Subsequently, this is not systematically required. A certificate from the Official Swiss Chronometer Testing Institute (COSC) is included with the case to inform the owner.
Irrespective of the variations, the Powermatic 80 offers another strong
point, a generous power reserve. The calibre sets the bar quite high. With 80 hours of autonomy, it is twice as long as that of the ETA 2824-2 and also that of standard self-winding movements!
All these achievements benefit a wide range of Tissot branded references featuring multiple personalities, such as the PRX with its 1970s-inspired design and sporty, urban elegance. Its 40mmdiameter steel case without lugs merges with a link wristband. The Seastar 2000 Professional diver's watches take on the pressures of the underwater world with the help of a 46mm case topped with a unidirectional ceramic bezel. Within the athletic 42mm PRS 516, the Powermatic drives the hour and minute hands, the second hand, and also the day and date at 3 o'clock. The calibre's versatility also enables the Locle-based brand to equip decidedly more classic
models such as the Tradition Open Heart and Chemin des Tourelles. The sapphire crystal backs allow discovering the decorated or openworked oscillating weight, such as the one shaped like a three-pointed steering wheel on the PRS 516. The timepieces included in the women's collections also benefit from the advantages of the highperformance movement.
Another Swatch Group entity, Certina, incorporates the Powermatic 80 into its attractive DS watches. As Seneca (4 BC - 65 AD) pointed out, "a good is only pleasant if it is shared".
An historic moment in watchmaking took place on 18 May 2022 at the Design Museum in London: the first exhibition of an exceptional private collection held in a museum. Through the passion and genuine enthusiasm of one man, watchmaking is now publicly acknowledged as an art form in its own right. A meeting with Patrick Getreide, one of the world's greatest collectors and owner of this genuine treasure.
His bright blue eyes sparkle with joy. Patrick Getreide is delighted to be here, to share his passion, and to unveil part of his incredible collection, compiled
over 40 years. From among the 600 or so watches in his possession, a selection of 163 models was made to create The OAK Collection, an acronym for One-ofA-Kind. So, who is this unknown person
Withagoodheadonyourshoulders,you can do anything.The guiding principle is to surround yourself with people who are highly competent in everything you do. That's what led me to this point."
offering the public this watchmaking delight? Patrick Getreide answers quite simply: "I am the son of an industrial entrepreneur as well as being an entrepreneur myself. I am multi-faceted.
His passion came to life a long time ago. When he was ten years old, he lived in Switzerland and every morning he would walk past a watch shop. He dreamed of owning an Omega. He pushed open the door and asked the vendor if he could pay for it gradually with his weekly pocket money of 5 Swiss francs. The shopkeeper agreed. That was 57 years ago! Since then, the thrills keep on coming. "I broke
“THIS EXHIBITION IS MY CONTRIBUTION TOWARDS ESTABLISHING WATCHMAKING AS A RECOGNISED ART.“
25 world records at various auctions. Every time I do, I get goose bumps,", admits the big kid that he still is. "One of the greatest moments was probably buying the second most complicated watch from Henry Graves Jr.: the 1932 Patek Philippe pocket watch, tourbillon chronometer, in platinum, and its Observatory Bulletin for its accuracy record. It is absolutely immaculate! It was fabulous.".
"For vintage watches, it's the watches that choose me. Opportunities seem to arise naturally. When it's time, it's time", replies the cheerful collector, almost candidly. However, his selection criteria is actually quite drastic: only new old stock, unique or very rare pieces, of impeccable quality. This is how he managed to obtain an incredible Patek Philippe 1518R, from 1948, the only one in pink gold, including the dial on a Gay Frères wristband. "It has never been polished! It is perhaps the most impressive Patek in my collection", our enthusiast proudly admits. However, he also likes watches that tell a story, such as this 1945 gold Rolex 3525, known as the Monoblocco Tagliatti. It was a gift from Palmiro Tagliatti, secretary of the Italian Communist Party, to his doctor P. Biocca, in gratitude for saving his life. "I was touched by the story and I enjoyed the communist nod," he recalls. His rigorous criteria occasionally leads him to refuse watches at the risk of regretting it. Thus, ten years ago, he learned that a sale of Winston Churchill's Victory watch was being held in London. He rushed over, full of hope and excitement. Alas, "the watchwasindisastrouscondition,dented all over. I didn't buy it. I kind of regret it today. Churchill, whom I greatly admire, perhaps deserved a departure from my principles," Patrick Getreide concedes.
How does one go about accumulating such a collection? Teasingly, he explains: "Having a lot of money helps. Yet, above all, you have to understand what you want,havetherightpeoplearoundyouto seize the best opportunities... and not sell
anything.". Indeed, he has never parted with a piece, except once. "More than 20 years ago: the Breguet Dollfus, one of the brand's most prominent watches. It had beenflownacrosstheChannelinaplane.
I paid a lot of money for it. A few years later, I sold it to buy a house."
"EsseQuamVideri"in Latin - "To be rather thantoappear" - is engraved on the back of one of the five Patek Philippe watches in the Henry Graves, Jr. collection. Is he seeking recognition for putting himself in the spotlight? With a shrug, he refutes: "Absolutely not. I don't frequent the watchmaking world. I mainly meet with Thierry Stern and the experts close to me. I have too many passions to devote myself solely to watchmaking. I like to watch a football match, spend time with my children, my friends, and go boating. I don't really need any other recognition. This exhibition is my contribution towards establishing watchmaking as a recognised art form. There are many private art collections in museums. It's about time that watchmaking also found its place there.".
If you met Patrick Getreide's friends, what
would they say about him? The affable and generous man ponders the question. "They would probably say I have heart. It is my main attribute despite my many faults. I am very loyal. Tomorrow (for the opening of the exhibition at the Design Museum, ed.), I have friends of 57 years who are joining me. They are chosen brothers.Finally,Iattachgreatimportance to human qualities.This is also the case in my relations with watch brands.".
Even if it is very difficult to choose among all these marvellous watches, the collector does have his favourites: "At Patek Philippe, the 1518R bracelet Gay Frères mentioned earlier. For Calatrava, probably the 1579A from 1950 in yellow gold with its large case. For Rolex, the 3525 Monoblocco Tagliatti for its endearing history. For the independents, my Kari Voutilainen GMT-6 Only Watch Blue from 2015. And the mythical Henry Graves Jr. tourbillon chronometer.
Many thanks to the generous man for sharing his love of watchmaking with the rest of the world and thus contributing to its global influence as an art form in its own right.
Did Mankind create time? Or did time itself create man?
Yes, it's a bit of a chicken and egg situation, yet I often ask myself these questions. As Alain Bosquet (1919-1988) would say, "I spend all my time trying to understand time", except that unlike the French poet, I still don't understand it. God knows I spend many hours pondering it, debating with myself, and sometimes with others on the subject.
Why time? How did time come to be? Who had the bright idea to declare time should be divided into years, months, and weeks? In days, I agree, since nature, as impaired as it is by our imbecility, offers us a simple rhythm: the sun rises so do we, the sun sets we do too, and so on every morning and every evening. What about the weeks...?
And the even crazier idea of arbitrarily regulating that, oh my, the days are going to be grouped in packs of seven, and, oh my again, we're going to work five days and then attempt to rest two days. That's just 48 hours to put our work activities behind us and relax by doing
the laundry, cleaning, taking care of the kids, and running errands. On Saturdays, we chase after the time for ourselves that we'll never catch up with because it's going so fast, the rascal. On Sunday, we become depressed because that's it, the weekend is over, tomorrow we go back down into the mine. And so, it goes on. I'm not saying that there aren't some people in this world who are happy on Monday mornings. I just think that life is too short to enjoy it only two days out of the week.
It's a bit like vacations... Who decided that we should only have four or five weeks a year? Why not more? The first seven days on holiday are barely enough to disconnect. For the next seven, when you finally start to forget what an open space looks like (another great invention...), bang! back to work! Then, in the summer, for those with young children, things can get really hectic. First of all because, holidays or not, a parent remains a parent, with the added bonus of having to spread SPF50 sun block. Secondly, our children
enjoy two months of holiday, which is four times as much free time as we are allowed. Which means... what do we do with them? A day camp? Staying with Grandma and Grandpa? A nanny? Or, in my case, full time mom + full time job? Sometimes I feel like I'm reliving the lockdowns of the Covid era, when I had to write my articles on a corner of the living room table while my children played on the sofa. Noisily, of course. The only difference is that I can head to the beach with them in the morning, then catch up with my work in the afternoon. Think about sunscreen in the day and timepieces in the evening.
No, really, I'll never understand all these decisions made in our stead about how to manage our time. I'm grumbling because it's back to school time, the end of summer, the return of school bags, and office hours.
