S$3.50
The Watch Collector's Guide to Good Living
Issue 19
ASIA EDITION
The Millenary Post Dreamweaver An exclusive interview with Bottega Veneta's Tomas Maier on his most industry defining moments and the challenges of taking the maison to a new level
page 32
The Origin of Species
modern pizzazz
Longines stands an exemplar of an old school manufacture making evolutionary steps into modern commercial watchmaking and today, stands an industry behemoth
Dazzle by day with Fall's dynamic style statements
page 18
Marquise
Raiders of the lost arts A selection of five timepieces emblematic of the finest practitioners of haute horlogerie page 20
08/15 MCI(P) 055/09/2014
The Millenary Post
brief
Dunhill fALL 2015
Ermenegildo Zegna fALL 2015
fendi fALL 2015
Coats to Covet
Pair with
Be it single or double-breasted, the statement topcoats this Fall are full, oversized and slouchy
By Cheryl Ann Chia
Perhaps the most sophisticated topcoats to emerge out of fall winter were the ones that bore a certain agility despite their bulk, providing a modern sense of coolness and ease. The cream of the crop were the ones crafted from wool, shedding some of its structure with shoulders that fell slightly to give a slouchy yet no less rakish effect. One outstanding sleight of hand was Ermenegildo Zegna’s evening coat which takes felted regenerated wool and then adds panache by combining it with plasticised Harris Tweed, a finishing characterised by an exclusive and innovative needle punch technique, lending that extra silver of texture to the sleek ensemble. Yet the new breed of coats are surprisingly versatile, allowing one to switch registers between matching it with skinny, distressed denim for a raw, undone look and a pair of smartly tailored trousers for sheer pomp and circumstance.
SW CHRONO, Jaquet Droz
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The Millenary Post
brief
5
by the power of grey The sedate, stark-simple grey suit every gentleman needs to own this Fall
By Cheryl Ann Chia
It is hardly an unusual feat for Fall but the continuity of menswear offering across the board was striking in its greyness. And while a grey suit is inarguably a wardrobe cornerstone of every dapper gentleman worth his salt, it was the designers' way with the hue that left a lasting dent on our imagination. From dark charcoal to gunmetal, instead of pairing grey with actual colour, the key this time is to simply work it with other shades of grey, creating subtle dimension and a worn-in effect by way of clashing textures and patterns. Yet for the traditionalists, this could mean embracing the full grey suit a la Connery's iconic Goldfinger glen check and as seen at Dior Homme, Gieves & Hawkes and Boglioni where the rule of thumb is to run with a single shade for maximum impact. As tired as we may be of hackneyed puns regarding everyone’s favorite piece of pop erotica, this is one that counts: Hereby are the season's nifty shades of grey.
Boglioni FALL 2015
michael kors FALL 2015
Pair with
Dior homme FALL 2015
Gieves & Hawkes FALL 2015
INTRA-MATIC, HAMILTON
The Millenary Post
The Handheld Situation
brief
Bottega Veneta fALL 2015
Running the gamut from the bog-standard folio to the bigger, brighter and bolder options, these are the ones to clutch stylishly onto come Fall
By Cheryl Ann Chia
Once controversial, now one of the most sophisticated methods of storage, the Man Clutch has grown in importance in recent years. Beginning first as an antidote to disguise the appearance of anti-climatic, sartorially menacing devices that sit strangely against immaculately tailored suits, the gadget-bound dandies today don’t just have the right kit to tote around but a diverse if not fancy range of bags to choose from. Way passed its eureka moment, this season’s handheld bags were gripped with conviction and matched to perfection, from the slick, classic tech carry to the larger bags that can easily pack your sizable technical devices, the chargers that go with them and even a change of clothes. Without further ado: the styles to own. dolce & Gabbana fALL 2015
Valentino fALL 2015
prada fALL 2015
Pair with
Grande Reverso Night & Day Special Singapore edition, Jaeger-LeCoultre
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The Millenary Post
brief
pull up your bootstraps Transform the raw energy of the street into a handsome patina and you’ll get: The Chelsea
By Cheryl Ann Chia
In a time when everyone wants to grasp a whiff of underground rock, the Chelsea Boot more so than any other footwear finds itself at the height of sartorial desirability. It is a footwear of great alpha power; on one hand it has a wealth of heritage at its beckoning, reaching as far back as the Victorian era. On the other hand, it offers a modern, slick, minimalist silhouette that has always been popularised by louche rockstars since Paul McCartney and Mick Jagger, delivering in the same package, the allure of being young and cool forever. From suede, patent to croc and the more modern intepretations, they are the ideal finishing touch to getups that combine old English decorum and the raw energy of youth counter-culture. Pair them with structure, slouch and everything in between.
GREENWICH CHELSEA BOOT, LOUIS VUITTON
GIANNI ALLIGATOR CAP TOE CHELSEA BOOT, TOM FORD
CLASSIC HEDI 40 CHELSEA BOOT, SAINT LAURENT
Pair with
CHELSEA BOOT, ERMENEGILDO ZEGNA
SPEEDMASTER, Omega
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The Millenary Post
thematic feature
10
The Boss of Suited Agility Explore the new terrain at Hugo Boss where precise tailoring meets sophisticated functionality By Cheryl Ann Chia
Refined and relaxed aren’t usually attributes that transpire in the same outfit. But in Hugo Boss’ Fall’15 collection, they converged in just about 26 times over with an unstoppable drive. The German heritage clothing maison sought luxurious inspiration from winter idylls and alpine architecture, from Aspen, Colorado to St. Moritz, Switzerland and the result: a microclimate of menswear that had its own easy, sophisticated coolness. The line between casual, functional sportswear and dressed-up classic wear was almost imperceptible; are they business-ready hiking wear best for hiking from elevator to cab or are they mountain-ready business wear best for advancing up the mountains? It is rhetorical and maddening, but that is the point and its ultimate exactitude was simply in the equipoise of clean, architectural lines and the use of utilitarian superior materials. For instance, the standout piece, the quilted winter jacket takes the comfort of down-filled jackets and then combines it with the familiar structure of a slim fit blazer, essentially providing maximum heat retention without the bulk. In other cases, pants were crafted in pure wool knit, coats in superfine Merino wool, sweaters and tops in mohair and cashmere. Delivered in a palette of frosty tonal shades, fabrics incorporated travel-friendly breathable technology and water-repellent finishes – something any intrepid adventurer or business traveler worth his salt could definitely use a lot more of. But in the end, it was all down to a certain Boss precision where coats and suits were impeccably sculpted and proportioned. Even when chunky knits were concerned, they were slim lined and bore a certain agility. If one longs for more boundary-pushing, he can certainly be convinced to embrace the allure of tailored athleticism or functional classicism, we aren’t sure which nor given the versatility, would we have to be.
The Millenary Post
brief
Driving Forces Bovet demonstrates commitment to heritage values at the Concorso d'Eleganza Pininfarina By Jonathan Ho
Italy is indisputably the birthplace of some of the most elegantly boisterous symbols of style and it was at the
Stark Contrast The future is here and it exists in the Audi range
It's hard to imagine that 7 years ago, a little movie about a billionaire playboy philanthropist and his wise-cracking suit of armour would fire our imaginative yearnings for a similar operating system. Fortunately, our inner geeks can indulge in the present future thanks to Audi's new A6 Sedan 2.0 TFSI and the high-end RS 6 Avant. The Millenary was on hand at their namesake driving experience, putting the innovative vehicles through its paces, with remarkable torque, braking and general responsiveness of handling when compared with a traditional sedan. While most of the groundbreaking technologies like the awe-inducing Quattro system were of a mechanical nature, it was the appearance of the Personal Virtual Assistance which provided stark contrast to lesser vehicles. Answering the prayers of geeks worldwide, Audi's own "Jarvis" with MMI navigation delivered a top-of-line user experience and heretofore unseen intelligence via voice commands – an important convenience when utmost safety necessitates both hands on steering controls. Searching for directions and even food nearby through simple conversation with the onboard computer was an enjoyable and almost surreal occurrence, especially since most basic voice operated systems have difficulty understanding our accented Singapore-English. Topped with adaptive cruise control and radar-enabled side assist, the A6 becomes as crucial to the wellbeing of the driver as the Iron Man suit is to Tony Stark.
Concorso D'Eleganza Pininfarina that two icons of head-turning aesthetics joined shared passion for the preservation of heritage luxury values and sophisticated refinement. Paolo Pininfarina was joined by friend and owner of Bovet, Pascal Raffy in celebration of the common bond of universal excellence and elegance as evidenced by the winning automobile. the Cisitalia 202 from 1947 and the range of Pininfarina designed timepieces for Bovet 1822 including the emblematic Ottanta Tourbillon, chosen to earmark 80 years of artistic swagger. Raffy personally presented the covet Bovet award from Most Elegant Car to Mr. Gino Coen, owner of the curvaceous vehicle, considered to be the world's first "rolling sculpture" and the only car present, to have been exhibited at the MOMA in New York.
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The Millenary Post
brief
12
Spiritual Mastery Mario Testino is Macallan's fifth and latest Master of Photography By Jonathan Ho
Born in Lima, Mario Testino moved to London in 1976, working his way from journeyman photographer to sought-after creative partner in high fashion photography. With work featured in Vogue and other couture magazines, Princess Diana chose the Peruvian to shoot her for her cover portraiture in Vanity Fair. Among the world's most prolific photographers, he's widely credited for Gisele Bundchen's rise as to supermodel status and for the various royal commissions, serving The Duke and Duchess of Cambridge, Prince Charles and even Queen Rania al Abdullah of Jordan. But, even if his accolades did not include the Order of the British Empire, the Medalha Tiradentes from Rio de Janeiro or the Grand Cross Order of Merit from Peru, his body of work would still speak for himself - his signature style and penchant for moving stills: his subjects often recalling the relaxing yet intensive methodology of Testino's work. It's this trademark artistry which brings to life Macallan's six perfect casks together in a showcase malt of unparalleled depth, darkness and diversity, much like Testino's visionary images. The Master Whisky Maker personally selects six unique casks from a batch of 200,000 mature woods to create this limited edition expression. In concert with Testino, whisky and photography join layers of characters and flavours (or styles) in a bewitching brew of exciting and emotive proclamations. Testino's interpretation of the whisky is inspired by the whimsy of the Limited Edition Macallan, bringing together a group of distinct individuals and yet joining their disparate visual qualities, each echoing one of The Macallan's Six Pillars, showcasing the lush, luxurious qualities of The Macallan world, its alchemy and subtle eclecticism.
The Millenary Post
brief
A Picture Speaks Elodie Morel from Christie's France on the value of a photograph By Jonathan Ho
They say a picture is worth a thousand words but quite often, a viewer drawn by the works of Ansel Adams, Henri Cartier-Bresson and Margaret Bourke-White will start to ask themselves: “how much would they be willing to pay of their photographs?” More importantly, given the red-hot demand for photographic works of such transformative and evocative value- how high would they go to outbid the other buyer? Fortunately, we have Elodie Morel, Head of Sales of Christie’s France’s Photographs Department to shed some light and good sense in the curation, acquisition and value of a photograph. What is the value behind a photograph? This a very good question which I think could be raised over any work of art. A photograph as well as a painting, a sculpture or a print, is an artist’s creation and needs to be appreciated as such. There are however several criteria that apply to each medium. Authenticity, originality and innovation are the elements to be considered in order to value a photograph. The condition of the print is also very important, to the point that if a photograph presents conservation issues its value can considerably decrease. Why a photograph of Björk has a higher estimate range than an iconic photo such as the ‘Afghan Girl’? Bjork, Post Album, 1995, STEPHANE SEDNAOUI
Executed in 1995 by Stéphane Sednaoui, Björk, Post Album has quickly become the icon of one of the most iconic albums by an extraordinarily iconic singer of our times. This work has also been included in the recent exhibition dedicated to Björk by the Museum of Modern Art in New York. Equally iconic, although in an very different way, is Steven McCurry’s Afghan Girl which has been on the cover of National Geographic Magazine in 1985 and it is therefore part of the collective memory. Both works are exceptional however there are various reason why their estimates differ. First of all the size: the portrait of Björk measures 120 x 120 cm. (47 ¼ x 47 ¼ in.), while Afghan Girl is 60.5 x 50.5 cm. (23 7/8 x 19 7/8 in.). Also relevant is the edition. In fact where the Sednaoui’s print is one of a small edition of 6, McCurry’s print is not part of any edition and is, as consequence, more less rare in the current market. What are the six key trends in photography collecting?
Nina, Isabella + Evelyn, + Mirrors roof, New York (Vogue), WILLIAM KLEIN (NÉ EN 1928)
We at Christie’s always invite our clients to only buy what you like and not to try to follow trends. When it comes to photographs, I think it is interesting to build a collection with works by both iconic photographers and younger artists. I especially like to work with sophisticated collectors who know of to mix the classics from the 20th century with more cutting-edge photographers. Also important is always focus on the works for which a photographer has established his/her reputation. For example it is advisable to buy a fashion photograph rather than a street view by Helmut Newton, or a dye-transfer print by William Eggleston as opposed to a chromogenic print by the same author.
A photograph as well as a painting, a sculpture or a print, is an artist’s creation and needs to be appreciated as such.
Tobias, 2006, LORETTA LUX
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The Millenary Post
thematic feature
The Amazing Fantastical Machine Why Richard Mille's creations are definitive of the cutting edge in watchmaking By Jonathan Ho
Hyper not hyped, Richard Mille the man and his namesake timepieces are representative of the epic lifestyle of true bon vivants. While it's true that a Mille seems more appropriate paired with a super-car McLaren than a classic car out the grounds of the Concorso d'elegance, it's quite fitting for the regattas, high stakes championship tourneys (witness Nadal on p.23) and high octane lifestyles of Formula 1. In short, his timepieces are definition of the “bon” part of living in bon vivant. Since inception, Richard Mille has made a name for itself with its iconoclastic watchmaking ethos: steel case variants are par course for any watchmaker but Mille established itself in a tier beyond luxury, using only precious or rare materials like white gold, rose gold or titanium. But beyond the foundation bedrock fit for a king's ransom, the three tier “BLT” sandwich-style case was already a strong variable in the equally magnanimous price tags attached to each of his creations. Comprised of front and back bezels and midcase, the tonneau-shaped and curved planes made machining the milquetoast cases some of the most difficult challenges on the planet especially when you consider that the non-flat surfaces have to fit perfectly to eliminate entry points for moisture and fine particulates. For a watch like the Tourbillon RM 56-02 Sapphire, that bar is exceptionally high. Perhaps he was bored with using advanced materials usually found in F1 and aeronautical fields or he simply needed the thrill of another summit to conquer but he chose his peak well – sapphire. One of the hardest materials on earth, it's the product of highly pressurised and super heated aluminum oxide crystals (and the resulting alchemy is so pure, it's glass-like yet bequeathed with a hardness of 1800 Vickers (9 Moh's), second only to diamond.
This means, for a tiered, curved case like a Mille, our erstwhile Mr. Richard has to work with a viscous diamond-particle solution, using ultrasounds to shape and guide waves of diamond-enriched mud against the surface of the crystal to achieve its unique curvature with a tolerance of only one hundredth of a millimeter to ensure the three separate components fit seamlessly. It takes 40 days, 24/7 continuous machining to achieve and then careful utilisation of transparent nitrile O-rings assembled with 24 titanium spline screws to ensure only streams of photons enter the case for your viewing pleasure instead of water (at least down to 30 meters); and we haven't even gotten to the movement. Chances are, you've become accustomed to standard high horology finishing like Geneva stripes and perlage but for Mille and his iconic PVD coated movements, the majesty is in the machine itself. Taking cues from the mechanical architecture of the RM 27-01 Rafael Nadal (p. 23) and its cable suspended movement. The baseplate of the RM 56-02 Sapphire is created from grade 5 titanium and entirely suspended by a specially developed single braided cable of 0.35mm fishing line thinness, woven within a system of 4 pulleys on posts at the corners and another 6 on the calibre's periphery. Making the timepiece as robust inside as it is outside. In case the absurdity of the extreme reliability hasn't been communicated fully, Mille adds a separate indicator for the entire cable unit, located below 12 o'clock to show onlookers that cable tension is operating within specifications. Masonic handshake? The RM 56-02 is worn with partially translucent strap created from Aerospace Nano® by Biwi SA, exclusively for Richard Mille, this isn't a handshake between Masons, it's more like acknowledgement that you're wearing the invention of a modern Da Vinci.
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The Millenary Post
brief
The Running Fan Watches with Schwarzenegger-level machismo don't necessarily have to be incongruous accessories for the suited gent By Gary Jonas Lim
In the words of Miner’s book Compleat Gentleman, a man with little of martial or physical prowess is merely a glorified dandy rather than a true gent. Thus, there is synonym and synergy between gamesome agility and the demonstration of technical dexterity evident in horology. Therefore the three chronographs we have chosen are apropos to men’s physical embodiment of haute horlogerie, where looking manly while dapper is the game.
1970
2010
Tudor Heritage Chronograph How does one improve upon immortal perfection? Why, through rebirth, redesign and reinterpretation of course. The Tudor Heritage Chronograph is emblematic of all three methods, deriving its dimensions and inspiration from the lauded Oysterdate Chronograph in the 1970s. It’s a contemporary spin of its celebrated ancestor, evoking the endurance and affordable quality inseparable from the Tudor brand. Meticulous work stems its daring and solid attributes, with its bi-directional graduated steel bezel doubling as a pretty decent GMT watch.
Omega Speedmaster 57 The Speedmaster '57 is like one of those bits of heritage nostalgia which strikes an emotional chord; Finding ancestral traits with the original Reference 2915, which incidentally bore the name "Speedmaster" even before the grandfather of the Calibre 321 Moonwatch birthed in 1946. Unveiled at Baselworld 2015, the new Speedmaster 57 with broad arrow hands is a true-to-life descendent homage thanks to its steel bezel, patinated indices and crown sans crown-guard. The new edition eschews the tri-compax arrangement of subdials for a cleaner, more efficient two dial chronograph backed by a precision co-axial calibre.
Insider's Pick
Hamilton Pilot Pioneer Auto Chrono Flight has always been one of man’s all-time favourite interests, especially when you consider the bourgeoning growth of daytime desk jockeys and weekend drone pilots who dot the skies with aeronautical contraptions. Hamilton’s Pilot Pioneer Auto Chrono joins our aspiration for flight with an earthbound endurance enunciated in everything, from its exclusive H-31 chronograph movement to its understated twin-register dial. Roman blades with elongated tips fly across its two sub-dial continents, with its date interstice located in between the 4 and 5 o’clock amidst its black sea dial. The detailed scale rounds this wristwatch in sporty detailing, within a domed sapphire crystal and encased within a solid sandblasted stainless steel case.
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The Millenary Post
brief
Pared Down. Dressed Up. These timepieces are living testaments to the statement that design doesn't have to shout to be heard By Gary Jonas Lim
In fact, there is technically no such thing as a dress watch. During the Edwardian era, it was considered the height of incivility to so much as glance in the general direction of a time-telling instrument, in essence, it was a symbol of boredom and an insult to one's host. In truth, timepieces today have become unofficial emblems of one's status and taste, the aesthetic function of an outstanding contemporary dress watch has to be unobtrusive and not draw any overt attention. In reality, thin as they've become, they still manage to acquire stolen glances for its elegant sophistication even when tucked under one's shirt sleeves.
Jaquet Droz Grand Second Deadbeat Bach’s "The Musical Offering" may not be his most popular but in the Quaerendo Invenietis or "crab canon" combining retrogression with inversion, it is the composer's most technically impressive ergo there is an allegory can be found in this timekeeping masterpiece. “Deadbeat” seconds is a rare complication, conceived even before the 1800s during the Age of Enlightenment. Here, instead of a linear sweep the second hand makes a small jump from second to second, reminiscent of early chronographs seeking to display precise measurements. Jaquet Droz’s Grand Second Deadbeat is subtle overture to an elegant past where each crescendo is tangible spectacle from something we used to associate with your run-of-themill quartz watch.
Patek Philippe Calatrava 5227
Speake marin Serpent calendar
During the formative years of the workshop, Peter Speake-Marin developed the Serpent Calendar. Designed as part of the original Piccadilly line, the serpentine date pointer hand at the centre of the dial was a classical throwback to the earliest calendar complications. At launch, the case measured 14mm thick, today, losing 2mm thickness, the timepiece with 5 day power reserve and roman numerals on white lacquered dial becomes an apt dinner companion.
Insider's Pick
Frederique Constant Slim Line Moonphase
Perfection imbued in every minute detail, the Calatrava is considered by many to be a foundational timepiece when it comes to Patek Philippe's watchmaking philosophy. It may not look like much but from its gentle ivory lacquered dial to the iconic officer caseback providing patriarchal protection for the viewable automatic calibre 324 SC, you are a witness to almost two centuries of fine timekeeping. Aesthetically, the dainty dots of the minute circle, dauphine hands and trapezoidal indices all decked out in white gold completes the humble yet sybaritic values of the modern gentleman.
Subtle yet detailed. Frederique Constant’s Slim Line Moonphase exudes the charm of a fine evening suit, with its thin indices to its all-round welcoming curvatures. Its moonphase subdial summons a gentle complication with numbers and dots around its bevelled subdial to portray the date. Beneath, lies a balcony showing the twilight sky and the alluring moon phases, bringing the subtle timepiece into visual equilibrium.
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The Millenary Post
Acquisitions
Acquisitions
The WATCH
What if the most stylishly cinematic man, returned today? What would Thomas Crown acquire?
Breitling Transocean 38 The Transocean 38's slim beveled bezel and slender tapered lugs with twin-aperture grande date calendar and small seconds lend elegance for a sophisticated adventurer.
By Jonathan Ho
the relaxation assistant
the shades
Bowmore Black Roack
The Intelligence Tool
Sony RX100 IV Scoping out your mark has never been quicker or easiest with the fastest shutter speed, 4K super-HD recording (with slowmotion HFR) mode and fantastic lenses.
Matured in ex-Spanish sherry casks, Mr. Crown would do well to bask with a calming yet punchy bouquet of peat smokiness, treacle toffee and orange inflused with raisins, pepper and warm cocoa.
Burberry Scholar Collection FW2015 Move aside Persols, a new icon in the form of a highly dandified yet intelligent interpretation from Burberry has arrived.
the conversation piece
The Getaway Bag
Dunhill Carry-All FW2015 Exquisite leather holdall in classic doctor's bag configuration with modern hot pink accent closure for the contemporary gent.
Touch Vertu for Bentley An elegant expression of British luxury and uncompromising performance for the criminally smooth and sophisticated.
the suit
the ride
Bentley Continental GT Speed 2016 The perfect balance of speed, luxury and automotive swagger. The definitive vehicle for someone who has no choice but to live stylishly in the fast lane.
Huntsman for Bentley A Huntsman collaboration with Bentley motorcars, creating a bespoke suit with craftsmanship, performance and luxury. Motifs on the lining recall the Bentley Boys era of the 20s.
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The Millenary Post
The Origin of Species Longines stands an exemplar of an old school manufacture making evolutionary steps into modern commercial watchmaking and today, stands an industry behemoth By Jonathan Ho
Longines has been based at St. Imier, Switzerland since 1832 when Auguste Agassiz first arrived to manage a watch trading office. No watchmaker himself, Aggassiz's contribution was access to financial and commercial networks, allowing newly minted watchmakers returning from their own apprenticeships to meld fine hand crafts with the finest technology available at the time. He might not have realised it at the time but he had already prepared the foundation for modern commercial watchmaking. 180 years later, Longines President Walter Von Kanel is not just presiding over the greatest brand growth for the last 50 years but also demonstrating a model of watchmaking which enjoys profits in excess of one billion Swiss Francs. More importantly, Longines serves an even greater function- enticement of a new breed of collectors drawn from a wide audience attracted to the high value proposition of St. Imier's premier marquee. You have been in the watch business for over 50 years, what are some of the biggest moments in watchmaking to you? The biggest change was the attitudes in watchmaking. In the beginning, it was the watchmakers who decided what
The most important criteria of a watch for the consumer and myself is that it never stops. I want to push product not the movement because the watch is about the design and its unique characteristics.
they wanted to make and thus, what could be sold. We eventually moved to a model of letting the market decide and then they produced what the executives decided. Do you consider that watchmaking has gone backwards, returning to independent manufactures rather than the consolidated vision Mr. Hayek had? You have to consider the ratio of watches – price versus volume. Longines with 1.4 million pieces is in a different league and strategic approach. I can understand that a brand making 600 pieces a year utilising maximum marketing on the worth of the movement but when I decided that we should stop being a manufacture in 1984, my decision was that we use ETA so that we would sell a watch for maximum value, with maximum quality for that value with the best workhorse calibres for reliability. Now, we have taken incremental steps with exclusive movements but we have found success in volume. The most important criteria of a watch for the consumer and myself is that it never stops. I want to push product not the movement because the watch is about the design and its unique characteristics. I don't think Longines has done badly to be among the only other billionaire watchmakers: Rolex, Omega, Cartier, Tissot and Patek. One has to focus without being stupid. Do you think a smart watch is a focused decision or a crazy one? Apple and Samsung are the experts in this field due to their flexibility, know-how, experience and technology but most importantly, they're very fast. Once the new model is out, the old is obsolete and they do this at a speed which the Swiss watch industry isn't used to. I'm happy that this phenomenon is here and more importantly, it will convince the young generation to once again start wearing watches. In time, they will realise that a timepiece is not so much about time-
discourse
Longines heritage 1935
keeping but rather a status symbol. Watchmakers who are saying they will have the most advanced smartwatch will be taking resources away from advertising budgets to our advantage. It's a good policy to make less mistakes than other people. [Laughs] So Longines won't be among the early adopters of smart watch tech? Longines released its first quartz model in 1969 just after Seiko. Today, 83% of my business in mechanical watches versus 17% in quartz with both having models for Madame and Monsieur. When you put 650,000 watches on Chinese wrists each year, the biggest problem is watches that stop. Longines will adopt new technologies only when we can reliably produce them. Longines products are planned to last for a lifetime and I will not be going into smartwatches until I am certain they will not flop. Longines has immense heritage, is there an opportunity for you to reclaim top position by introducing higher end models? We have history and it shows when our greatest PR (public relations) hits have been re-issues like the Legend Diver and the Heritage 1935. High quality production and a large archive of fantastic pieces gives us the opportunity to introduce consumers to the finest of our collection without betraying our new commitment to attractive price points without sacrificing quality.
Longines Symphonette
Longines Equestrian
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The Millenary Post
Raiders of the Lost Arts A selection of five timepieces emblematic of the finest practitioners of haute horlogerie By Jonathan Ho
Watch appreciation can be a quasi-religious experience, each brand served by a retinue of believers and crusaders. Given the complexity of fine engineering, it becomes understandable that our mortal minds find synonym in that the teleological argument for Earth's genesis. Naturally, it begins with prima facie assertion that for such a complex bio-diverse ecology; there must be, as stated by William Paley, finding a watch lain amidst the moss-turned pebbles, some artificer or higher power who willed the manifestation of such a contrivance. That said, Scottish philosopher Hume may have
Photography: Wong Wei Liang Photography Assistant: Karin Tan Styling: Vernon Sim Fashion Assistant: Christine Lim Hair: Eileen Koh, Hair Philosophy using Redken Make-Up: TG Goh using YSL colours Models: Nikita & Marcus H (Mannequin) Shot on location at Naumi Hotel On Him: Master Grande Tradition Grande Complication, Jaeger-LeCoultre; Turtle neck sweater and pants, BOSS Men On Her: Knit top and skirt, BOSS Women; Red python leather Castile bracelet, Viktor Alexander
demolished the analogy but the concept of haute horlogerie itself is beyond refute. While the universe and the ones parallel to it are far too vast and we yet lack the scientific skills to quantitatively measure and define to any degree or certainty how they were designed, the competence in the manufacture of such high complications is much easily defined. There's a reason we call them "Grail Timepieces", acquisition of one is emblematic of the Round Table's quest for the cup of Christ to horophiles, it is the sum total of centuries old knowledge from the 17th century joined with the most awe-inspiring technologies of today. These are the classics of tomorrow.
cover story
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The Millenary Post
Master Grande Tradition Grande Complication, Jaeger-LeCoultre
Jaeger-LeCoultre Master Grande Tradition Grande Complication Prior exemplars have articulated traditional watchmaking forms through contemporary reinterpretation. With Jaeger-LeCoultre's Master Grande Tradition Grande Complication, the grande maison interprets modern horology through classic lenses. Inspired by 19th century pocket watches, Jaeger-LeCoultre reflects the sophistication of the era through a concave bezel and contrast finishing with the satinated case middle and polished lugs; its mechanical elegance is uttered with the sidereal orbital tourbillon. Rather than embedded within the Calibre 945, the counter-clockwise 23 hours, 56 minutes and 4 seconds flying tourbillon orbits the dial as if suspended on the edge of space. An ultraminimalist classical tourbillon made from advanced titanium, the rotating escapement indicates astronomical time rather than civil time, based on remote fixed constellations of stars. The dial artistically illustrates a sky chart of the Northern hemisphere with a sun motif performing a full orbit of the dial in 24 hours whilst pointing to the zodiac, months and days on the periphery, a practical necessity indicating standard civil time; beneath its beautiful countenance, a hallmark of true tradition - the minute repeater with crystal cathedral gong for exceptional aural richness. The trebuchet hammers optimise energy efficiency, delivery not just nuanced musical notifications viewable through the sapphire caseback but also with its efficiency, bequeathing the timepiece with close to 2 days run time.
cover story
RM 27-02 RN for Rafael Nadal, Richard Mille
on the cover
Richard Mille RM 27-02 RN for Rafael Nadal Invented in 1795, a timepiece with free-rotating escapement assembly isn't the sort of thing you take with you to even the most sedentary of sporting activitiesgolf. Yet, here we have Rafael Nadal, arms akimbo, swinging, hitting and executing power moves like his formidable two-handed back-hand on the tennis courts with a RM 27-02 RN on his wrist. Back in 2010, Nadal was made to wear accelerometers during his practice sessions and the horologists at APRP (Renaud & Papi) found that with a single tennis serve, Nadal generated around 800 Gs of force. Compared to the your golf swing of about 200 Gs and the requisite warning to not wear your tourbillon par course seems a tad unreasonable. Rather than a sterile lab environment, the RM 2702 designed on a human test-bench of shock, sweat and motion; it was brutal. In 2010, Nadal broke six prototypes in the initial tests but it was due to the demands of his lifestyle, his propensity to live civilian life on the edge, uncovering weakness most of us would
have never imagined, necessitating a crown tube made of titanium. But through it all, the movement never failed and it had a bed of shock absorbers to thank. Where human endurance records have endorsed upper tolerances in the human body for up to 46 Gs in 1954 (courtesy of test pilot John Stapp), the new RM 2702 is certified to handle 5000 Gs. However, the real damage isn't in the force exerted but the repetitive nature of such intense forces like ball-to-racquet impacts, each travelling around 30 to 40 mph, lasting a few milliseconds multiplied by a thousand strikes and what you have is a recipe for havoc even on the stable of mechanical escapements much less a freerotating one like a tourbillon on the wrist of a world champion like Nadal. In pioneering advanced materials and sophisticated watchmaking techniques, individual components and complications never define a Mille yet qualifying the acquisition of such an exotic timepiece a milestone. 50 piece Limited Edition.
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The Millenary Post
On Him: H2 Gun Metal, HYT; Turtle neck sweater, BOSS Men; Pants, Bottega Veneta On Her: Knit top and skirt, Bottega Veneta
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H2 Gun Metal, HYT
HYT H2 Gun Metal Considered to be one of the oldest time-measuring instruments , the clepsydra or water clock was an ancient system utilising the regulated flow of liquid to measure time's passage. While HYT's H2 Gun Metal does not yet use a fluidic method of regulation, their partnership with Domminique Renaud (formerly of Renaud & Papi) looks set to revisit that age-old design but I digress; instead, the H2 uses fluids to indicate hours while a central minutes hand points to the moments short of the hour. At 49mm, case architecture is perhaps the most surprisingly elegant and comfortable demonstration of know-how from the Hydro Mechanical Horologists but it's the movement which evokes the most awe. Developed by APRP, the H2 integrates the fluidic module of glass tube, indicating liquids and twin pistons
into the calibre itself. On one end of the capillary, an aqueous fluorescent liquid, on the other, a transparent viscous solution, both working through repulsive force at the meeting point of both fluids to provide a flat meniscus for precision time display. When one of the pistons decompresses, the change in pressure moves the solution. The remarkable depth of the calibre is possible with APRP's signature exposure of technical details like gear train and escapement assortment. Sitting opposite APRP's other mechanical emblem (the crown position indicator) is a thermal indicator (exclusive to HYT), a necessary gauge given the issues of viscosity and displacement resulting from temperature fluctuations. Twin barrels provide 192 hours (roughly 8 days) of power reserve. 15 piece Limited Edition.
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The Millenary Post
L-evolution Collection Ref. 92322-34B39-55B, Blancpain; Turtle neck sweater and trench coat, BOSS Men
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Blancpain L-evolution Collection Ref. 92322-34B39-55B L-Evolution has always been a 'study of the future of horology' for Blancpain representing the maison's most innovative and avant-garde ideas. Thus, each L-Evolution model with its modular case presents some of the Le Brassus manufacture's most provocative timepieces even if the concepts demonstrated therein were from a bygone era; take for example Bonniksen's carrousel developed in 1892, in principle, an escapement designed to offset gravitational errors much as a tourbillon but differing in technique and architecture where cage and escapement are driven independently. Re-introduced in 2008 by Vincent Calabrese for Blancpain as a flying version, 2015's Blancpain L-evolution Tourbillon Carrousel is an aesthetically aggressive update on the classical wristwatch with grand feu enamel dial from 2013. Best of all, the new dial design with openworked asymmetric bridges and base plate brings to the fore the high complexity of the calibre 2322V2. The frosted finish and NAC coating which bestows stealthy hues on the bridges and more importantly reveals the dimensionality and dynamism of twin regulators, each powered independently with its own barrels yet working in tandem to regulate timekeeping through two differentials averaging two potentially different running rates from each assortment. The case is in platinum with a diameter of 47.40 mm and is fitted with an integrated black alligator strap. 50 piece Limited Edition.
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The Millenary Post
Re-introduced in 2008 by Vincent Calabrese for Blancpain as a flying version, 2015's Blancpain L-evolution Tourbillon Carrousel is an aesthetically aggressive update on the classical with grand feu enamel dial from 2013.
L-evolution Collection Ref. 92322-34B39-55B, Blancpain
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On Him: Ref 5207/700P-001, Patek Philippe; Turtle neck sweater and suit, BOSS Men On Her: Turtle neck top and skirt, Bottega Veneta; Brown crocodile leather Castile bracelet, Viktor Alexander
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Patek Philippe Ref 5207/700P-001 There's good reason why experts and aficionados consider Patek Philippe one of the most prestigious mainstream brands at the highest rungs of haute horlogerie. Legacy built upon almost 180 years of history, the Plan-les-Ouates manufacture is living proof that classics never die or go out of style. That is not to say that they're non-experimental either - they were among the first Swiss producers of the beta 21 calibre used in Electroquartz watches and also progenitors of the modern sports luxury watch- the Nautilus. Yet, even as the world embraces the ultra-machined, over-designed style of timepieces, Patek Philippe stands a bulwark of connoisseurship, introducing the Ref 5207 with arguably the most prestigious (given
the proliferation of tourbillons in the last 10 years) of classical complications- the minute repeater. It's a confluence of challenges of the mechanical and aural variety - difficult to engineer for good sound and high reliability; the 5207 tourbillon minute repeater is home to a perpetual calendar and moonphase day and night display, 549 individual components ensconced within a 41mm case, incidentally, also the third most complicated wristwatch for the maison. If that bit of engineering geekery doesn't yet seduce you, the chocolate gradated dial with contrasting handguilloched center with white gold applied hour indices will having you falling in lust at first sight.
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The Geek will inherit the Earth Pansy Ku, Vice President of Christie's Asia and Client Development Director of Watches on the secret to what makes watch values tick upwards at an auction By Jonathan Ho
Regions like the United States prefer vintage pieces, is there a similar stratification with a smaller market like Singapore or Hong Kong? Our collecting history has been a lot shorter when compared to Europe or North America and that is why they have seasoned collectors who then go for vintage pieces. According to data we analysed, we noticed an increase on number of bids and bidders for independent brands. This allows us to better curate our sales. People here understand the difficulty of being an independent watchmaker in terms of the amount of work and investment compared to the big brands.
As with art and jewellery, an auction house really doesn't advise people to buy simply for investment, that's what your stocks and property markets are for. I think that if you do your research and buy well with some kind of focus, you have a better chance getting something back together with the enjoyment of your watches. 70s, you would be smiling all the way to the bank today. Everyone pays their "school fees" at the start of a journey of collecting but it's also dependent on intrinsic value. The guy who collected Swatch watches probably never imagined that one day his collection would be worth HKD40 million. Are the values of vintage timepieces influenced by present day marketing? Will we ever see another Newman Daytona situation again? Not so much. There's a huge budget when it comes to marketing luxury watches but it's up to the consumer to see past that. Yet, I believe in Patek Philippe's campaign for "keeping it for the next generation" because the DNA is so wonderful. You can track each watch, which date it left the factory, when it was sold and for a collector, there is confidence that whatever I buy, it's timeless and never outrageous. Is there a generational shift in collecting habits?
Heritage is the coin of the realm, so with the Independents, provenance is not easily quantified, how do you as an expert assess the value of something like MB&F?
Not really, it's more a matter of budget. When people in
their 30s get to a certain level of earnings, one of the first watches they usually get, is the Patek Philippe Nautilus. I don't know, maybe it's the design but I see too many peers and colleagues who come and desire the Nautilus rather than the Calatrava. it's either that or the Royal Oak, it's always the iconic ones. They are such conversational pieces and it's the ability to generate a communal discussion which drives a lot of these pieces. Other than watch geekery with vintage Rolexes, are there any other factors which contribute to demand? I think you collect what you're familiar with. In my generation, we were given a stainless steel Rolex when we graduated because our parents regarded it as a very reliable watch so many people already knew about Rolex. You could start a collection with not a lot of money thanks to Rolex. The only other brand with a similar forum would be vintage Panerai, not the modern ones, they actually meet in this town in Italy to talk watches. Apart from Rolex, no other brand comes close in terms of geekiness.
We don't have enough perspective on young brands but the fact remains that there's longevity in the creativity, it doesn't matter if it's a timepiece or a jug. History will remember brands like MB&F for their really creative designs. However, I would not put a monetary value on it. A brand with integrity like Greubel Forsey protecting heritage watchmaking in terms of movement; someone like them will never just disappear. Some auction values dip after a high and then remain for some time, how do you advise people? We don't. As with art and jewellery, an auction house really doesn't advise people to buy simply for investment, that's what your stocks and property markets are for. I think that if you do your research and buy well with some kind of focus, you have a better chance getting something back together with the enjoyment of your watches. But if you're just going to buy watches with no methodology, it's not going to happen. If you had bought Patek in the
Patek Philippe ref. 5074
A. Lange & Sรถhne Zeitwerk
Vacheron Constantin Chronographe
The Millenary Post
Dreamweaver An exclusive interview with Bottega Veneta's Tomas Maier on his most industry defining moments and the challenges of taking the maison to a new level.
As told to Andre Frois
What have been the most unforgettable moments of your career? The first time I met the house’s artisans, right before I accepted the position in 2001. I was very moved by their incredible passion for their work, even then when the company was struggling to survive. Another moment I will never forget is when we opened our beautiful new atelier in a restored 18th century villa in Montebello Vicentino, during Summer 2013, after seven years of planning and construction. I couldn’t have been more proud. How has the customer changed since you began your career at Bottega Veneta? Customers are increasingly sophisticated and better informed. They have an interest in where materials are sourced, where products are crafted, and issues of sustainability. Customers are also – and this is not always positive – obsessed with the newest and latest. This is an inevitable result of technology and social media. But obviously, at Bottega Veneta we are not interested in chasing trends or producing collections with an expiration date. Your work exhibits meticulousness and function. If there is one message your products would say if they could speak what would it be? Understated luxury. I don’t worry about competing with logo-conscious brands. There are plenty of people who prefer our quiet style of luxury. I don’t try to please everyone. The main challenge lies in training new generations of artisans who can keep our unique craftsmanship alive in the Veneto region. We founded La Scuola dei Maestri Pellettieri di Bottega Veneta for this reason, where students work alongside experienced artisans, very much in the spirit of the traditional apprentice system.
We are definitely moving toward more relaxed clothing for men. There will always be a need for a sharp suit or smart jacket, but on a daily basis modern men are not dressing so formally but don’t want to sacrifice quality and still want to express their personal style. – Tomas Maier on the key trait of Bottega FW 2015/2016
How does this less-is-more aesthetic explain your philosophy of luxury and what are Bottega Veneta’s main challenges in this strategy? With a less-is-more aesthetic, it’s imperative that the materials and craftmanship are absolutely superb. We can’t hide behind embellishments and flash – when you do a minimal design, the quality needs to be perfect. A brand like Bottega Veneta is the epitome of luxury but also quality and craftsmanship. How do you continually deliver this message to your customers? We make sure the staff in all of our stores have a thorough understanding of how we have crafted each item so that they can demonstrate to clients the fine details of materials and construction. We have also been deepening the offerings on our brand site – for instance we now offer a rare look at the process of creating the Veneta bag, including videos of our artisans at work. But above all, I believe the quality and craftsmanship speaks for itself. Whether we are working with crocodile or nappa leather, double-faced cashmere or corduroy, we use only the best quality materials. And the craftsmanship reveals itself not only in the way the product is meticulously handstitched, woven, dyed etc, but also in the way the piece holds up over time. What inspired you to infuse casual wear with rich materials and warm colours in this Fall-Winter 2015/2016 collection? What were your primary ideas when you were putting this collection together? I was inspired by the sort of nonchalant, dishabille style of dressing you sometimes see with artists. These are
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men who have a natural and fearless instinct with color, but maybe because they are working alone in their studio don’t necessarily put a lot of care into their dressing. So their coat might be rumpled, or their sweater mended, maybe the shirt and trousers unmatched, but somehow it looks marvelous together in the most inspired way. Besides a universally recognised intrecciato weave, in what other ways do you wish to define Bottega Veneta? It’s hard to say. I don’t want to put too much emphasis on branding. I prefer when our creations don’t announce themselves so obviously as Bottega Veneta. But every one of our products has been created according to what I call our four cornerstones of the brand: fine quality materials, extraordinary craftsmanship, contemporary functionality and timeless design. These are the essential qualities that define anything from Bottega Veneta. You spoke about nonchalant combinations and individualistic dressing for your men's FallWinter 2015/2016 collection, what made you move towards that direction? It’s not a new direction per se. I’ve always liked unselfconscious looks – I dislike when an outfit makes you think that the man took a lot of time to put his outfit together. What is a key item from the Fall-Winter 2015/2016 collection? The relaxed pull-on pants. Forget everything you know about elastic waist trousers – these are beautifully made and so comfortable you won’t want to take them off.
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An Answered Prayer The smallest boutique bootmaker with the some of the highest standards in the industry has finally descended upon Singapore. Let's welcome the heavenly Saint Crispin’s. As told to Andre Frois
40-year-old family tailoring business LeongT is now the sole distributor of Saint Crispin’s in Singapore. A boutique men’s emporium, LeongT’s current director Jonathan Chiang left his job in Shanghai to revamp his uncle’s business in December 2013, which before then seemed destined to close due to rising overheads and the founder's inevitable impending retirement. Inspired by Chiang’s tale, Saint Crispin’s owner Phillip Car agreed to distribute his acclaimed hand-welted leather shoes at LeongT after turning down several other menswear boutiques. Limited output and careful selection of partners has kept the canonical name in made-tomeasure shoes up alongside the oldest, heritage names in bootmaking and it's a testament to their quality and craftmanship. Their annual production of only 1,500 pairs each year shows how dedicated Saint Crispin’s and Phillip are to the calibre of each individual shoe. The Millenary Post caught up with Mr. Car in search of the gospel truth in a market of growing bespoke artisans. In a market where both demand and supply of high-quality dress shoes are burgeoning rapidly, how does Saint Crispin’s differentiate itself? We believe in hand techniques over machines. Our team of 24 artisans only produces 1,500 pairs per year because we believe in making each pair with the best of our ability. Each pair is a single order and is made from scratch in our bespoke workshop. Half our orders are ready-to-wear and half are made-to-measure, starting from the entry price of $1,950. And Saint Crispin’s has also become quite renowned for its fast turnover speed? Yes. Actually, something that also differentiates us is our ability to deliver an order within six to eight weeks.
What are the range and capabilities of your bespoke programme? We offer a multitude of different designs, colours and materials. A client is free to combine different leathers and various patterns – they usually come in with a few pictures from the Internet of what they want. We also offer the service of applying monograms to the soles of one’s shoes. We are agreeable to help a client realise any dream shoe, so long as its design is in good taste. With our savoir-faire and technical knowledge, we advise the client and it becomes a mutual discussion. To find the perfect fit, it has to be a conversation. Neither party can force the other to do something that they feel strongly against. Is Saint Crispin's size an advantage when it comes to bespoke shoecrafting? Exactly, yes. All our competitors are a little bigger than us, thus more inflexible. Products accumulate greater cost because of these companies’ big administrations, so they have to be retailed at higher prices. We saw this niche demand for deeply detailed requests and managed to develop a business that produced these tailor-made shoes quickly and at a welcoming price point. Saint Crispin’s is a relatively new brand, but has quickly risen to become a brand to watch. How did your success come about? My cousin registered the label in 1992. We grew the brand first by engaging select retailers, then when the (European) crisis hit in 2008, my cousin stepped out and I took over. I set the company up differently, focussing more on shoes and less on accessories, reducing our non-footwear products to just belts.
We believe in hand techniques over machines. Our team of 24 artisans only produces 1,500 pairs per year because we believe in making each pair with the best of our ability. Each pair is a single order and is made from scratch in our bespoke workshop.
So what defines Saint Crispin’s today? I work hard sourcing special materials and artisans to make Saint Crispin’s shoes exquisite. Saint Crispin’s is for the gentleman who requests authenticity, and wants to feel good in nice shoes that give him a confidence boost to do what he does better. I call it “conservative with a twist”. Discreet comfort and design that leaves one with no concerns as to whether or not he is dressed well. What moves fastest at your points of sales nowadays? We have a few signature pairs. The bestsellers are still the traditional classic models, like the long-wing fullbrogue oxfords in dark shades like chocolate brown.
tales of a maison
How did you feel when this philosophy converted the likes of Will Smith and Jason Clarke to wear Saint Crispin’s? Humbled and very honoured. Might Saint Crispin’s newfound fame be a good juncture for the brand to increase production? No. Even if we wanted to, our output is not easy. It’s not as simple as pressing a button. I require our ateliers to have four to five years of experience, before I consider if they are ready to craft a Saint Crispin’s shoe. I’d like to keep our quality standards high, our level of service high, and make as few mistakes as possible. However, we will be adding designs, details and accessory options in the near future.
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The Great Minimalist Christian Liaigre is a design practitioner of the highest order, amplifying the finest details in the most minimalist of textures
By Jonathan Ho
The line between ornate sophistication and purist elegance is a fine one. Hence, when one walks into his Parisian showroom gazing upon a pair of mod 1960s rattan armchairs by Joe Colombo or glancing toward the flanking, era-precise, Harvey Probber sofas with a Paul Frankl side table from at least 30 years prior, one begins to gain insight into the mind of designer decorator Christian Liaigre. The juxtaposition of historic and contemporary aesthetics is emblematic to the quasi-philosophical artistic leanings of Liaigre. His years of quiet contemplation have generated intimate understanding of the natural composition of surfaces encouraged by time-weathered materials - like Michalangelo teasing the exquisite David from yond a block of marble - Liaigre casts his lot with sea-borne drift wood, setting alight a creative spirit and an unyielding focus to not just form but texture. Like the curated fixtures and fittings which adorn his maison on rue de Varenne, Liaigre is intricately aware of the versatility of luxurious yet understated designs. Like all things, a beautiful woman or the magnificence of a timepiece, timeless elegance is a product of harmony and contrast: for an interior to be deemed perfect, the eye has to grasp the fine grace of the individual object as well as the totality of the room's furnishings; it's tall order made short by the 70 year old. Before he started his namesake marque in 1987, Liaigre was a student at the Paris Academy of Fine and Decorative Arts. Yet for his prolific work we recognise today, he didn't set immediately into a venture of craft, he taught drawing techniques at the Academy Charpentier, watching artists like Brancusi, Poliakaff and Giacometti grow and succeed until stagnation of the creative arts forced him to seek refuge in the Gaia's natural artistry, leaving Paris at the end of the sixties and devoting himself to another passion, equines. Breeding horses for the next ten years, Liaigre recuperates till his fertile imagination can hold no more splendour, he then returns to the world's cultural capital and begins to transmit, first on paper and then upon wood, metal and leather with the Maison Nobilis, launching his first furniture line; but it is not until his first boutique in the heart of the City of Lights and the others which follow across the continents and even Saint Barthelemy in the Caribbean does his handiwork
Decoration must not be a fashion
truly flourish. For Liaigre, it no longer becomes about singular creations, his is a study of the entire interior architecture, expressing a spatial awareness honed by years of observing nature and men's encroachment of it and within, finding accord and equilibrium. While the typical mortal is likely to categorise his work as separate business of interior architecture and furniture, Liaigre's mind is of the highest order: they enjoy a symbiosis; he designs pieces for integration with the environment; it's a story to be told and a concept to be developed, not just furniture to be sold. In terms of design ethos, Liaigre is a man of unvarnished opinions, "superfluous decorative elements impede the natural accomplishment of integration into space," he warns and his intent, evidenced by the allowance of customisation of furniture from size to finishing, is referential to the belief that the main objective of a well-designed space is to create an atmosphere in which one can feel at ease and comfortable. Working with institutions like the French Senate and the High Court in Lyon, Liaigre's clientele is far reaching and primarily involved with the Arts and if they aren't,
design
they're at least in the business of making feel at home when they're guests are away from home. Enter the renovation and redecoration of the Montalembert Hotel in 1990 and the Mercer Hotel in New York in 1997. In the intervening 30 years, Liaigre hasn't rested on laurels, releasing two books and quite epically in 2008, in a way no other company with such relative youth has ever accomplished, accepted an invitation to join the Comite Colbert, a council formed to promote French art de vivre and whose membership rolls are home to multi-generational names like Chanel, Vuitton, Cartier, Hermes and Lafite-Rothschild. Then a partnership with Edmond de Rothschild Capital Partners sends his brand name stratospheric, a sort of design panspermia, perpetuating the vision and genetic identity of the Liaigre brand to far flung destines including Singapore at Purvis Street. Over the last 25 years, Liaigre's minimalist chic has garnered attention from the global elite and in April 2015, he celebrated his rarefied vision with his third book - the Liaigre Book III, reinforcing a dedication to that ethos - comfort in delicacy and rareness.
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A Shot of Art Sunil Kaul, Managing Director for Leica on why a camera isn't just for taking pictures but making one
By Jonathan Ho
Leica has been making cameras for over 100 years, you've even crafted a camera from a block of solid aluminium, at this point, where can the brand go? When a device is in the market and has taken market share from dedicated camera makers, it means that the industry is changing. We have visionaries in the company who are focusing the company on hardware, software and services. It won't be just photography in terms of products but also services which complete the cycle of photography, like what happens after an image goes from memory card to computer- One of the services could be providing an archiving system as elegant as our cameras to every photographer. There's a saying that "the best camera is the one you have with you all the time" and so that's led to mobile phones becoming the camera of choice for many, do you see Leica having closer integration with something like an Android system? The new model allows you to connect with your iPad through Wi-Fi whereas smartphones can post to the internet directly. That said, these mobile devices do not have the image quality of a Leica. An image shot from our cameras can be worked on. Our philosophy is about the quality of pictures rather than the speed of sharing. We are happy with mobile phones introducing millions to the concept of good photography and framing; it's become a good habit and from there and a small group will graduate to a Leica when he understands he's no longer just taking a picture. He's making one.
But there's this perception that Leica is meant for professionals? Yes and it's unfortunate because a Leica is easy to use even for non-professional photographers like myself. People always ask me if we make anything for "normal" people and the truth is, only a very small percentage of photographers use a Leica for work. The majority of Leica users tend to be consumers like Andrew Lum who love to create beautiful images. It's definitely not only meant for professionals even though it does look like one because it comes feature packed.
Technology products like cameras become obsolete quickly, how do you convince someone to drop four digits on a Leica? Every camera has four pillars - mechanical engineering, optical engineering, digitalisation and electronics. Which is the best company in the world in each of these fields? We are a brand of over 160 years and the best in mechanical and optical engineering. We don't claim to be the best in digitalisation and electronics but we buy the finest and work with the best in those field. The lifecycle of our products are generally longer, these are cameras to be enjoyed.
H1 Air Classic, HYT; Veles Skull with Black Spinel Stingray Bracelet, Eternity with White Topaz Stingray Bracelet, Viktor Alexander
Publisher Derek Ho Managing Editor Jonathan Ho Writers Andre Frois, Cheryl Ann Chia, Gary Jonas Lim Creative Director Lee Wanyu Stylist Vernon Sim | Assistant Christine Lim Photographer wong wei liang | Assistant Karin Tan Make Up TG Goh using YSL colours Hair Eileen Koh, Hair Philosophy using Redken Models Nikita & Marcus H (Mannequin) Published by Millemedia group | Printed by times Printers www.themillenary.com | Contact us at connect@millemediagroup.com Advertising Enquiries sales@millemediagroup.com
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on the covers
On Him: RM 27-02 RN for Rafael Nadal, Richard Mille; Turtle neck sweater and pants, BOSS Men On Her: Masy, The Chameleon Hoop Earrings, Boucheron; Maxi Dress, BOSS Women
Garden and Cosmos Earrings, Tigre Ring, Boucheron; Dress, Cardigan and Belt, Bottega Veneta