Revolution Hong Kong - Autumn 2012 - Parallels Plesk Panel

IN AWE OF GOLD 

THE METAL’S 

PRESENCE IN WATCHES 

LANGE AKADEMIE 

PRESERVING AND 

PASSING ON THE ART 

CITY SLICKER 

RANGE ROVER’S 

STREET SMART EVOQUE 

autumn 2012 

#20 

HK$80 

HONG KONG 20 

CARTIER 

TANK CAPTURES ERAS, 

CONQUERS BORDERS

The LANGE ZEITWERK rang in a new epoch 

in mechanical watches. 

The LANGE ZEITWERK. 

The first mechanical 

wristwatch with a precisely 

jumping digital display of 

hours and minutes as well 

as a patented constant-force 

escapement. 

For the master watchmakers at A. Lange & Söhne, the LANGE ZEITWERK 

was a formidable challenge. Never before had a mechanical wristwatch 

with a patented constant-force escapement indicated the hours and minutes 

with a precisely switching digital display. Every minute, its jumping 

numerals display moves one or both minute discs forward. At the top of 

every hour, it also advances the large hour ring by precisely one digit. It 

is one of the most advanced mechanisms in precision horology today. 

Meanwhile, Lange’s masters have taken things a step further. With the 

A. Lange & Söhne Hong Kong 1881 Heritage, Tsim Sha Tsui Tel: (852) 2312 2085 A. Lange & Söhne Shanghai Huaihai Middle Road 812, China Tel: (8621) 6323 2109 

Central: Carlson Watch AON China Building Tel: (852) 2525 5478 Elegant Watch and Jewellery IFC Mal Tel: (852) 2117 0000 Emperor Watch and Jewellery New World Tower Tel: (852) 2522 1788 

 

 

Tsim Sha Tsui: Elegant Watch & Jewellery Ocean Terminal Tel: (852) 2735 8481 Prince Jewellery and Watch Peking Road Tsim Sha Tsui Tel: (852) 2369 2123

LANGE ZEITWERK STRIKING TIME, they succeeded in creating a wristwatch 

that also accompanies the passage of time acoustically. Its striking mechanism 

produces a high-pitched tone every quarter hour and a low-pitched tone 

every hour. The energy required for this process is accumulated, when the 

Now, it can also be heard. 

The LANGE ZEITWERK 

STRIKING TIME. 

A masterpiece that 

sounds the time at 

a quarter-hour cadence. 

Thus, the passage of time 

becomes audible as well. 

numerals discs are braked at the end of every minute jump. To assure that 

the sounds carry and reverberate harmoniously, the master watchmakers 

tune the gongs across a major third with great skill and acoustic intuition. 

They invest months of manual work to craft this resonant masterpiece. 

A. Lange & Söhne Seoul 2F, Lotte Avenue, South Korea Tel: (82) 2756 7568 A. Lange & Söhne Tokyo 6-7-19, Ginza, Japan Tel: (813) 3573 7788 

Wanchai: Right Watch Elizabeth House Tel: (852) 2893 5290 Causeway Bay: Emperor Watch and Jewellery Russell Street Tel: (852) 2833 2812 

Yes Watch Mody Road Tsim Sha Tsui Tel: (852) 2367 1971 Macau: Luck Hock Watch Hotel Lisboa Tel: (853) 2837 1429 Luck Hock Landmark Tel: (853) 2878 6038 www.lange-soehne.com

Greubel Forsey 

www.greubelforsey.com - info@greubelforsey.com - Tel. +41 32 925 45 45

H ONG KONG 

Elegant Watch & Jewellery 

Tel. (852) 2868 1882 · (852) 2735 8481 

 

GMT 

M ACAU 

Luck Hock Watch 

Tel. (853) 2838 1429 

 

 

S HANGHAI 

Time Art Gallery BY Greubel Forsey 

Tel. (86) 21 5301 6833

TRIRETROGRADE TIRION REPETITION MINUTES 

The Milus Tirion Repetition Minutes TriRetrograde is a chiming watch. It indicates the time via a chime 

when its push-piece at 9 o’clock with engraved clef is actuated. The two steel hammers of the striking 

mechanism positioned on stainless steel bearings create a deep tone for the hours when triggering the 

minute repetition, a high and deep double strike for the quarter-hours and a high tone for the minutes. 

HONG KONG: 44-46 Queen’s Road Central +852-2524 3374 | 100 Queen’s Road Central +852-3470 0009 | Causeway Bay Plaza +852-2838 6222 

KOWLOON: iSQUARE +852-2312 0118 | Ocean Centre, Harbour City +852-2992 0050 

CHINA: Nanjingxi Rd, Shanghai 021-3225 0030 | Qianmen Street, Beijing 010-6702 9660 | Han Street, Wuhan City 027-8711 0733 

Chunxi Road, Chengdu 028-8455 0177 | Langqing Plaza, Chongqing 023-6795 7900

THE VALUE OF LIFE 

WWW.MILUS.COM 

Sole Agent: Milus (Far East) Limited 

8/F, World Wide House, 19 Des Voeux Road, Central, Hong Kong +852-2155 3555

014 REVOLUTION 

 

CONTENTS 

CONTENTS 

SPLIT SECONDS 

PARTIES, FACES, PLACES 

34 HERMÈS: A VOYAGE THROUGH TIME 

ARNOLD & SON DEBUT BASEL COLLECTION IN HONG KONG 36 

38 RICHARD MILLE POLO TEAM TAKE 

HOME DEAUVILLE GOLD CUP 

IWC OPENS AT GALAXY MACAU 40 

42 CARTIER’S NEW TANK ANGLAISE 

UNVEILED IN SHANGHAI 

HUBLOT RE-OPENS HONG KONG BOUTIQUE 44 

46 JAEGER-LECOULTRE OPEN AT PRINCE’S BUILDING AND BEIJING

TO BREAK THE RULES, 

YOU MUST FIRST MASTER 

THEM. 

THE WATCH THAT BROKE ALL THE RULES, REBORN FOR 

2012. IN 1972, THE ORIGINAL ROYAL OAK SHOCKED THE 

WATCHMAKING WORLD AS THE FIRST HAUTE HOROLOGY 

SPORTS WATCH TO TREAT STEEL AS A PRECIOUS METAL. 

TODAY THE NEW ROYAL OAK COLLECTION STAYS TRUE TO 

THE SAME PRINCIPLES SET OUT IN LE BRASSUS ALL THOSE 

YEARS AGO: “BODY OF STEEL, HEART OF GOLD”. 

OVER 130 YEARS OF HOROLOGICAL CRAFT, MASTERY AND 

EXQUISITE DETAILING LIE INSIDE THIS ICONIC MODERN 

EXTERIOR; THE ALWAYS PURPOSEFUL ROYAL OAK 

ARCHITECTURE NOW EXPRESSED IN 41MM DIAMETER. THE 

AUDEMARS PIGUET ROYAL OAK: CELEBRATING 40 YEARS. 

ROYAL OAK 

IN STAINLESS STEEL. 

SELFWINDING MANUFACTURE 

MOVEMENT. 

 

 

 

AUDEMARS PIGUET (HONG KONG) LIMITED 

Tel: +852 2732 9138 - www.audemarspiguet.com


 

CONTENTS 

48 GIRARD-PERREGAUX YOUNG WATCHMAKERS IN BEIJING 

BREMONT LAUNCH THE HMS VICTORY WATCH 50 

51 HUBLOT CELEBRATES THE MIAMI HEAT 

JAEGER-LECOULTRE OFFICIAL PARTNER 

OF THE SHANGHAI INTERNATIONAL FILM FESTIVAL 52 

54 ORIS PAYS TRIBUTE TO CHET BAKER 

AUDEMARS PIGUET ROYAL OAK EXHIBITION IN BEIJING 56 

58 RICHARD MILLE’S SECOND HONG KONG BOUTIQUE


 

CONTENTS 

WHAT MAKES US TICK 

68 WATCH WORDS: MECHANICAL OSCILLATORS 

DRESS YOUR WRIST: THE RUGGED OUTDOORS 70 

74 BOTTOM TIME: BLANCPAIN FIFTY FATHOMS 

TREND WATCH: THE NEW BLACK 78 

PRIMETIME 

86 RICHARD MILLE’S LE MANS CLASSIC EDITIONS 

OMEGA’S SEAMASTER 

PLANET OCEAN ‘SKYFALL’ 88 

90 GLASHÜTTE ORIGINAL’S 

SENATOR MOONPHASE SKELETONIZED 

AUDEMARS PIGUET’S ROYAL OAK 

CHRONOGRAPH LEO MESSI 92 

94 TAG HEUER’S MIKROTOURBILLONS 

CHOPARD’S L.U.C QUALITÉ FLEURIER 96 

98 C3H5N3O9’S EXPERIMENT ZR012 

F.P. JOURNE’S OCTA SPORT LIMITED EDITION 100 

102 URWERK’S UR-210


 

CONTENTS 

COVER STORY 

CARTIER TANK: A LANDMARK IN DESIGN 106 

WATCH CULTURE 

GREUBEL FORSEY: THE MIND’S EYE 118 

124 A. LANGE & SÖHNE: EXCELLENCE IN SAXONY 

PRECIOUS METTLE 132 

138 THE MIDAS TOUCH 

OMEGA AND THE LONDON OLYMPICS 2012 148

022 REVOLUTION REVOLUTION 

 

CONTENTS 

TIME COMPLICATIONS 

158 THE ECSTASY & THE AGONY 

WATCHES OF TOMORROW 

182 CARTIER: LIVING IN A VACUUM 

SOMETHING GOLD, SOMETHING NEW 190 

LA DOLCE VITA 

200 TIMELY PROJECTIONS 

DRINKS: ABSINTHE 214


 

CONTENTS 

TEST DRIVE: RANGE ROVER EVOQUE 220 

226 MOTORING: GENTLEMEN RACERS 

FACES 

JÉRÔME & VIVIANE DE WITT 236 

243 JEAN-MARC PONTROUÉ 

MANUEL EMCH 248 

252 JORN WERDELIN


THE METAL’S 





CITY SLICKER 





#20 

On the cover: 

Bori wears a Tank Anglaise 

in 18k pink gold with diamonds, 

and an Escada dress 

Photography: Davide Butson-Fiori 

Hair: Alexander Chui 

Make-up: Stephen Harvey 

Stylist: Priscilla I’Anson 

 

REVLUTION 

HK$80 

HONG KONG 20 

CARTIER 


CONQUERS BORDERS 

SUBSCRIBE 

To get a quarterly premier watch 

magazine delivered directly to your 

doorstep, subscribe to Revolution for just 

HK$240 Hong Kong & Macau (4 issues) 

 

 

(4 issues by airmail) 

Call (852) 2859 4335, or subscribe 

online at www.edipresseasia.com 

EDIPRESSE GROUP 

is a proud member of 

EDITORIAL 

Editorial Director 

Sean Li 

Deputy Editor 

Charlene Co 

Editorial Assistant 

Melissa Lim 

Senior Design Director 

Percy Chung 

Design Director 

Raymond Ho 

Senior Art Director 

Haymond Yip 

Senior Designer 

Ric Sin 

In-House Photographer 

King Fung 

General Manager - Publishing Services 

Anne Mok 

Assistant Production Managers 

Gemini Hui, Vincent Ma 

Production Assistant 

Jason Lai 

SALES & CIRCULATION 

General Manager 

Donald Ma 

Assistant General Manager – Sales 

Jennifer Siu 

Senior Advertisement Manager 

Karen Cho 

Senior Advertisement Manager 

Joyce Kwok 

Sales Traffic Co-ordinator 

Ann Chan 

Circulation Manager 

Maggie Pang 

EDIPRESSE HONG KONG 

Managing Director 

Zita Ong 

Group Editor-in-Chief 

Sean Fitzpatrick 

Online Director 

Kevin Kwong 

Marketing Manager 

Anne Krueger 

Managing Director-International Sales 

Tamara De Guzman 

EDIPRESSE ASIA 

Chairman & CEO - Asia & Regional 

Group Publisher 

Barrie C Goodridge 

Chief Financial Officer 

Serge Aymon 

GROUP EDIPRESSE 

SWISS HEADQUARTERS 

Chairman 

Pierre Lamunière 

COO & CFO 

Michel Preiswerk 

Published by Edipresse Hong Kong Ltd 

Edipresse Hong Kong Ltd is a member of the 

Edipresse Group (www.edipresse.com) 

6/F, Guardian House, 32 Oi Kwan Road, Wanchai, Hong Kong 

Tel: (852) 2547 7117 Fax: (852) 2858 2671 

E-mail: enquiry@edipresse.com.hk 

Printed by Paramount Printing Company Ltd., 

3 Chun Kwong Street, T.K.O. Industrial Estate West, 

Tseung Kwan O, New Territories, Hong Kong. 

Tel: 2896 8688 Fax: 2897 8942, 2897 8964 

All rights reserved © 2012 Edipresse Hong Kong Ltd 

All materials published remain the property of Edipresse Hong Kong Ltd. 

Opinions expressed in Revlution are solely those of the writers 

and are not necessarily endorsed by the publisher and its editors. 

Manuscripts and photographs submitted to Revlution should be accompanied 

by self-addressed envelopes with return postage. While they will take reasonable care, 

the editors assume no responsibility for the return of unsolicited manuscripts or 

photographs. Single copy HK$ 80.


 

REVLUTION 

REVOLUTION PRESS PTE LTD 

Chief Executive Officer 

Dr Bruce Lee 

bruce@revolution-press.com 

Founder and Group Editorial Director 

Wei Koh 

Deputy Editor 

Suzanne Wong 

Associate Editor 

Sarah Murray 

Sub-Editors 

Eileen Sim 

Brian Jones 

Editorial Coordinator 

Rachel Chen 

International Editorial Coordinator 

Rome de los Reyes 

Art Director 

Samuel Clark 

Designers 

Darryl Pestana 

Tezel Lim 

Fashion Editor 

Esther Quek 

Photographer 

Sidney Teo 


Managing Director-Asia Pacific 

Alan Tan 

Regional Business Development Director 

Connie Yeung 

International Traffic Coordinator 

Christina Koh 

REVOLUTION PRESS USA 

General Manager and Executive Editor 

Jay Gullers 

Editor-in-Chief 

Jack Forster 

CORPORATE HEAD OFFICE 

REVOLUTION INTERNATIONAL LIMITED 

Jimmy Wong 

Eric Venpin 

Gaëtan Lan Hun Kuen 

 

 

REVOLUTION INTERNATIONAL LIMITED 

10th Floor, Raffles Tower, 19 Cybercity, Ebene, Mauritius 

Tel: +230 404 6000 

Fex: +230 468 1600 


211 Henderson Road #07-03 

Singapore159552 

Tel: +65 6535 0079 

REVOLUTION PRESS USA 

20 Jay Street, M03, Brooklyn, NY11201 

Tel: 646 8726840


 

EDITOR’S NOTE 

SETTING NEW 

BENCHMARKS 

We welcome you back from the summer holidays with a 

packed issue! Cartier in particular, have been giving us a 

tremendous amount to talk about – from the introduction 

of their newest Tank Anglaise, a look back at the design 

and history of this iconic line, to the futuristic ID Two 

and the technological breakthroughs it incorporates. 

Their ability to break through conventional wisdom sets 

a new benchmark not only for themselves, but for the 

watchmaking industry as well. 

No less spectacular was the visit to Germany a few 

weeks ago to attend the Lange Akademie, where the 

brand’s excellence in design, development, assembly and 

finishing were on full display. A. Lange & Söhne are also 

bringing this kind of experience to key cities around the 

world, catering to their avid collectors who may not have 

an opportunity to visit Saxony and see their expanding manufacture firsthand – the Connoisseur’s 

Akademie should not be missed! 

We also bring you a preview of a project that Greubel Forsey embarked on with Willard Wigan, an 

extraordinary artist whose specialty, micro-sculptures, make most of the parts in even the smallest watch 

movement look gargantuan in comparison. The Art Piece 1 will be unveiled in a few weeks only, at next 

year’s SIHH (yes, it’s already around the corner!) 

My good friend Wei Koh takes a look at what he considers some of the top achievements in watchmaking 

in recent years, and contrasts it with, well, the ones that have failed to impress him. I must point out 

that there is one of his selections that I wouldn’t agree with: the F.P. Journe Centigraphe Souverain. No, 

it doesn’t mark every 1/100th of a second precisely, but I would argue that measuring such precision 

in a mechanical wristwatch is almost moot, given that you would be hard pressed to be able to activate 

the chronograph to accurately measure such a small interval. I feel that it’s a perfect example of 

Journe’s lateral thinking, and that being able to stop the 1/100th hand at points other than fixed 

interval is an interesting, albeit controversial approach. I will let you judge for yourself though, as you 

read through Wei’s “Ecstasy and Agony.” 

Turning to the next few weeks, I am absolutely honored to be on the jury of this year’s Grand Prix 

d’Horlogerie de Genève. As you know, it’s one of the major events on the horological calendar, recognizing 

the key achievements in the industry from the past year. My fellow jurors and I did the pre-selection a 

short while back, but we will have a very interesting discussion and debate on the remaining 70 watches 

still in competition. Look for the full results to be presented in our next issue. Until then, I hope you enjoy 

leafing through our newest issue! 

Sean Li 

Editorial Director

34 HERMÈS: A VOYAGE THROUGH TIME 

36 ARNOLD & SON DEBUT BASEL 

COLLECTION IN HONG KONG 

38 RICHARD MILLE POLO TEAM TAKE 

HOME DEAUVILLE GOLD CUP 

40 IWC OPENS AT GALAXY MACAU 

42 CARTIER’S NEW TANK ANGLAISE 

UNVEILED IN SHANGHAI 

44 HUBLOT RE-OPENS HONG KONG BOUTIQUE 

46 JAEGER-LECOULTRE OPEN AT 

PRINCE’S BUILDING AND BEIJING 

SPLITSECONDS PARTIES,FACES,PLACES 

48 GIRARD-PERREGAUX YOUNG 

WATCHMAKERS IN BEIJING 

50 BREMONT LAUNCH 

THE HMS VICTORY WATCH 

51 HUBLOT CELEBRATES THE MIAMI HEAT 

52 JAEGER-LECOULTRE OFFICIAL 

PARTNER OF THE SHANGHAI 

INTERNATIONAL FILM FESTIVAL 

54 ORIS PAYS TRIBUTE TO CHET BAKER 

56 AUDEMARS PIGUET 

ROYAL OAK EXHIBITION IN BEIJING 

58 RICHARD MILLE’S SECOND 

HONG KONG BOUTIQUE

“Time you enjoy wasting is not wasted time” 

 

 

Marthe Troly-Curtin 

SPLIT SECONDS


 

SPLIT SECONDS 

HERMÈS 

VOYAGE THROUGH TIME

SPLIT SECONDS 

HERMÈS 

Hermès held a colorful exhibition telling the story of Hermès timepieces at Elements 

Mall. It was creatively narrated through the eyes of American artist Hilton 

McConnico, a scenographer, poet and longtime supporter and partner of the 

brand. The exhibition, a true visual treat with bursts of color and light humor, 

led visitors through such themes as the origin of time, free time and time suspended, 

to name just a few. After its stint in Hong Kong, the exhibition then 

moved on to Singapore, and Lille, France. 

 

 

REVOLUTION 035 

CLOCKWISE FROM TOP LEFT 

The Gift of Time Room; 

Free Time Room; 

Balanced Time Room; 

Time Suspended Room; 

The Origin of Time Room; 

The Stroke of Time Room


 

SPLIT SECONDS 

ARNOLD & SON 

ARNOLD & SON DEBUT 

BASEL COLLECTION IN 

HONG KONG 

An exclusive launch of Arnold & Son’s Basel collection was held 

at Oriental 100 QRC, where the brand has a shop-in-shop. Present 

alongside Arnold & Son VIPs and valued guests was Philippe 

Boven, Executive Vice President of the brand. 

On display from their 2012 Basel collection were the True Beat 

Retrograde (TBR), Double Balance Sidereal (DBS) and Double 

Balance GMT (DBG) – all part of the new Instrument Collection. 

FROM TOP 

A designer was on hand to explain the new collection; 

Philippe Boven, Executive Vice President of Arnold & Son

Embrace an incredible world 

The only Manufacture to be 100% Poinçon de Genève certified. The most demanding signature in fine watchmaking. 

Visit us at rogerdubuis.com 

1881 Heritage, Kowloon - The Peninsula, Kowloon - Pacific Place, Hong Kong - Galaxy, Macau 

 

 

Creative Center RD, Creative Director Alvaro Maggini


FROM LEFT 

The exhilarating match; 

RM 011 Polo de Deauville Flyback Chronograph; 

Team Richard Mille with the Deauville Gold Cup 

 

SPLIT SECONDS 

RICHARD MILLE

SPLIT SECONDS 

RICHARD MILLE 


RICHARD MILLE 

POLO TEAM TAKES 

HOME DEAUVILLE 

GOLD CUP 

Deauville, a renowned and prestigious seaside resort in France, hosted over 900 guests who gathered to 

witness a truly exciting polo match. Neck and neck until the end, it was the Richard Mille team who took 

their score up to 14 from 12 at the last chukker, with two penalties converted by brand ambassador Pablo 

MacDonough. Royal Barriere fought back in penalties to bring the score up to 14-all and as a result, the 

match went into overtime. Luckily, an extra chukker fought by Richard Mille led to an extra penalty, 

resulting in the team’s well-deserved victory. 

Richard Mille chose this perfect opportunity to unveil the new limited edition RM 011 Polo de Deauville 

Flyback Chronograph. Featuring a white gold case and titanium DLC-treated caseband and black 

rubber strap, its inspiration is, as expected, taken from the Deauville International Polo Club, including 

its color palette and club logo engraved on the sapphire crystal case back.


 

SPLIT SECONDS 

IWC 

IWC AT THE 

GALAXY MACAU 

IWC Schaffhausen has recently opened its first boutique at the 

Galaxy Macau. Three years prior, the manufacture opened its 

Asian flagship store in Hong Kong. 

The new boutique’s interiors – combining modern with timeless 

– is luxurious but functional, and was designed by IWC’s 

very own interior design team. IWC’s array of Portuguese, Da 

Vinci, Pilot, Ingenieur, Aquatimer and Top Gun models are sure 

to settle nicely at the store, which features separate lounge and 

main areas. 

FROM TOP 

The exterior of the IWC store at the Galaxy Macau; 

Its interior is a tasteful mix of classic and contemporary

SPLIT SECONDS 

IWC 

 

 

REVOLUTION 041


 

SPLIT SECONDS 

CARTIER 

CARTIER’S NEWEST 

TANK UNVEILED IN 

SHANGHAI 

Cartier’s Tank designs are instantly recognizable the world over with their 

unmistakable characteristics, which include elegant parallel brancards 

that resemble tank tracks, Roman numerals, chemin-de-fer chapter ring, 

and the blued-steel sword-shaped hands. 

With their rich 165-year history, Cartier has added a new addition to 

their illustrious Tank family: the Tank Anglaise. A sumptuous gala themed 

“Never Stop – Tank,” was held at the Shanghai Exhibition Center. In addition, 

a wonderfully comprehensive visual history of the Tank was presented 

with the use of art installations from each corresponding era, as well as rare 

design manuscripts to aid in setting a chronicle of its journey.

SPLIT SECONDS 

CARTIER 


A garden-inspired showcase; 

The Shanghai Exhibition Centre was an ideal venue to celebrate the legendary world of Tank; 

The Tank Anglaise; 

Roseline Luo, Miss Universe China 2011; 

Josephine Chien, Managing Director of Cartier China; actor Andy Lau; actress Monica Bellucci; Bernard Fornas, President and CEO of Cartier 

International; and Nigel Luk, Regional Managing Director of Cartier North Asia; 

The classic and avant-garde design incorporated elements of the iconic Cartier red box into the event interior 

 

 

REVOLUTION 043


 

SPLIT SECONDS 

HUBLOT 

HUBLOT’S HONG KONG 

BOUTIQUE MAKEOVER 

Hublot unveiled the new face of their Hong Kong boutique 

with an event attended by Ricardo Guadalupe, CEO of 

Hublot; Emil Klingelfuss, Chairman of Swiss Prestige Ltd.; 

Jacqueline Ng, CEO of Swiss Prestige Ltd.; and Donnie 

Yen, celebrated actor. 

Conceived by renowned New York architect Peter 

Marino, this boutique exudes the same pared down elegance 

and tranquility as its brethren around the world. Hublot’s 

‘Art of Fusion’ philosophy is expressed in the materials 

used in its boutique interior such as natural buckskin, 

bronze and ebony. 

FROM TOP 

Hublot’s Hong Kong boutique boasts a sleek new interior; 

Ricardo Guadalupe, CEO of Hublot and Donnie Yen

BROUGHT TO YOU BY DEWITT 

> > AT THE HEART OF IT 

Introduced in 2010, the tourbillon model of the 

Twenty-8-Eight series was a breakthrough for De- 

Witt, as it incorporated its first entirely manufacture 

tourbillon movement. Deemed as one of the 

most challenging watch mechanisms to make, its 

tourbillon upholds the manufacture’s stringent 

standards to which every watch is entirely assembled, 

adjusted and tested by a single watchmaker. 

The tourbillon can be appreciated through a sapphire 

crystal back, proudly exposing the meticulous 

angling, polishing and satin finishing of the 

barrel and cage-bridges. Côtes de Genève decorations 

embellish the superior quality movement. 

Impeccable detailing adorns the new Twenty- 

8-Eight Skeleton Tourbillon, and its mechanism 

proudly displayed through a fully transparent 

dial. Beating at 18,000 vph, the haute horlogerie 

masterpiece guarantees high precision. A labyrinth 

of curves, circles and straight lines decorate 

the carved-out main plate made of a sandbrushed 

nickel silver base with black gold surface 

finishing, and a yellow gold inscription of the 

caliber reference – all these beautifully encased 

in a 43mm case made of 18k rose gold. The Haute 

Joaillerie version made of white gold is further 

decorated with eight brilliant cut diamonds as 

hour indicators. 

Rose gold makes a persuasive appearance in 

the 43mm case of the Twenty-8-Eight Automatic, 

which is complemented with grade 5 Neotitanium, 

a new metal applauded for its extreme lightness 

and robustness. The metal was previously reserved 

for the aerospace industry, the surgical field and 

Formula 1 extremes. 

DeWitt’s Twenty-8-Eight collection shows 

what’s at the core of their brand and watches 

 

 


FROM LEFT: 

Twenty-8-Eight Skeleton 

Tourbillon in rose gold; 

Twenty-8-Eight Skeleton 

Tourbillon Haute 

Joaillerie version in 

white gold


 

SPLIT SECONDS 

JAEGER-LECOULTRE 


NEW BOUTIQUES IN 

BEIJING, HONG KONG

SPLIT SECONDS 


Jaeger-LeCoultre has opened its first concept boutique in China, located on 

the first floor of Park Life, a luxury shopping center in Beijing. Joining CEO 

of Jaeger-LeCoultre, Jérôme Lambert, at the store’s opening were renowned 

Chinese actress, Zhao Wei; International Director of Jaeger-LeCoultre, Nicolas 

Baretzki; Managing Director of Jaeger-LeCoultre North Asia, Julien Renard; 

and Managing Director of Jaeger-LeCoultre China, Daniel Chang. Guests 

were treated to the sight of the manufacture’s latest creations, the Duomètre 

Sphérotourbillon and Gyrotourbillon I. 

For its Beijing shop, Jaeger-LeCoultre adapts a new interior design concept 

underlined mainly simplicity and elegance. The brand opened its first boutique 

in China in 2001. 

Meanwhile, Jaeger-LeCoultre opened its fourth boutique in Hong Kong at 

the Prince’s Building. The design inspiration of the 25-square-meter boutique 

was the tranquil atmosphere of the Vallée de Joux in Switzerland. 

 

 


CLOCKWISE FROM FAR LEFT 

Interior of the Prince’s 

Building store; 

Models wear the Rendez-Vous 

Lady’s watch and Duomètre 

Sphérotourbillon; 

VIP area of Jaeger-LeCoultre 

Beijing Park Life new boutique; 

Interior of the Beijing boutique; 

(From left) Jérôme Lambert, 

Chief Executive Officer of 

Jaeger-LeCoultre; Chinese 

actress, Zhao Wei; Nicolas 

Baretzki, International Director of 

Jaeger-LeCoultre at the Beijing 

Park Life concept store; 

Jaeger-LeCoultre’s boutique in 

Prince’s Building


FROM TOP 

Watchmaking atelier; 

Dominique Loiseau shares the stage with Alexandre Bigler; 

Fabienne Conti at the Imperial Palace 

 

SPLIT SECONDS 

GIRARD-PERREGAUX 

GIRARD-PERREGAUX’S 

WATCHMAKERS TAKE 

ON BEIJING 

After a warm reception in New York, Girard-Perregaux’s 

Young Watchmakers Tour headed for Beijing, 

making stops at the capital’s many historical spots 

where posterity photos of these aspiring watchmakers 

were taken while working on their workbenches. 

The culmination of the Beijing leg of the tour saw 

the Zen Living Space transformed into “GP World,” 

where Girard-Perregaux’s timepieces were showcased, 

and its history relived. Guests were also given the 

opportunity to participate in one-on-one watchmaking 

workshops. Dominique Loiseau, Girard-Perregaux’s 

famed watchmaker and the genius behind some of the 

brand’s most iconic pieces, took part in the festivities, 

co-hosting a talk with Alexandre Bigler, watch expert 

from Christie’s Hong Kong.

BROUGHT TO YOU BY BELL & ROSS 

> > WELL-TIMED NAVIGATORS 

Further pushing the boundaries of aviation-inspired 

watches, Bell & Ross soars with three new 

additions to its BR01 Collection, a line inspired 

by aeronautical instrumentations, in particular, 

those crucial to air navigation. 

The BR01 Horizon, the BR01 Altimeter, and the 

BR01 Turn Coordinator, as their names suggest, 

are derived from actual instruments found in the 

cockpit, namely, the altitude indicator, altimeter, 

compass, and turn coordinator. The watches stay 

faithful to the aesthetics of the navigation tools that 

inspired them, and at the same time are innovative 

in that they introduce new ways in telling time. 

Looking almost identical to the altitude indicator 

found in a cockpit, the dial is comprised of two 

parts representing the sky (in grey) and the earth 

(in black), separated by a white line (representing 

the horizon) marking the 9 o’clock to 3 o’clock 

axis. Making sure it looks sleek on the wrist, at 12 

o’clock is a bridge, which likewise echoes aviation 

instruments, carefully concealing the attachment 

of the hands. 

Apart from the watch’s thoughtful esthetics, 

optimum legibility is ensured with its raised dial; 

white luminescent-coated hands and index markers 

set against a jet-black dial; and an anti-glare, 

matte black carbon-finished case. 

Again, the BR 01 Altimeter is an homage to the 

actual altimeter found in the cockpit. At 3 o’clock 

is a window reminiscent of the altimeter’s atmospheric 

pressure indicator that now serves as a date 

display, while the typeface of its hour markers is 

similar to that of an altimeter’s, and the hour, minute 

and seconds hands also resemble those found in 

the aviation tool. Likewise, the BR 01 Altimeter’s 

hands and index markers are coated in white photo-luminescent 

material to ensure readability. 

Lastly, we turn our gaze to the BR01 Turn 

Coordinator, which, as you may have correctly 

guessed, is inspired by the turn coordinator. Two 

concentric discs or “windows” graduated to 12 

hours and 60 minutes make up its inventive dial. 

Staying true to its aviation instruments theme, 

a vertical white marker serves as the hour and minute 

hands. The BR01 Turn Coordinator, however, 

owes its innovative design to a number of technological 

feats, such as finding the right materials 

and technique to make ultra-light discs necessary 

to maintain the power reserve and accuracy 

of the watch. Though lightweight, the discs had 

to be made sturdy enough to avoid deformity and 

more importantly, resist friction. Accuracy was 

paramount to making it work, and Bell & Ross triumphed 

beautifully as its watchmakers succeeded 

in having the discs self-regulate to the nearest micron 

to make sure that they are constantly parallel. 

All three timepieces are available in a limited 

production of only 999 pieces each. 

Bell & Ross continues 

 

 

 


TOP LEFT 

BR01 Horizon; 

BR01 Turn Coordinator; 

BR01 Altimeter


 

SPLIT SECONDS 

BREMONT 

BREMONT LAUNCHES 

HMS VICTORY WATCH 

The HMS Victory, a legendary 18 th Century warship with an illustrious 

history, is regarded as one of the finest of its time, most 

famous as Lord Nelson’s flagship at the Battle of Trafalgar in 

1805. After suffering considerable damage during various battles, 

the ship needed to undergo major re-fits in 1814, 1888 and in 

1903, when she was struck by another boat and almost sunk at 

her mooring. Luckily, the Society for Nautical Research was set up 

in 1910 and in 1922, the HMS Victory took her place on dry dock 

where she remains, until this day, as the only serving warship from 

the 18 th Century to still be in commission. 

Having worked closely with the Royal Navy Fleet air arm 

Heritage, co-founder of Bremont, Giles English, was fascinated 

by reports of the restoration of HMS Victory, with Lord Nelson 

himself having attended the same school. This year, Bremont has 

joined forces with the National Museum of the Royal Navy to bring 

us a limited edition watch collection, each piece featuring original 

parts of the HMS Victory and a dial resembling an old ship’s clock, 

to honor both this remarkable ship as well as its historical past. 

The Victory Limited Edition was launched at the HMS Victory 

in Portsmouth, UK, despite the pouring rain. The Giles brothers 

were joined by Admiral Sir Jonathan Band, GCB, DL, chairman of 

the Trustees of the National Museum of the Royal Navy. 

FROM TOP 

Nick and Giles English with Admiral Sir Jonathan Band, GCB, DL, 

Chairman of the Trustees of the National Museum of the Royal Navy 

The rose gold Bremont Victory watch; 

The Royal Armouries fire an 1805 canon to mark the occasion

SPLIT SECONDS 

HUBLOT 

HUBLOT 

CELEBRATES 

THE MIAMI 

HEAT 

Hublot, the official watch and timekeeper of the Miami 

Heat, joined the team in celebrating its 2012 NBA 

Championship win at the AmericanAirlines Arena. 

In front of ecstatic fans, Hublot ambassador, player 

Dwyane Wade, presented each of his teammates with 

a commemorative White Hot Hublot Big Bang that’s 

engraved with a special team championship logo at the 

back of the case. To witness the event was Rick de La Croix, 

President of Hublot Latin America. 

CLOCKWISE FROM TOP 

White Hot Hublot Big Bang watch; 

The Miami Heat celebrate their victory at the AmericanAirlines Arena; 

Dwyane Wade presents teammate Mario Chalmers with a Hublot; 

Hublot ambassador Dwyane Wade 

 

 

REVOLUTION 051


 

SPLIT SECONDS 



OFFICIAL PARTNER 

OF THE SHANGHAI 

INTERNATIONAL 

FILM FESTIVAL

SPLIT SECONDS 



A fervent supporter of the restoration of classic 

Chinese films, Jaeger-LeCoultre acted as official 

partner of the 2012 Shanghai International Film 

Festival for the second consecutive year. This 

year, Jaeger-LeCoultre sponsored the restoration 

of two famous classic films: Eight Thousand Li of 

Cloud and Moon and Crossroads. 

A glamorous, star-studded public auction 

was held on the opening night of the festival 

to raise funds for the Chinese film industry. In 

attendance were 200 foreign and local journalists, 

and over 1,000 guests from across the globe, 

including actresses Zhao Wei, Chen Chong, 

Zhang Yuqi, and directors Wang Quan’an and 

Jean-Jacques Annaud. 

With the help of the stars who donated items 

precious and significant from their careers, and 

Jaeger-LeCoultre’s contribution of a Rendez- 

Vous Night & Day watch, the event managed to 

raise a noteworthy amount and increase awareness 

of this cause. 

FROM FAR LEFT 

Attending the public auction were Tang Lijun, Managing Director of 

SIFF; actor Huang Haibo; actress Maria Grazia Cucinotta; actress Han 

Chae Young; director Jean-Jacques Annaud; director Jia Zhangke; 

actress Zhao Tao; Miss World Zhang Zilin; Wang Quan’an, director; and 

actress Zhang Yuqi ; 

The international premiere of Detective Hunter Zhang was held in New 

Hengshan Theater; 

Director Wang Quan’an wearing Jaeger-LeCoultre Grande Reverso and 

actress Zhang Yuqi wearing Joaillerie 101; 

Jaeger-LeCoultre donated a new Rendez-Vous Night & Day timepiece to 

support Chinese old film restoration; 

American actor Aaron Eckhart wearing Master Grand Réveil; 

Miss World Zhang Zilin wearing Jaeger-LeCoultre Joaillerie-101- 

Manchette


 

SPLIT SECONDS 

ORIS 

ORIS PAYS TRIBUTE TO 

CHET BAKER 

Oris honors one the music industry’s icons, jazz musician 

Chet Baker – known among others for his soulful 

renditions of “My Funny Valentine” – with the Chet 

Baker Limited Edition. 

The special edition timepiece comes in a stainless 

steel case with a case back featuring a silhouette of 

Baker with his trumpet. Continuing with its musical 

theme, the watch’s hour indices are presented in 

bars from the song “My Funny Valentine,” while the 

double bar line at 8 o’clock stands for the first eight 

bars of the song, and of course, a musical clef at 12 

o’clock. The piece is fitted with a black leather strap 

and a stainless steel folding clasp. The commemorative 

watch is available only in 1929 pieces, signifying 

the year the musician was born, and comes with a 

mechanically driven metronome. 

The Chet Baker Limited Edition was among the 

pieces showcased at a cocktail held at the Gateway 

Arcade at Harbour City, where it launched “Oris 

Exhibition 2012.” Actress and TV personality, Aimee 

Chan, was the event’s special guest. 


Oris Chet Baker Limited Edition; 

The musical timepiece comes with a metronome; 

Actress and TV personality Aimee Chan

BROUGHT TO YOU YOUU BY MILUS 

> > THE POWER OF THREE 

Since its founding in 1919, Milus has stood for 

masterful pieces of design and craftsmanship. 

The Swiss watchmaker artfully combines mechanical 

finesse with elegant style and the most 

precious of materials to create outstanding 

watches and jewellery. Each design has all the 

makings of becoming horological classics. 

TIRION REPETITION 

MINUTES TRIRETROGRADE 

Two years in the making, the exquisite Tirion 

Répétition Minutes TriRetrograde made its 

debut at Baselworld 2010, to critical acclaim. 

Skilled watchmakers meticulously assembled 

more than 400 individual parts in a 140-hour 

operation to ensure that each hand-decorated 

component is repeatedly tested to achieve optimal 

sound quality and precision. A technical 

milestone, the Tirion Répétition Minutes 

TriRetrograde features the Milus M08-35M 

handwound movement with 90-hour power reserve. 

A date window and a 20-second retrograde 

display in three sectors are presented on 

a skeletonised dial. The 46mm case comes in 

rich 18k red gold. 

TIRION TRIRETROGRADE 

This year, Milus is issuing its original Tirion Tri- Tri- 

Retrograde in two 42mm versions, adding ding on on to to 

the 45mm and 47mm models. The Clous us de Paris 

version features a white dial with a delicate licate guilloché 

centre, while a charcoal flange frames the 

transparent dial of the skeleton version. Both feature 

domed sapphire crystals and transparent rent casebacks 

that allow a clear view of their highly y precise 3838 

TriRetrograde movements. 

SNOW STAR HERITAGE 

And for those who want watches that at have truly 

been a part of history, Milus offers its Snow Star 

Heritage sets. In World War II, the US Navy put 

“life barter kits” in their navy planes s for pilots to 

trade or sell in case they were caught ght or needed 

help. The kit included rings, gold pendants ndants and a 

Milus Snow Star “Instant Date” watch. atch. To commemorate 

this, Milus has created an n 18-carat red 

gold version of the watch with a limited mited series of 

99 numbered pieces, while a steel model d l has h been b 

issued at 1940 numbered pieces. Specially designed 

aviation-themed cufflinks complement the 

watches for the perfect ensemble. 

Milus shows off key timepieces from 

 

 

 


FROM TOP: 

Tirion Répétition 

Minutes TriRetrograde; 

Tirion TriRetrograde, 

42mm Version; 

Snow Star Heritage


 

SPLIT SECONDS 

AUDEMARS PIGUET 

CELEBRATING THE 

ROYAL OAK IN BEIJING 

After making stops in New York, Milan and Paris, 

Audemars Piguet finally took the Royal Oak 40 th anniversary 

celebrations to Asia. Its first stop in the region 

was Beijing, where the highly anticipated travelling 

exhibition – which was open to the public – found a 

temporary home in the Ullens Center for Contemporary 

Art (UCCA). 

Vanguard artists, Sebastien Leon Agneessens, 

Quayola and Dan Holdsworth, lent their genius in 

capturing the charms and uniqueness of the manufacture’s 

birthplace, La Brassus in the Vallée de Joux, via 

the use of installation, photography, sound and film 

throughout the exhibition. Visitors feasted their eyes 

on no less than 100 iconic timepieces and memorabilia, 

many of which date back to the early Seventies. 

Moreover, Audemars Piguet craftsmen were present to 

show first hand the artistry that goes into each and 

every Royal Oak. The Beijing exhibition also presented 

for the first time the number 10/100 of the 

platinum edition of the Royal Oak Leo Messi limited 

series, which was launched earlier this year.

SPLIT SECONDS 


 

 


The opening gala was attended by Audemars 

Piguet’s interim CEO, Francois-Henry Bennahmias; 

Asia Managing Director, Oliviero Bottinelli; and 

Chief Artistic Officer Octavio Garcia. A number of 

international and local personalities likewise graced 

the event, including American actor, Chris Noth; 

renowned Chinese stars, Hu Jun and Kitty Zhang; as 

well as international supermodels, Du Juan, Bonnie 

Chen and Kiki Zhang. The artists behind the exhibit, 

Agneessens and Quayola were also at the event. 

The exhibition then headed to Singapore for its 

final stop. 


Audemars Piguet Royal Oak 40 Years Exhibition in Beijing; 

The opening gala; 

The Irrepressibles perform at the party; 

(Left to right) Artist Davide Quayola, Country general manager 

Li Li; and artist Sebastien Leon Agneessens; 

(Left to right) Audemars Piguet ad interim CEO Francois-Henry 

Bennahmias; super model Kiki Kang; American actor, Chris Noth; 

and Audemars Piguet Asia Managing Director Oliviero Bottinelli; 

(Left to right) Oliviero Bottinelli; Actor Hu Jun; actress Kitty 

Zhang; Francois-Henry Bennahmias


 

SPLIT SECONDS 

RICHARD MILLE 

RICHARD MILLE’S 

SECOND HONG KONG 

BOUTIQUE 

Richard Mille has inaugurated another store in Hong 

Kong, this time at the Elements mall in Kowloon. The 

300-square-foot boutique is Richard Mille’s second in 

the city; the first one is located at Pacific Place mall. 

The grand opening kicked off with a ceremonial ribbon 

cutting, followed by a lavish party held at the W Hotel. 

The event was officiated by none other than Richard 

Mille, and attended by CEO of Richard Mlle 

(Asia) Ltd, Dave Tan, and brand ambassador and top 

model, Baptiste Giabiconi. Guests were treated with a 

display of a few limited edition timepieces, including 

the RM 052 Skull Tourbillon, RM011 Flyback Chronograph 

India GP edition, RM 030 Automatic with 

Declutchable Rotor India GP edition, RM037 Unisex 

Automatic, RM051 Phoenix-Michelle Yeoh, and the 

RM055 Bubba Watson. 

Proving he not only can strut but carry a tune as 

well, Giabiconi kept guests entertained with a few song 

numbers, while local drummer and songwriter, Jun 

Kung, and DJ Gilbert Yeung kept guests on their feet 

throughout the night. 

FROM TOP CLOCKWISE 

Baptiste Giabiconi, Richard Mille and Dave Tan at the ribbon cutting ceremonies; 

Jun Kung belts it out for guests; 

Guests enjoy the evening’s entertainment; 

Richard Mille boutique at the Elements mall

SPLIT SECONDS 

RICHARD MILLE 

CERTIFIED BY HONG KONG AUDIT BUREAU OF CIRCULATIONS 

SHANGLIU TATLER AUDITED CIRCULATION 

135,725 COPIES * 

 

 

REVOLUTION 059


> > CLIFTON: THE EPITOME OF 

CLASS AND CONFIDENCE 

FROM LEFT 

Clifton Triple Calendar 

Moon Phase; 

Clifton Automatic 

in 18k red gold 

 

BROUGHT TO YOU BY BAUME & MERCIER 

Baume & Mercier has managed to perfect the art 

of tapping the hopelessly sentimental in all of us 

via its rather effective and heart warming “Life 

is about moments” campaign, while its casually 

elegant watches have such an approachable and 

accessible yet exclusive style, you’ll want to have 

them on your wrist everyday. 

Following its successful Hampton line, Baume 

& Mercier brings us the Clifton collection, 

this time inspired by timepieces from the 1950s 

– an era many regard as the “golden age of the 

Baume & Mercier captures the urban 

gentleman with the Clifton 

 

 

wristwatch.” A “gentlemanly” watch, Clifton embodies 

today’s urban man who has, in a matter 

of speaking, conquered the world. Sophistication 

and refinement are at the very core of the collection, 

with watches defined by perfect proportions 

and polished lines that exude the wearer’s inner 

confidence and impeccable taste. Don’t get this 

accomplished chap wrong though; he may be the 

go-getter willing to burn the midnight oil, but he 

also knows how to kick back and relax, knowing 

perfectly well that life is not entirely about an en-

BROUGHT TO YOU BY BAUME & MERCIER 

viable bank account but rather, precious recious moments. 

Seven timepieces make this distinguished istinguished line, 

but for now, we turn our attention n to two of its exemplary 

pieces: the Clifton Triple e Calendar Moon 

Phase and the Clifton Automatic in 18k red gold. 

Echoing the 1950s New York urban rban watch, the 

Clifton Triple Calendar Moon Phase ase dons a silver 

dial and a 43mm steel case. The piece features a 

calendar complete with day and month indicators, 

and moon phases; and is powered by a self-winding 

caliber, a Dubois Dépraz 9000, finished nished with circular-grained 

bridges, and black and d rhodium-plated 

screws, which can be appreciated through its sapphire 

crystal caseback. Perfectly equipped for that 

weekend dip in the pool or perhaps that the inviting 

blue seas a few yards away from your East coast 

beachfront home, the Clifton Triple Calendar Moon 

Phase is water-resistant to 50 meters. The watch is 

fitted with a black alligator strap that’s accompanied 

by an adjustable triple folding clasp. 

If discretion is more your style, you’re well 

suited d for ffor the h 39mm 39 Clifton Cl f Automatic A in 18k 

red gold. A silver-colored dial complements its red 

gold case, which is polished and satin-finished to 

highlight its double-beveled case. Reminiscent of a 

Baume & Mercier watch of the late 50s, this ClifCliff ton Automatic is classic and at the same time has 

a good hint of retro. The reluctantly reluctantly inconspicuous 

piece can sit comfortably under a crisp shirt, or go 

perfectly well with your weekend garb. Despite its 

subtlety, however, the Clifton Automatic can also 

easily morph into a dressy timepiece that’s perfect 

for that black tie event – thanks to to its satinfinished 

dial and elegant gilt Arabic numerals and 

index markers, and traditional ardillon buckle. 

The piece is powered by a Clifton M0A10058 Automatic 

caliber, which is stunning with a Côtes 

de Genève decorated oscillating weight, circulargrained 

bridges, and black and rhodium-plated 

screws that can be admired from its sapphire crystal 

caseback. Keeping it on your wrist is a black 

alligator strap fitted with a pin buckle. 

 

 

REVOLUTION 061


ABOVE 

Parmigiani founder, 

Michel Parmigiani 

 

BROUGHT TO YOU BY PARMIGIANI 

> > THE BIRTH OF A BRAND 

MICHEL PARMIGIANI 

As one of the most exciting watch brands to come 

out of Switzerland in recent years, Parmigiani 

has managed to realize what many brands have 

taken hundreds of years to achieve: unmatched 

innovation and unbridled success. In such a short 

space of time, the brand has gone from strength 

to strength, with its success heavily dependent on 

one man: Parmigiani founder, Michel Parmigiani. 

At the heart of every successful brand lies 

an innovator; one person who creates, builds 

and maintains an image that can stand the 

test of time. Born in the Val-de-Travers area of 

Neuchâtel, Switzerland, Michel went on to become 

a fully trained and practicing watchmaker at 

Charting the history and course of 

Parmigiani is a journey unto itself 

 

 

the Fleurier School of Watchmaking. A constant 

dedication towards his own education in the finer, 

more specific crafts of the watchmaker over the 

following years meant that Michel grew to become 

one of the most technically proficient watchmakers 

of his generation. 

But it wasn’t just his technical ability that 

drew praise; Michel had long held a fascination 

for timepieces of different eras and it was here 

that a symbiosis was born that would hold 

profound importance not just for himself, but for 

the world at large. 

RESTORATION EXPERTISE 

After successfully embarking on a solo career at


the age of 26, it was then that the future owners 

of Parmigiani, the Sandoz Family Foundation, 

met with Michel and commissioned him with the 

task of restoring the foundation’s collection of 

watchmaking artifacts. 

This constant dialogue between traditions of 

yesteryear and technical innovation of today has 

ensured that the building blocks of the Parmigiani 

brand have foundations steeped in history, and 

improved by modernist methods and technical 

breakthroughs. This unique methodology led to the 

creation of the Parmigiani brand in 1996 in the Valde-Travers, 

with each timepiece since then imbued 

with design or mechanical touches that stay true to 

the history behind the Swiss watchmaking industry. 

WATCHMAKING EXCELLENCE 

After this initial background of restorative 

excellence, the brand building began. At its 

very core, Parmigiani has the deft hand of a 

master watchmaking innovator, and it wasn’t 

long before the accolades and world’s firsts 

began to appear. Several innovations such 

as the development of the pivoted detent 

escapement for chronometry meant that the 

brand now had a reputation for technical 

excellence, with interest coming from other 

brands without the technical know-how to 

produce such refinements in-house. 

This innovation then led to the creation of 

the Fleurier Quality Foundation, a watchmaking 

certification that enables buyers and other brands 

to identify exactly which timepiece has gone 

through the rigorous testing procedures that are 

upheld by the Parmigiani brand. The criteria for 

attaining this mark of quality include upholding 

precision by submitting the piece to the Swiss 

Official Chronometer Institute (COSC); utilizing 

the Chronofiable tests to ensure durability and 

reliability; a 24-hour test on the custom-built 

Fleuritest simulator, a machine capable of exacting 

some of the most rigorous physical conditions for 

 

 


ABOVE FROM LEFT 

Parmigiani 

Heure Passante; 

Toric Minute Repeater 

watch with sector 

time display


ABOVE CLOCKWISE 

FROM TOP LEFT 

Watchmaker working 

on a movement; 

Parmigiani’s boutique 

in Moscow; 

Tonda 39 Qualité Fleurier 

 


a watch; and finally, a validation process designed 

to guarantee the technical and aesthetic qualities 

necessary for the requirements of haute horlogerie. 

Launched by Chopard, Parmigiani, Bovet 

Fleurier, and Vaucher Manufacture Fleurier, 

the Fleurier Quality Foundation has created an 

absolutely indispensable tool for watchmakers 

and wearers alike. 

Currently, there is a limit of just 5,000 

timepieces that leave the hallowed halls of the 

Parmigiani brand. Each timepiece that exits the 

workshops of the five Parmigiani sites in Fleurier, 

La Chaux-de-Fonds, Alle and Moutier that make 

up the Manufactures Horlogères de la Fondation 

(MHF) has gone through an exhaustive process of 

technical precision and craftsmanship. 

In just a few short years, the MHF has managed 

to achieve what other brands could barely do in 

200. Six collections and 19 calibers developed 

entirely in-house (including six world firsts in the 

Bugatti 370, the Bugatti Super Sport, the Hijiri 

Calendar, and the Large Date Minute Repeater) 

form the basis of its remarkable achievements. 

The commitment to its founding values of the 

restoration of mechanically constructed works of 

watchmaking art and mastery has melded a unique 

and highly regarded reputation present in 70 

 

 

countries across five continents. The brand now has 

11 ateliers opened, in Beijing (with three ateliers), 

Istanbul, London, Moscow, Shanghai and Tianjin, 

along with three Parmigiani Studios in Dubai, 

Munich, and Porto Cervo on the Italian coast. 

The secret to Parmigiani’s success can be 

attributed to one more factor after Michel and 

the vision and commitment of the Sandoz Family 

Foundation, which has enabled the brand to move into 

a rarefied world of technical expertise: the complete 

independence of its watchmaking manufacture. 

INDEPENDENCE OF WATCHMAKING 

Several decisions made since 1990 have 

enabled the growth of Parmigiani’s MHF technical 

watchmaking excellence. This was fundamental 

to Parmigiani’s vision to create and manufacture 

each and every component from the largest dial 

down to the smallest screw – completely in-house 

and under a strict and exacting set of technical 

guidelines to ensure the quality at Parmigiani 

would be of the exact same standard across every 

aspect of manufacturing. With over 550 qualified 

staff spread across 50 different specialist trades, 

every component from dials to movements is 

developed in-house. 

One of the first was the integration of


Atokalpa in 2000, a company specializing in 

the manufacture of train wheels, pinions and 

micro-gears, which together form the most 

crucial of moving parts in a mechanical watch. 

Since 2005, the MHF has been able to produce 

all the constituent components of the escapement 

and the regulating organ, in all around 15 

parts, including: the escapement wheel, pallet 

fork, plate, balance and balance spring. This 

has enabled Parmigiani to successfully design 

and produce the high-quality parts necessary to 

manufacture movements of such a high pedigree. 

Another crucial integration was the 

incorporation of Elwin in 2001, a bar turning 

specialist dating back to 1912, followed by 

Vaucher Manufacture Fleurier in 2003, which 

was designated the specialist workshop for 

high-end and prestige markets by creating 

high quality movements for Parmigiani and 

other haute horlogerie brands; a dial face 

specialist was integrated just two years later, 

with Quadrance et Habillage incorporated into 

the industrial structure to meet a need for the 

highest quality dials. 

But perhaps the most inspiring addition to the 

MHF has been the incorporation of the renowned 

high-end case production workshops of Bruno 

Affolter SA, in La Chaux-de-Fonds. Now renamed 

Les Artisans Boîtiers, the workshop uses techniques 

and equipment of such power and complex 

technical reach that what formerly was thought to 

be technically out of reach has been made possible 

within the confines of the MHF. 

Each integration – and with the establishment of 

specialist workshops in each and every sub division 

of the manufacturing process – the complete 

independence of Parmigiani’s MHF has meant that 

each and every component is now manufactured 

under the brand’s careful guidelines and steady, 

guiding hand. This has led to the brand being one of 

a very select few in the world of watchmaking that 

vertically integrates every stage of manufacturing 

within the confines of a single brand. 

With influences dating back hundreds of 

years, and a unique fusion of tradition and 

technical expertise built up and proven both in 

the laboratory and in the field, Parmigiani has 

risen in the space of a few short years to become 

one of the Swiss watchmaking wonders of the 

world. With the perception, determination 

and innovation found in the guiding hands 

of Michel and the Sandoz Family Foundation, 

who knows how much farther the watchmaking 

world can go? 

 

 


ABOVE 

Vaucher Manufacture Fleurier

68 

 

WATCH WORDS: 

MECHANICAL OSCILLATORS 

78 

70 DRESS YOUR WRIST: THE RUGGED OUTDOORS 

BOTTOM TIME: BLANCPAIN FIFTY FATHOMS 

TREND WATCH: THE NEW BLACK 

 

 

74

“Life is really simple, but we insist on making it complicated” 

Confucius 

 

 

HAT MAKES US 

TICK


 


WATCH WORDS 

JACK FORSTER (text) 

WATCH WORDS 

Mechanical oscillators like the pendulum and balance wheel 

are what actually tell time — and today’s latest experiments 

by 

TOURBILLON 

some of watchmaking’s most daring researchers are 

paving the way for the watches of tomorrow


WATCH WORDS 

I 

n the immortal words of Harry Callahan, I know what 

you’re thinkin’ — but before you sniff, say to yourself, “For 

God’s sake, man, I know what a tourbillon is, don’t insult 

my intelligence,” and turn the page, lend me your ear, I 

prithee — I’m going somewhere with this. 

Most discussions of the tourbillon focus not on what it is 

physically, but on what it does; and of course the odds are 

pretty good that if you’ve picked up this magazine at all, you’ll 

know that Breguet invented the tourbillon, patented it in 1801, 

that it’s intended to create a single averaged rate error in the 

vertical positions and so simplifies the task of matching the 

vertical rate to the flat rates of the oscillator, thus making the 

watch immune to positional rate variations. Those who object 

to the tourbillon do so on the grounds that it eliminates no error 

at all — that it merely smears together the four different errors 

in the four different vertical positions into a single mélange of 

imprecision, and that four wrongs don’t make a right — but 

that’s another argument. 

But what makes a tourbillon watch a tourbillon watch? The 

question came up during an exchange on that most unsuitable 

medium for rational discourse, Twitter, when several of us got 

into a brouhaha over what constitutes a double tourbillon — 

and, specifically, whether the Greubel Forsey Double Tourbillon 

30° is a “real” double tourbillon. 

For comparison, one of the participants in this 140-character 

horological symposium instanced the Roger Dubuis and Breguet 

double tourbillons — two separate cages, two balances, two 

escapements. Surely these, went the thesis, were examples of 

“real” double tourbillons. 

To know what a double tourbillon is, it seemed to me, one ought 

to think about what a tourbillon is — that is, what makes a 

tourbillon watch a tourbillon watch and not something else. 

Despite the lamentably freewheeling tendency to use the term 

“tourbillon escapement” (which can be found in professional 

reference texts going back generations; my 1946 copy of 

Britten’s The Watch & Clock Maker’s Handbook uses the 

terms “tourbillon” and “tourbillon escapement” virtually 

interchangeably) it seems to me that the tourbillon, strictly 

speaking, is not an escapement, but a regulating mechanism. To 

illustrate this, one need merely consider that a tourbillon watch 

may be fitted with any of a number of different escapements: 

there are tourbillon watches with lever escapements, sidelever 

escapements, chronometer-detent escapements, co-axial 

escapements, and so on. 

A watchmaker friend challenged me on the subject of a double 

tourbillon necessarily meaning two oscillating organs — two 

balances. “Is a tourbillon a tourbillon without a balance?” 

he asked, rhetorically. My reply was that we can refer to the 

components of a watch — composite or single — without 

requiring that the balance be thought of as a part of that 

component. A mainspring barrel, out of a watch, disconnected 

from the balance, is still a mainspring barrel. 

It then occurred to me to ask someone who should know, if anyone 

does: Stephen Forsey, of Greubel Forsey, whom I’d last seen in 


A: BARREL 

B: GEAR TRAIN 

C: THIRD WHEEL 

D: ESCAPE WHEEL 

E: FIXED FOURTH WHEEL 

F: CARRIAGE PINION 

G: BALANCE 

. Power from the barrel (A) flows through the gear train (B) to the third 

wheel (C) 

. The third wheel (C) drives the carriage (not pictured) via the pinion of 

the carriage (F) 

. As the carriage rotates, the escape wheel (D), which is geared to the 

fixed fourth wheel (E), moves along the perimeter of the fixed fourth 

wheel, sending energy to the balance wheel (G) 

Geneva during SIHH (he was gamely nursing a badly injured 

back and was both introducing the Garde Temps project as well 

as the new Greubel Forsey GMT watch). An email to Stephen at 

the manufacture sat in limbo for a few days, but in the fullness 

of time, Stephen responded that a tourbillon is composed of a 

fixed wheel and a functionally distinct, rotating cage or carriage. 

The definition is reductive and accurate — after all, it is only the 

presence of those parts that makes a watch a tourbillon. Without 

the cage and fixed fourth wheel, one simply has an ordinary watch. 

Greubel Forsey’s “double tourbillon” is therefore certainly a 

real double tourbillon — it is simply that it is one with a single 

oscillator, unlike double tourbillons made by Roger Dubuis 

and Breguet, for instance, in which there are two regulating 

systems (two tourbillons, two escapements and two oscillators) 

linked by a differential. The habit of referring to the tourbillon 

as a “tourbillon escapement” has been decried by some experts 

as sloppy; I once regarded this attitude as egotistically selfserving 

hairsplitting from individuals over-invested in being 

perceived as experts — but having thought about it, I think I 

see the point. The tourbillon is no more an escapement than it 

is a remontoir or chain-and-fusée — both, like the tourbillon, 

intended to improve rate stability (over power reserve rather 

than across positions, but the basic purpose is the same). 

Fine distinctions? Sure. But without such niggling semantic 

debates, as one of my favorite watch writers, Kenneth Ulyett, 

put it, “keen horologists would be deprived of the pleasure of 

arguing with each other”.


 


DRESS YOUR WRIST 

MOUNTAIN GUIDE 

They say the thing about mountaineering is that first 

and foremost, you need the best equipment available 

to conquer your Everest (I hear that palanquins 

and about four to six well-fed bearers come in 

particularly useful) and for the descent, keep it old-school with 

a paper map — the Google Maps app will predictably let you 

down at a vital fork in the road. National Geographic’s Seconds 

from Disaster stories are enough to put anyone off setting out 

into bear country unprepared, so with equipment in mind, the 

digital era is also best avoided for your timekeeping needs. With 

our temporal and sartorial guide on how best to approach the 

sheer drops or winding gravel tracks, you can be sure that your 

tackle and tools will not fail you at the pinnacle moment. 

Zenith’s El Primero Stratos Flyback is the perfect equilibrium 

between sporty and sophisticated; its sexy-as-hell black alloy 

case complements the timeless design. Altitude enthusiasts can 

ascend in classic aviation style with the very handsome Bell & 

GARY LIM (text) +SIDNEY TEO(photography) +ESTHER QUEK (styling) 

Ross BR 123 Heritage, inspired by airplanes from the 1940s era. 

Its stainless-steel case in black PVD finish exudes a high-tech 

style that’s matched only by its take-no-prisoners toughness. 

Whether you are clambering over rock, snow or ice, you’ll want 

a watch that can tackle the elements with ease. Performancetested 

and designed together with actual US Navy SEALs (who 

says military men aren’t stylish?), Jaeger-LeCoultre’s Master 

Compressor Diving Chronograph GMT Navy SEALs is armored 

in an ultra-tough, super-stealthy black titanium case — the 

ultimate warriors’ watch for the assault on any summit. 

 

 

Zenith El Primero Stratos Flyback in black Alchron 

case and black Cordura fabric strap 

Brown cotton outerwear, Timberland; brown 

polyester cardigan, The North Face; khaki nylonelastane 

trousers, Salomon



 

 


Jaeger-LeCoultre Master Compressor Diving 

Chronograph GMT Navy Seals in black titanium case 

and black calfskin strap 

Blue and gray nylon windbreaker, brown polyester 

cardigan and black and orange nylon backpack, all 

The North Face; brown, orange and white check 

cotton shirt, Z Zegna


Bell & Ross BR 123 Heritage in black PVD stainlesssteel 

case and tan natural leather strap 

Blue nylon windbreaker and black and yellow 

backpack, both The North Face; khaki cotton-nylon 

trousers, Columbia 

 


DRESS YOUR WRIST

Montblanc TimeWalker TwinFly Chronograph 

GreyTech in gray titanium case and gray 

alligator strap 

Blue and gray nylon windbreaker, The North Face; 

green rayon-viscose-polyester sweater, Z Zegna 

 



“It’s not the mountain 

we conquer, but ourselves” 

— Sir Edmund Hillary 

 

 


Fashion Stylist: Marie Lee 

Fashion Assistants: Firda Samat and Malavika Manay 

Photography Assistant: Matthew Ng 

Grooming: Keith Bryant Lee using Clinique and Hatsuga 

Model: David B/Diva


 


BLANCPAIN 

BOTTOM TIME 

BLANCPAIN FIFTY FATHOMS 

‘TRIBUTE TO FIFTY FATHOMS AQUA LUNG’ 

Guard, this is motor-vessel Bonsai, we have 

a missing diver in the water. Repeat, missing 

diver.” I scanned the choppy water as we 

“Coast 

motored in increasing arcs, realizing the nearimpossibility 

of spotting a person in the 7-foot (2m) swells. 

I’d rehearsed this scenario in my head a hundred times, but 

nothing could prepare me for the sense of dread I was feeling. I 

should have listened to that same sense when we were bouncing 

out to the wreck site with no other boats in sight. Now here we 

were, facing a search for one missing diver in a very big ocean 

JASON HEATON (text) +GISHANI RATNAYAKE (photography) 

with dusk falling and storm clouds piling up on the horizon. 

Training kicked in and I twisted the bezel of my Blancpain Fifty 

Fathoms to mark the beginning of our search and scanned the 

water for movement. 

The Florida Keys are an archipelago of islands that curl off 

from the mainland United States like the tail of a kite. A series 

of shallow reefs sits just offshore and the Gulf Stream bathes 

them in clear, warm water. Forward-thinking government 

protection has kept the environment healthy and the reefs teem


BLANCPAIN 

with countless species of colorful fish, as well as larger pelagics 

that cruise in from the deeper water between here and Cuba. 

It is a diver’s paradise and has been ever since the heyday of 

recreational diving in the 1960s. Driving down Highway 1, 

past low-slung motels and souvenir shops, feels much like it 

must have in those days, when divers discovered the wrecks 

and reefs offshore and flocked there by the thousands. No doubt 

many of them wore a no-frills, sturdy underwater watch with 

the evocative name “Fifty Fathoms”, from a small Swiss brand 

called Blancpain. Diving in the Keys feels historic and it was 

somehow appropriate to wear Blancpain’s modern tribute to 

their legendary dive watch during four days of diving there. 

By now, most people know the history of the Fifty Fathoms, 

but it bears repeating. French secret-agent-turned-combatdiver 

Robert Maloubier sought a suitable dive watch for his 

newly formed team of Special Forces divers and approached 

Blancpain for help. They built a watch to Maloubier’s 

specification, with a unidirectional rotating timing bezel, 

large luminescent dial-markers and a case that was at least 

water resistant to a depth of 91 meters, or the more poeticsounding 

50 fathoms, a depth then thought to be the maximum 

a man could dive on air. The Blancpain Fifty Fathoms was 

released in 1953, the same year another famous dive watch 

made its debut: the Rolex Submariner. Which one came first 

is a question we may never answer, but the evolutions of each 

took different paths through the decades and both pioneers 

are still at the top of their class today. 

Tropical storm Debby was playing catand-mouse 

with Florida for several 

days. The stiff southerly wind was 

whipping up whitecaps and big seas 

that left our small group feeling 

green on the ride out to the dive 

sites on day one. Of course, once 

underwater, all was serene and 

we enjoyed long bottom times 

on the shallow reefs before 

ascending for the rodeo ride on the boat. 

We played peek-a-boo with a hiding southern 

stingray on French Reef and sized up some 

monster goliath groupers over on Molasses. The 

weather was keeping other divers away so we enjoyed 

empty reefs. 

The Florida Keys are not only known for their reefs, but 

also for numerous shipwrecks. Out of Key Largo, a trio of 

intentionally sunk ships, the Spiegel Grove, the Duane and 

the Bibb, are popular with divers due to their accessibility 

and abundant fish life. On our second morning, we descended 

the fixed mooring line on the USCGC Duane, a former Coast 

Guard cutter sunk in 131 feet (40m) of water. Contrary to 

the unfavorable surface conditions, the current on the wreck 

was light, and visibility infinite. Descending past the crow’s 

nest, we passed through a fleet of barracuda that hung 

motionless, their dead eyes following us ominously. On the 

wreck, a school of Bermuda chubs circled slowly around the 

derelict bridge while a giant grouper disappeared inside the 


engine room. We swam from bow to stern before ascending 

the line for a short decompression stop just below the waves. 

Unlike the Rolex Submariner, which has remained largely 

unchanged over the years, the Blancpain Fifty Fathoms 

has seen countless iterations, with cases, dials and bezels 

mirroring the styles of the times in which they were 

produced. Undoubtedly one of the most popular models was 

the one produced in the late 1960s that was branded “Aqua 

Lung”, in reference to Cousteau’s game-changing invention. 

It was this model to which Blancpain chose to pay tribute 

with the limited edition I was wearing in the Florida Keys. 

Instantly recognizable and often mimicked, the Tribute to 

Fifty Fathoms Aqua Lung features a domed sapphire crystal 

with minimal minute hashes and a diamond-shaped descent 

marker. The dial is spare, with only the lovely scripted 

“Aqua Lung” and “Fifty Fathoms” below the Blancpain logo. 

Painted markers at 12, three, six and nine o’clock hark back 

to the watch’s forebear and the hands are the same pointed, 

military style as Captain Maloubier would have demanded. 

Unlike some similar recent Fifty Fathoms versions, the 

45mm steel case has a completely brushed finish — in my 

opinion, a must-have feature of a military-inspired watch. 

Unlike the original, the luminescent paint used is nonradioactive 

SuperLuminova and may be the brightest, most 

legible watch dial I have ever used. The strap Blancpain fits 

to this noble tribute piece is a stitched textile with large 

rally-style holes that mimics the style of the Tropic rubber 

straps that would have held the original Fifty Fathoms 

Aqua Lung to divers’ wrists. Instead of an ordinary 

pin buckle, Blancpain has fitted a fold-over 

deployant with double pushbutton 

release. The clasp also 

includes a clever extension that 

folds in on itself and provides 

just enough extra room to slide 

the watch over your hand and 

easily fits over a 5mm wetsuit 

sleeve. 

On our last day in the Keys, we 

decided to drive two hours west 

to the end of the archipelago, Key 

West, to dive a newly sunken wreck, the USNS General Hoyt 

S. Vandenberg. The “Vandy” as she is known, was a Navy 

missile tracking communications ship that had a second 

career as a prop in the movie Virus before being intentionally 

sunk in 140 feet (43m) of water about 7mi (11km) offshore 

from Key West. Her large parabolic antennae and massive 

size have become the latest divers’ attraction in the Keys and 

we wanted to see her. 

Since we dived in the morning, our two-hour drive to Key 

West put us on the water around 3:00pm for a very slow, 

bucking ride out to the wreck site. The wind had picked up 

and waves were building. Still, we were told that if we could 

tough out the rough boat ride, currents were said to be light


 


BLANCPAIN 

 

 

Blancpain has reissued 

several iterations of its 

historical and iconic dive 

watch — the Tribute to 

Fifty Fathoms Aqua Lung 

is in reference to the 1960s 

model inspired by Jacques 

Cousteau’s invention 

The massive projection off the left 

side of the Jaeger-LeCoultre Master 

Compressor Diving Pro Geographic 

Navy SEALs houses the depth-gauge 

mechanism and, while looking slightly 

unwieldy, actually contributes to the 

watch’s strong utilitarian outlook 

(despite the luxury of its pink-gold case)


BLANCPAIN 

on the wreck. But it was clear as we tied into the mooring 

ball that this would be a difficult dive. The mooring line was 

taut in the ripping current and as we each splashed into the 

water, it was all we could do to grab hold of the trailing bow 

line of our small boat to keep from drifting to Cuba. One 

by one, the five divers in our group pulled ourselves hand 

over hand to the mooring line and on down to the wreck, 

the current threatening to rip our masks off our faces. I 

managed to set the bezel on the Fifty Fathoms to track my 

bottom time, but today it was destined to be a short one. The 

current was too dangerous and we all agreed through a flurry 

of hand signals that it would be best to live to dive another day. 

Just as we decided it would be wise to cancel the dive, there 

was confusion as one diver had gone missing from the back of 

our rag-tag conga line. Somehow, she had been pulled off the 

mooring line and sent into the current, helpless to swim against 


it. We all quickly ascended and scrambled back on the boat, 

adrenaline overriding our exhaustion. The captain picked up 

the radio, set to emergency channel 16, and notified the Coast 

Guard of our situation. The search was on. 

Blancpain has a history of innovation and fine watchmaking, 

and holds the distinction as the world’s oldest watch brand, since 

it was officially incorporated in 1735. Through the centuries, 

Blancpain has seen many changes, including its name, when the 

brand was known as “Rayville-Blancpain” in the 1950s. It was 

during this time when Captain Maloubier and his lieutenant, 

Claude Riffaud approached them with their specifications for 

the combat diver’s watch. This would become the brand’s most 

recognizable and collectible watch. Despite the Fifty Fathoms’ 

simple, unadorned movement and spartan styling, good vintage 

examples routinely fetch US$10,000 to US$20,000 on the 

collector’s market. It only made sense for Blancpain to capitalize 

on this heritage with a series of tribute pieces. 

The Fifty Fathoms “Tribute to Fifty Fathoms Aqua Lung” 

resembles its historical reference in appearance only. Now, rather 

than a workmanlike, undecorated automatic movement, the watch 

features a twin-barrel, 35-jewel self-winding caliber (Blancpain 

1315) that boasts 120 hours of power reserve. In place of the old 

engraved antimagnetic caseback, the Tribute to Fifty Fathoms 

Aqua Lung proudly displays the movement, which is decorated 

and features a winding rotor made to look like a ship’s propeller. 

While the purist in me wanted a plainer caseback, I begrudgingly 

learned to love watching the propeller spin. 

Spotting a person in the open ocean, among whitecaps and 

high swells, is a difficult proposition. And, complicating 

our search, we could only guess as to which direction our 

missing diver had drifted or where she surfaced. So, the 

captain motored the boat slowly over the waves in an 

ever-increasing radius with all of us scanning the water. 

Suddenly, almost directly in front of our bow, I spotted 

her, waving an inflatable marker buoy over her head 

and shouting. Relief flooded over me. I glanced at my 

watch — 26 minutes had passed, but it felt like hours. 

We picked up our lost companion and headed for the 

safety of Key West and a round of well-deserved beers. 

With the Tribute to Fifty Fathoms Aqua Lung, Blancpain 

has succeeded in creating a faithful rendering of its own 

classic and an icon of an entire genre. At the same time, it 

has managed to build a thoroughly modern, sophisticated 

timepiece that is at once haute horlogerie and a utilitarian 

tool, capable of surviving the bashing on a bucking dive boat, 

a five-knot current and 16 fathoms of depth over four days of 

arduous diving. When I returned home from Florida, I noticed 

that the famous Blancpain timing bezel was still set where I’d 

left it during our search, a grim reminder of an unfathomably 

frightening day on the water.


 


TREND WATCH 

A change of seasons is at hand leading us to look to more sullen hues, 

well, shades of black, to be exact 

Perfect for any occasion, or if you happen to be in an indecisive 

mood, black is hard to get wrong and you look effortlessly 

stylish. If you think black is boring, it’s time to get creative 

with unexpected textures, materials, patterns and cuts. As it 

happens, the horological world has too been infiltrated by gothic tones, 

with black proving a key trend this year. We take you from conventional 

to cutting-edge, classic to ultra-modern – the versatility of this color is 

uncontested. Black is definitely here to stay! 

1 IWC BIG PILOT’S WATCH TOP GUN 

The combination of tradition and classic functionality with 

advanced technology and state-of-the-art materials is nothing new 

in the world of watches. Whether it’s to pay homage to designs of 

yesteryear or simply the inability to fix what is not broken, the 

glut of throwback “vintage” redesigns are a constant and welcome 

fixture on the scene. IWC look back 72 years to their maiden flight, 

that has seen the Big Pilot’s Watch through decades of aviation 

history. Re-launched a decade ago, it presents itself this year in 

a 48mm scratch-resistant zirconium oxide case with a titanium 

crown – both signature materials used in the Top Gun line. The 

IWC-manufactured 5111 caliber boasts a pawl-winding system 

that builds up to seven days of power reserve when wound by 

hand. The dial remains minimalist with a contrasting black and 

white color palette, a power reserve indicator at 3 o’clock and date 

window at 6 o’clock. 

2 YVES SAINT LAURENT MENSWEAR FALL 2012 

With half the collection focused on precise military-influenced 

tailoring and lux fabrics such as leather and fur, we found this 

outfit to be rather perfect for this theme. Referring to this as an 

“all-leather ensemble” we admit is intimidating and may conjure 

up unflattering images of has-been wrestlers and marauding super 

villains, but this 2012 Yves Saint Laurent version introduces panels 

of felt and a fur collar to break up the severity. Pieces can of course 

be incorporated into a myriad of other outfits as separates, but we 

urge you to give this top-to-toe leather look a go. 

MELISSA LIM (text) 

3 PANERAI TUTTONERO LUMINOR 1950 

3 DAYS GMT AUTOMATIC CERAMICA 

Part of the Contemporary Collection, this classic Luminor 1950 case 

gets a shroud of black in the form of high-tech ceramic. The advanced 

technology of this material allows for optimum comfort as well as being 

lightweight on the wrist, scratch-resistant, and five times harder than 

stainless steel. Each link on the bracelet is asymmetrical and curved at 

the surface to further ensure comfort. The unmistakable lever device 

protecting the winding crown is synonymous with any Luminor, and 

its dial is constructed via sandwich method, while the numerals, hour 

markers and hands are coated in an ecru Superluminova to guarantee 

visibility in the dark. 

4 HUBLOT BIG BANG BLACK CAVIAR 

Inspired by the one-of-a-kind One Million $ Black Caviar, which was 

completely encrusted in rare baguette black diamonds amounting to 

34.5 carats, is the Big Bang Black Caviar. This time, it is completely 

made from lightweight ceramic – including the crown and dial – making 

it 30% lighter than steel. The uniform shades of black ceramic have 

been polished and beveled to mimic the diamonds of its predecessor. 

In addition, its scratchproof, anti-allergenic, unalterable and rustproof 

qualities make for a sportier, more accessible watch. The piece is armed 

with an automatic mechanical movement HUB1112 that will keep it 

powered for up to 42 hours. 

5 HENDRICK’S GIN 

With a tagline like “it’s not for everyone” and those lust-worthy black 

apothecary bottles, you could say our interest was sufficiently piqued, 

and the liquid magic that lurks inside deserves equal praise. This New 

World gin is distilled in Old World Scotland and combines no less than 

11 botanicals with a quirky and unexpected addition of rose petals and 

cucumber; do not expect a typical gin here. Though the quintessential 

juniper remains front and center on the palette, the rose and cucumber 

notes freshen up the taste with lingering hints of coriander and citrus, 

making it ideal for a G&T. Add cucumber instead of lemon for an 

unusual yet refreshing drink.

1 

5 

 


TREND WATCH 

4 

 

 

2 

2 

REVOLUTION 079 079 

3


6 

 


TREND WATCH 

11 

 

 

7 

10

9 

 


TREND WATCH 

8 

6 ULYSSE NARDIN BLACK SEA CHRONOGRAPH 

Built to battle the steely, unforgiving seas during a blustering storm, 

the commanding Black Sea Chronograph offers divers the same level 

of reliability that has come to be expected from any master diver 

watchmaker. The piece is able to reach depths of 200 meters due to the 

materials employed in its construction, such as the 45.8mm stainless 

steel case that is coated in rubber; the buckle made of lightweight 

ceramic; and its likewise lightweight rubber strap. Keeping with the 

maritime theme of the watch and brand, the chronograph seconds 

hand is decked with the iconic Ulysse Nardin anchor. The rubberized 

pushers allow for swift start and stop functions, while Superluminova 

illuminates the dial for easy readability under dark conditions. 

7 VERSACE MENSWEAR FALL 2012 

With each issue, we need to add a wearable, theme-appropriate suit 

because let’s face it, it’s never a bad idea to suit up; overdressing is always 

better than underdressing, in our opinion. Taking into account our 

theme this issue, a boring standard black suit or tuxedo just wasn’t going 

to cut it. The black velvet brings a nostalgic touch of the conventional 

tuxedos of decades past to this contemporary version. If velvet is a touch 

too Hugh Hefner for you, choose a different material or texture such as 

leather, tweed, or a combination of anything you want. Keep in mind, 

because it is all black, you can afford to be more adventurous! 


8 GIVENCHY BROGUE BOOT HIGH TOPS 

This fall, Ricardo Tisci continues to project an air of urban masculinity 

by blurring the lines between classic menswear and sportswear. These 

leather wing tip brogue high tops are a walking contradiction, not 

to mention a proper mouthful! Is it an ordinary leather lace-up or a 

sneaker? It’s both! Boasting the comfort of a sneaker on the inside and 

chic work-appropriate shoes on the outside, one wonders why someone 

hasn’t thought of this before. Wear it with your suit to the office and 

your colleagues will be none the wiser. Go on, it will be our little secret. 

9 YVES SAINT LAURENT BAGS 

When news broke that newly appointed creative director Hedi Slimane 

was to change the iconic fashion house’s logo to ‘Saint Laurent Paris,’ 

the uproar and tears shed were heard across the sartorial world. While 

some questioned the need for it, others applauded this bold decision. 

Whether or not you agree with it, the fact remains: all products bearing 

the iconic ‘YSL’ logo shall soon be (if not already) flying off the shelves, 

destined to be tucked away in the fashion archives as collector’s items. 

The Chyc bag would be a perfect formal bag for work, while the 

Hamptons tote has a more relaxed feel for play. Both showcase the 

indelible ‘Y’ in very opposing ways, of course, because we always like 

to give you options. 

10 MB&F HM4 BLACK THUNDERBOLT 

FOR MARCUS LONDON 

A number of HM4 variations have already seen themselves gracing the 

pages of REVLUTION, and the Black Thunderbolt is no exception. 

Known for his collaborations with other watchmakers or designers (the 

brand name after all stands for Maximillian Büsser & “Friends”), the 

aim is to bring new advanced technological and sculptural forms to 

high-quality watchmaking, with influences ranging from aviation to 

superhero cartoons. This is MB&F’s first and only “boutique exclusive” 

piece, with the honor bestowed upon luxury watch boutique, Marcus 

London. The two signature jet-turbine-styled pods, power reserve on the 

left dial, hours and minute on the right, sit atop a horizontal platform 

that houses the engine. Controlled by their independent crowns and 

powered by two parallel mainspring barrels, the HM4 Thunderbolt 

offers up to 72 hours of power reserve, which is transferred to the pods 

via vertical gear trains. Turn the watch over to reveal a plate engraved 

with ‘Marcus- Pièce Unique’ as well as a peek at the micro engineering 

of the engine. 

11 ROGER DUBUIS EXCALIBUR DOUBLE FLYING 

TOURBILLON SKELETON IN BLACK TITANIUM 

This “full black” titanium version of the emblematic Excalibur Double 

Flying Tourbillon introduces a skeleton movement to bring together 

the philosophy of this watch: power, lightness and transparency. 

Having first debuted skeleton movements back in 1995, Roger Dubuis 

is known for their modern and ethereal interpretations. This 45mm 

powerhouse is as technical on the exterior as it is in the interior. It 

combines two signature devices of the brand: the skeleton and the 

double flying tourbillon. Comprising 319 parts, this hand-wound 

movement beats at a frequency of 21,600 vph with a power reserve of 

48 hours, and is limited to 88 pieces.


> > SOPHISTICATED 

MINIMALISM AT ITS BEST 

ABOVE 

Girard-Perregaux 

1966 Minute Repeater 

 

BROUGHT TO YOU BY GIRARD-PERREGAUX 

As one of the most renowned watchmakers in 

the world, it comes as no surprise that Girard- 

Perregaux once again managed to produce 

something of such exquisite beauty that attendees 

at the 2012 Salon International de la Haute 

Horlogerie (SIHH) were left speechless in awe. 

A stunning new watch, the Girard-Perregaux 

1966 Minute Repeater is just one of a range of 

beautiful watches being released by the exalted 

Swiss manufacture. 

The classic repeater watch is one where mechanical 

excellence has historically been demanded. 

It is traditionally a complication inside 

a mechanical watch that audibly chimes or produces 

an audible notification of the hours and 

minutes at the press of a button. An incredibly 

difficult complication to master, repeater watches 

were traditionally used in the days when electric- 

ity was scarce, luminous materials were not yet 

available, and audio cues were required. 

From the earliest days of the Girard-Perregaux, 

its watchmakers have strived to push 

mechanical and technical boundaries, proven 

through various accolades and awards from the 

Astronomical Observatory de Neuchâtel in recognition 

of Girard-Perregaux’s commitment to 

watchmaking excellence. 

Within the new 1966 Minute Repeater beats 

one of the most complex movements ever created. 

Constructed to allow a device featuring two circular 

gongs coiled inside the case, small hammers 

beat at regular intervals. Apart from the incredible 

difficulty and precision required to achieve 

this, engineers and designers at Girard-Perregaux 

also had to perfect the sound of each chime. 

The setting of the chimes remains one of the 

A successful expression of mechanical 

excellence and understated styling

BROUGHT TO YOU BY GIRARD-PERREGAUX 

most undervalued qualities of a repeater complication, 

but one that has the utmost importance for 

a refined watch enthusiast. Designers put the complication 

through the strictest acoustic tests before 

finally announcing that the perfect sound had been 

achieved. The diameter of the caliber and the interior 

diameter of the case are perfectly balanced, 

a ratio that guarantees maximum resonance. The 

caseback is curved in order to increase the volume 

of air between the movement and the case, which 

significantly improves the propagation of the sound. 

The curved case then had to be designed and diamond 

polished to such a high standard to guarantee 

maximum resonance at all times. 

The watch contains a handwound mechanical 

movement - the GP E09-0001 caliber - that 

features 317 components, with a rhodium plated 

and circular-grained mainplate, offering a power 

reserve of over four days. Water resistance is 30 

meters. For such elegance and with the rarity of 

its movement, combined with the extremely difficult 

challenge of producing such a complication, 

Girard-Perregaux has once again shown the world 

the mastery it is capable of. 

But it’s not just mechanics and complications 

that drive the designers at Girard-Perregaux; one 

of the main driving forces of the brand is to create 

the most beautiful watches in the world, and the 

new 1966 Minute Repeater is no exception. 

The new 1966 Minute Repeater is of a classic, 

subtle design, in keeping with the ethos of 

supreme elegance that echoes through the walls 

of the Girard-Perregaux workshops in La Chauxde-Fonds, 

Switzerland. The designers have chosen 

a half-arrow shape recalling the Gold Bridges, 

Girard-Perregaux’s signature. The extremities of 

the arms are rounded to a semi-cylindrical shape, 

giving the watch face a beautiful, subtle elegance. 

Each part of the movement and the case requires 

a steady hand, with craftsmen polishing 

and smoothing each component using stones, 

buffs, pegwoods and diamond pastes in order to 

achieve perfect rounding. 

The 42mm case comes in rose gold, a classic 

choice being of more elegance than the standard 

yellow gold. Combining a classic appearance 

with a unique complication, the design 

aesthetics are a successful expression of minimalist 

sophistication. 

The enamel dial with arabic numerals afford 

this timepiece an understated beauty that 

one could elegantly wear it out in Paris, Milan, 

New York or Hong Kong, and only a very select 

few would have an idea of just what you 

have under the hood, nor of the relative value 

on your wrist. 

 

 


ABOVE 

The handwound mechanical 

movement can be admired 

through the watch’s 

transparent caseback

90 

Richard Mille’s 

Le Mans Classic Editions 

Omega’s Seamaster 

Planet Ocean ‘Skyfall’ 

Glashütte Original’s 

Senator Moonphase Skeletonized 

96 

 

“The power of imagination makes us infinite” 

86 

Audemars Piguet’s Royal Oak 

Chronograph Leo Messi 

TAG Heuer’s Mikrotourbillons 

Chopard’s L.U.C Qualité Fleurier 

98 C3H5N 3O9’s Experiment ZR012 

100 

92 

94 

88 

F.P. Journe’s Octa Sport Limited Edition 

102 

 

Urwerk’s UR-210 

John Muir

PRIME TIME


 

PRIME TIME 

RICHARD MILLE 


RICHARD MILLE 

DOUBLE TROUBLE 

Richard Mille expands their partnership with Le Mans Classic Race with 

two high-performance watches 

The sixth iconic biennial Le Mans Classic vintage 

car race took place this July, and saw Richard 

Mille playing a major part as official timekeeper 

and principal partner since its inception in 

2002. The world-renowned international race 

was held on the famous 13-kilometer long circuit that’s 

known for drawing in record-breaking crowds. This year, to 

add to the excitement, Richard Mille – an avid motor fan 

himself – participated in the exhilarating marathon of a 

race. To commemorate the partnership between the two, the 

manufacture produced two limited edition high-performance 

sports watches. 

First up is the RM 011 automatic chronograph, featuring a skeletonized 

automatic movement with a flyback chronograph and 

annual calendar functions. The date display at 12 o’clock, as 

well as the chronograph counters and hands are all emblazoned 

with Le Mans Classic colors, such as those found in the rumble 

strips of the racing circuit. The 24-hour counter positioned at 

6 o’clock pays further tribute to this remarkable endurance 

race that sees 400 cars and drivers competing in 

teams from 4pm on Saturday to 4pm on Sunday. The entire 

watch relied heavily on machine-manufacturing processes, 

with the barrel-shaped case alone requiring no less 

than 200 distinct steps. The satin finished bezel is microblasted 

with the double Le Mans racing strip down the center. 

The RM 008 LMC tourbillon split-seconds chronograph, like 

the RM 011, incorporates a micro-blasted double racing strip 

on the bezel, as well as the blue and yellow stripes of the race 

circuit into the minutes and seconds of the chronograph that is 

indicated by the tourbillon. The RM 008 features the Le Mans 

Classic logo at 12 o’clock and is housed in a titanium case, 

boasting torque and function indicators. The epitome of watchmaking 

and motor sports, as well as exclusivity, the RM 008 is 

limited to only two pieces. 

 

 

RM 008 LMC TOURBILLON 

Movement: Manual-winding tourbillon 

movement; 70-hour power reserve 

Functions: Hours, minutes, seconds; split 

second chronograph; torque and 

function 

Case: Titanium; 48mm x 39.7mm; double 

micro-blasted racing strip down 

center of bezel 

Dial: Torque and function indicators 

Strap: Black DLC-treated 

Limitation: 2 pieces

PRIME TIME 

RICHARD MILLE 

 

 

RM 011 LMC AUTOMATIC CHRONOGRAPH 


Movement: Skeletonized automatic movement; 

50-hour power reserve 

Functions: Hours, minutes, seconds; flyback 

chronograph with 24-hour counter; 

rotor with variable geometry 

Case: Titanium; 50mm x 40mm; double 

microblasted racing strip down 

center of bezel 

Dial: Skeletonized; date display at 12 

o’clock; 24-hour counter at 6 o’clock 

Strap: Black rubber 

Limitation: 150 pieces


 

PRIME TIME 

OMEGA 

CHARLENE CO (text) 

OMEGA 

SKY’S THE LIMIT 

Omega launches a commemorative piece 

for the latest James Bond film

PRIME TIME 

OMEGA 

SEAMASTER PLANET OCEAN 600M SKYFALL LIMITED EDITION 

MOVEMENT: Co-axial caliber 8507; self-winding movement; 60-hour power reserve 

CASE: Stainless steel; 42mm; domed scratch-resistant sapphire crystal with anti-reflective treatment; water 

resistant to 2,000 feet; screw-in crown; transparent case back 

DIAL: Matte black; unidirectional rotating bezel; indices and hands coated with Superluminova 

FEATURES: Hours, minutes, seconds; date; chronometer; helium escape valve 

STRAP: Stainless steel 

Since Daniel Craig reprised the role of the perpetually 

cool James Bond, Omega has been rather enthusiastic 

in immortalizing the iconic character through their 

equally awesome Seamaster series. From Craig’s 

first outing as Bond in “Casino Royale” in 2006, to 

“Quantum of Solace” two years later, Omega has released a total 

of five themed watches, with both subtle and apparent details 

clearly distinguishing them as “Bond, James Bond” watches. 

This year, the widely anticipated 23 rd installment of the series 

comes in “Skyfall,” its release coinciding with the 50 th anniversary 

of the Bond film series. Marking its seventh appearance 

in a Bond film, Omega introduces the Seamaster Planet Ocean 

600M ”Skyfall” Limited Edition watch, which, like its Seamaster 

brethren and surely to the relief of 007 hopefuls, is well 

equipped for underwater action. The 42mm piece is built with 

a unidirectional rotating diving bezel – a standout with its matt 


black ceramic ring and chromium nitride diving scale – and a 

helium escape valve. The piece is powered by Omega’s new coaxial 

caliber 8507 and water resistant to up to 2,000 feet. 

Every bit masculine, the watch comes in a stainless steel case 

– brushed and polished – fitted with a screw-and-pin bracelet 

and a clasp engraved with, of course, “007.” To ensure its legibility 

deep underwater, its applied indices and rhodium-plated 

hands are coated with white Superluminova, emitting a bright 

blue light against the matt black dial they’re laid on, while the 

minute hand and dot on the diving bezel give out a green light. 

Continuing on the Bond theme, the identifiable “007” logo is 

put in place of 7 o’clock, while its rotor has “Skyfall 007” engraved 

in black varnish. 

The Seamaster Planet Ocean 600M Skyfall will be available 

only in 5,007 pieces.


 

PRIME TIME 

GLASHÜTTE ORIGINAL 



SKELETONS 

IN YOUR CLOSET 

Glashütte Original makes no bones about it

PRIME TIME 


During a year bursting at the seams with 

flashy skeletonized movements, it is fair to 

say it would take one that’s nothing short of 

extraordinary to find its way onto the radar 

of discerning watchmakers and aficionados 

alike. However, not all skeletonized movements are built 

the same and one glance at the Glashütte Original Senator 

Moon Phase Skeletonized Edition tells you it is definitely 

something exceptional. 

It is not uncommon, or altogether unreasonable, to liken a new 

design with a predecessor or vintage counterpart; it comes with 

the territory. In this case, inspired by and reworked from the 

Glashütte Original 1845 Classic Up/Down with Moon Phase, a 

model that first debuted ten years ago, this year’s Senator Moon 

Phase Skeletonized Edition offers an insight into its magnificent 

micro machinery. 

The “Up/Down” of its predecessor, of course, refers to the elegant 

40-hour power reserve indicator that remains on its successor between 

1 and 2 o’clock. Along with the moon phase and seconds, it 

GLASHÜTTE ORIGINAL SENATOR 

MOONPHASE SKELETONIZED EDITION 


Movement: Glashüttte Original caliber 

49-13; manual winding; 

40-hour power reserve 

Functions: Hours, minutes; small 

seconds; power reserve 

indicator; moon phase 

Case: Red gold; 42mm; sapphire 

crystal case back 

Dial: Galvanized silver; 

skeletonized 

Strap: Matte black alligator leather; 

deployant buckle 

Limitation: 100 pieces 

is one of three subdials to lie atop the intricate galvanized silver 

skeletonization that is entirely made in-house. 

A visual treat for any watch lover, the manually wound caliber 

49-13 is completely visible through the front and back, thanks 

to the antireflective sapphire crystal, which allows the wearer 

to peer into the layers of complications and admire the expertly 

finished components. In addition, the delicate engravings that 

adorn both sides of the movement are a result of expert craftsmanship, 

giving the watch an even more three dimensional, intricate 

feel. The skillfully finished red gold case adds a classic 

touch and enhances the blue and gold moon phase display, as 

does the black chapter ring and finely sketched Roman numerals. 

Certainly exclusive, only 100 will be made available worldwide, 

with the limited edition number of each piece engraved 

in gold lettering at the back – a stark contrast to the galvanized 

steel of the movement on the case back. To complete 

this sophisticated look is a matt black alligator strap and 

deployant buckle; it rounds off another fine example of the 

superb watchmaking skills in Glashütte.


 

PRIME TIME 




LEGEND IN 

THE MAKING 

Audemars Piguet dedicates a Royal Oak to an exceptional sportsman

Audemars Piguet has 

a knack for taking 

on the sports world’s 

crème de la crème as 

ambassadors, having 

the likes of Novak Djokovic, Michael 

Schumacher and LeBron James in 

this elite circle. This time, the Le 

Brassus watchmaker collaborates 

with arguably the most brilliant 

football player at the moment, 

24-year-old Argentine Leo Messi, 

who plays for FC Barcelona, on a 

watch that’s created in his honor. 

The Royal Oak Leo Messi is the sole 

special edition Royal Oak of 2012, 

the same year Audemars Piguet 

marks its 40 years in watchmaking. 

 

PRIME TIME 


Apart from his sheer talent – his 

throng of achievements include setting 

a world record for scoring the 

most goals in a season during the 

2011–2012 series – Messi is also a 

genuinely generous player who motivates 

his teammates to perform 

their best. At just 24 years young, 

he’s led his team to win an astounding 

five Spanish championships and 

three Champions Leagues. As if that 

wasn’t enough, Messi – who is also a Unicef ambassador – is 

admired for his loyalty to the club that took him in when he was 

14; and for his philanthropy, having started a foundation for 

underprivileged children. So while homages are more typically 

reserved for, well, the more senior, Messi’s is most certainly well 

earned and deserved to say the least. 

Messi started his affair with the Royal Oak in 2005 when he 

was presented with one to celebrate his first La Liga title; he has 

since been drawn to them, even starting his own collection. In 

2010, he was named brand ambassador. 

On the Royal Oak Leo Messi, Audemars Piguet made certain 

that it was distinct enough not only so that it can be justly 

referred to as a “special edition,” but also to befit this young 

sports legend in the making. The piece comes in a slightly larger 

size at 41mm, and is fitted with an alligator strap instead of 

the usual steel bracelet; a rubber strap is also included, should 

you feel inclined to wear the watch in more sporty endeavours. 

Further, and for the first time in the series, its dial does away 

from the Royal Oak signature tapisserie motif, and the bezel 

is given a richer and rather intriguing blue and grey sheen by 

virtue of the material, tantalum. The Royal Oak Messi features 

three chronograph counters, as well as a small seconds counter 


AUDEMARS PIGUET ROYAL OAK 

LEO MESSI LIMITED EDITION 

MOVEMENT: Self-winding mechanical calibre 

2385; 40-hour power reserve; 

21,600 vph 

CASE: 41mm; steel/tantalum, 

pink gold/tantalum and 

platinum/tantalum 

DIAL: Three chronograph counters; 

small seconds counter; 

brushed silvered ring 

FEATURES: Hours, minutes; 

small seconds; date; 

chronograph functions 

STRAP: Alligator 

LIMITATION: 500 steel/tantalum, 

400 pink gold/tantalum, 

100 platinum/tantalum 

that is lined by a finely brushed silvered ring, and is driven by 

the self-winding mechanical caliber 2385. 

The Leo Messi Royal Oak is offered in combinations of steeltantalum, 

pink gold-tantalum or platinum-tantalum, with only 

500, 400 and 100 pieces, respectively, each of which thoughtfully 

packaged in a lacquered shoe box-shaped case, made even 

more precious with a special message from the great yet endearingly 

humble Messi himself.


 

PRIME TIME 

TAG HEUER

Driven by speed, precision and performance, TAG 

Heuer’s never really bothered with tourbillons in 

the past. Strictly function-wise, the tourbillon’s 

original goal of improving accuracy has been 

rivalled by the modern precision techniques 

that have only gotten better and accurate through time; these 

complex yet certainly beautiful mechanisms are instead 

executed mainly for aesthetic purposes, as a statement of the 

watchmaker’s art and skill. Having said that, when TAG Heuer 

finally decided to pursue this much-loved complication, being 

somewhat more than fashionably late to the party, it not only 

had to be a stunner, it also had to be at the very least daring, 

and in line with its fervor for ultimate performance. Drum rolls 

and enter the MikrotourbillonS, with which TAG Heuer’s most 

definitely hit a precision high. 

Touted as the manufacture’s “most ambitious luxury chronograph 

to date,” the MikrotourbillonS is the first ever tourbillon 

on a 1/100 th of a second chronograph – the fastest one of 

its kind – that can be started and stopped. The ingenuity of 

the MikrotourbillonS, given its never-before-seen dual-chain, 

double-barreled tourbillon, stuns at the very least. 

If your imagination is wild enough, do picture this: two rotating 

tourbillon mechanisms – one for time telling and the other 

for timekeeping – visible on the dial, with the first operating 

at a standard rate of 28,800 beats per hour, as its hand sweeps 

the dial at a standard tourbillon speed of once a minute; while 

the second drives the 1/100 th -of-a-second chronograph at a 

stunning 360,000 beats per hour. And if you’re still not in a 

frenzy with such an image, discover that it has no cage and can 

be started and stopped at whim, due to its revolutionary dual 

chain architecture. 

TAG HEUER MIKROTOURBILLONS 

 

PRIME TIME 

TAG HEUER 


TAG HEUER 

REVVED-UP 

TOURBILLONS 

TAG Heuer reinvents the classic complication in the only way it knows how 

MOVEMENT: 1/100th second chronograph function; 2 tourbillons; automatic 

bi-directional rewinding movement; first tourbillon operating at 

360,000vph; second tourbillon: 1 rotation every 5 seconds 

CASE: 45mm; sandblasted tantalum and solid rose gold; double antireflective 

curved sapphire crystal; solid rose gold push buttons 

and crown with rubber; water resistant to 100 meters 

DIAL: Anthracite dial with Côtes de Genève; 2 chronograph counters; 

Arabic numerals 

FEATURES: Hours, minutes; central hand; 1/100th of a second chronograph 

at 3 o’clock; 1/10th of a second at 6 o’clock; power reserve 

counter at 12 o’clock 

STRAP: Hand-sewn anthracite high-tech soft touch alligator strap; 

tantalum folding clasp with applied TAG Heuer logo 


One would expect that this complex mechanism would be an 

energy-hungry monster, but TAG Heuer is one step ahead. 

To enable this powerhouse, the MikrotourbillonS is installed 

with the same integrated movement found in the earlier TAG 

Heuer Mikrograph 1/100 th of a second chronograph, which is 

equipped with two independent kinematic chains, each devoted 

to serving the watch and the chronograph. 

This astounding mechanism innovation is, charmingly enough, 

housed in TAG Heuer’s iconic Carrera from the 1960s. Its case 

is made from tantalum with rose gold horns, and embellished 

with a Côtes de Genève decoration, and fitted with a hand-sewn 

alligator strap. 

It will probably take some time to even wrap your mind around 

the incredible inner workings of this mechanism but when you 

do, or better yet, have the privilege of seeing it in the flesh, prepare 

to be left speechless.


 

PRIME TIME 

CHOPARD 


CHOPARD 

CLASSICALLY 

BRILLIANT 

Chopard impresses with this triple-certified powerhouse

PRIME TIME 

CHOPARD 

To acquire the world-renowned Fleurier Quality 

Certification is to be considered a true feat attainable 

only by the elite. It entails a stringent series of 

tests combining COSC, Chronofiable and Fleuritest, 

to examine the precision, reliability, durability 

and quality of aesthetics of a watch. The Fleurier Quality 

Foundation, an independent certification body, was formed in 

2001, with the partnership between a Technical Committee 

and the Foundation Council ensuring absolute objectivity. Admired 

and coveted the world over, it is open to all Swiss and 

European watch brands, and the L.U.C. Qualité Fleurier joins 

the ranks as Chopard’s fourth certified watch. 

While the Chopard L.U.C. Qualité Fleurier may not pack a 

punch at first glance, a closer look will guarantee intrigue and 

admiration. Whatever this watch may lack in flair aesthetically, 

it makes up for with a promise of consistency. Tucked away inside 

the 39mm case at the 6 o’clock position, lies the L.U.C. 

Fleurier caliber 96.09-L, which provides 65 hours of power reserve 

– thanks to the two “Twin” technology stacked barrels 

that boasts a frequency of 28,800 vph. 

Proudly displayed front and center are the “Qualité Fleurier” and 

“Chronometer” inscriptions, which along with the 18-karat rose 

gold case, baton-shaped hour markers, and hands, provide a clas- 

sic yet subtle contrast from the silver-toned dial. Being the only 

adornments, the dial remains clutter-free and focused on optimal 

readability, keeping with the general aesthetics of the piece and 

exemplifying the elegance and sophistication of haute horlogerie. 

This exceptional watch is available with a brown alligator 

leather strap and is limited to 300 pieces. With its triple certification 

and the Chopard name under its belt, one can rest 

assured they are investing in a truly remarkable piece. 

CHOPARD L.U.C. QUALITÉ FLEURIER 

 

 

Movement: L.U.C. caliber 96.09-L; self-winding; 65-hour 

power reserve; 28,800 vph 

Functions: Hours, minutes; small seconds at 6 o’clock 

Case: 39mm; rose gold; sapphire crystal case back; 

water resistant to 30 meters 

Dial: Silver-toned; sunburst satin-brushed 

Strap: Brown alligator leather; rose gold pin buckle 

REVOLUTION 097


 

PRIME TIME 

C3H5N3O9 

C3H5N3O9 

MECHANICAL 

CHEMISTRY 

Max Büsser and Felix Baumgartner join forces for 

an unusual and potentially explosive project

A 

significant shockwave was generated a few weeks 

ago when we heard of not only a new watch, but of 

a new project that combines the creative and technical 

juices of two of the best-known proponents 

of lateral thinking in haute horlogerie: Maximilian 

Büsser and Felix Baumgartner. 

Maximilian Büsser’s Horological and Legacy Machines – now in 

their fourth generation for the HM series, and first generation 

for the LM series – has created a very loyal following in just 

a few years, and anticipates with bated breath the next “machine.” 

In the same vein, Felix Baumgartner at Urwerk, along 

with Martin Frei, has made his mark with the brand’s signature 

satellite-based complications, choosing to display time any 

which way but with traditional hands. 

Therefore, the name of this new project, C3H5N3O9, is particularly 

apt as it’s the chemical formula for nitroglycerine, a 

volatile explosive compound that is vulnerable to shock alone, 

making its production and transport, difficult at best. With 

two well-established names in the industry, and, admittedly, 

both rather strong-willed and proud of their individual achievements, 

volatility will definitely be part of the mix. 

Their first collaboration takes the form of the Experiment 

ZR012. While they enlisted the help of noted designer, 

Eric Giroud, for the case of the watch, there are 

definite cues from both MB&F and Urwerk in the timepiece. 

The mechanism is inspired by the Wankel rotary 

engine, which was developed by a 17-year old German 

called Felix Wankel almost 100 years ago. It’s a very efficient 

design, but also quite complex and necessitates 

such precise machining of the parts that it never made 

significant inroads into the car industry. 

On the Experiment ZR012, you’ll find the rotary engine 

design elements on two planes; the tips of the triangular 

shaped rotors (or Reuleaux polygons if we really must 

get technical) trace an epichrotoid curve, indicating the 

minutes on the upper plane, and the hours on the lower 

one. The case is in zirconium, while the articulated lugs 

are in titanium. On the back of the watch is the power 

EXPERIMENT ZR012 

 

PRIME TIME 

C3H5N3O9 

Movement: Manual winding; 2 Wankel engine-inspired Reuleaux 

polygon rotors; 28,800vph; 

39-hour power reserve; 42 jewels; 

328 components 

Functions: Hours, minutes 

Case: Zirconium case with titanium lugs; 

sapphire crystal with anti-reflective treatment; 

water resistant to 30 meters 

Strap: Brown calf leather strap; titanium and 

white gold folding buckle 

Limitation: 12 pieces 


reserve indicator, which helps to track what remains of the 39hour 

reserve from a full manual wind. 

Now here’s the kicker: should you be interested in adding an 

Experiment ZR012 to your collection, and have 110,000 Swiss 

Francs burning a hole in your private bank account, the watch 

is available by ordering on the internet only. Bear in mind that 

there will only be twelve ZR012’s produced, and C3H5N3O9 will 

require a deposit of 33,000 Swiss Francs to earn your place in 

the queue. 

The team behind C3H5N3O9, which also includes Serge Kriknoff, 

Büsser’s partner at MB&F; Martin Frei, Urwerk’s designer; and 

Cyrano Devanthey, Urwerk’s research and development watchmaker, 

go to great lengths to explain that this is not a brand 

per se, but rather an “experimental platform.” The Experiment 

ZR012 will be followed next year by its RG012 twin, replacing 

zirconium with rose gold, but the subsequent projects – should 

there be any – would be entirely different and not necessarily 

a high-end mechanical watch. It remains to be seen what will 

inspire this unusual partnership over the next few years!


 

PRIME TIME 

F.P. JOURNE 

F.P. JOURNE 

DARK RACER 

F.P. Journe’s Octa Sport turns to a black limited edition to remember 

his Indy 500 adventure with famed racing driver Jean Alesi

PRIME TIME 

F.P. JOURNE 

François-Paul Journe turned a few heads last year 

when he presented his first “sports” watch, the 

Centigraphe Sport. After all, even though he has 

the Centigraphe movement, and has had a previous 

limited edition chronograph, his timepieces and 

design cues have been much more classical in nature, and not 

generally aimed at accompanying the wearer in most strenuous 

physical activities. You will recall that the Centigraphe Sport’s 

calling card is the extensive use of aluminum, not only for 

the case and bracelet, but also for the movement, giving it an 

extraordinary lightness. A few months later, it was joined by 

the Octa Sport, sporting a new rubber bracelet and the same 

aluminum elements and shock proofing that are now trademarks 

of his Sport series. 

As if the all aluminum look was not a radical enough departure, 

Journe created a limited edition Octa Sport to commemorate 

his association with Jean Alesi’s valiant attempt at running a 

rather underpowered car at the famed Indy 500 race; this time, 

he chose to present the Octa Sport Indy 500 in a blackened 

aluminum case. Black watches have indeed been favored by collectors 

of sports watches in recent years, but few would have 

guessed that Journe would be joining the fray. It does give the 

limited edition of 99 pieces – numbered 501 to 599 – a rather 

unique look. The blackened aluminum retains the special coat- 

ing that makes it particularly scratch-resistant, while being anti-allergenic 

and anti-corrosive, which will appeal to those who 

are concerned that the coating may be easily marred – a drawback 

that some types of blackening treatments may endure. 

The dial is also black, and features the F.P. Journe logo with his 

signature “Invenit and Fecit” dictum, and, optionally, a commemorative 

Indy 500 logo with Jean Alesi’s signature and the 

Lotus logo. 

Other technical features remain the same as the Octa Sport, 

namely a 120-hour power reserve with an indicator near 10am; 

hours and minutes via central hands; small running seconds at 

5pm; and a day/night indicator at 8pm; topped off by a large 

date at 1pm. The entire watch – rubber strap and all – weighs 

a scant 53 grams, even though it takes no less than 354 components 

to put it together. To put this weight in perspective, this 

is less than the weight of two “standard” letters, as defined by 

the post office! 

It’s unfortunate that this incredible lightness did not allow Jean 

Alesi to do more than a handful of laps at this year’s Indy 500, but 

we are assured that he is all the more motivated to try again next 

year. We wish him the best of luck, and look forward to perhaps 

another horological feat from F.P. Journe to accompany him. 

F.P. JOURNE OCTA SPORT INDY 500 


MOVEMENT: Calibre FPJ 1300-3; unidirectional automatic winding; 

made of aluminium alloy; 40 jewels; Circular Côtes de 

Genève on bridges 

CASE: 42mm; blackened aluminium alloy with rubber inserts 

DIAL: Blackened aluminium alloy and sapphire; Superluminova 

hands and appliqué indices; 12 luminescent points 

FEATURES: Hours and minutes; small seconds; day/night indication; 

power reserve indicator; date 

STRAP: Rubber


 

PRIME TIME 

URWERK 

URWERK 

POWER MONITOR 

Urwerk’s newest gives us a new insight into the daily function 

of the mechanical movement 

In a horological world that seems hell bent on introducing 

a new collection at every opportunity, Urwerk has been 

keen to progress much more gradually. It’s almost hard to 

believe that they signed their iconic 103 series’ marching 

orders two years ago now. You will recall though that 

it was, in fact, in preparation for introducing their UR-110 

series, with its newest interpretation of their signature satellite 

complications. 

The UR-110 quickly gained appreciation from the knowledgeable 

crowd of watch collectors. Its unique case design made it stand 

on its own, bearing little resemblance to its predecessors, yet instantly 

recognizable as one of Felix Baumgartner’s and Martin 

Frei’s brainchildren. This time ‘round, they’ve turned their attention 

to the 200 series, and are now introducing the UR-210. 

Unmistakably an Urwerk, the UR-210 transforms their signature 

satellite complication yet again. The emphasis on the 

minute “hand” is particularly prominent, as it seemingly encases 

the hour satellite display. As a retrograde hand, it will 

only move through its assigned 120 degree arc; at the end of 

each hour, it snaps back, in less than 1/10 th of a second, to its 

starting point to retrieve the cube that displays the next hour. 

The UR-210 though, is perhaps Urwerk’s most interactive watch 

yet; you may recognize the power reserve 

display at 1 o’clock, but it’s mirrored this 

time at 11 o’clock by a new indicator, 

which Urwerk calls a winding efficiency 

indicator. Its basis is the difference between 

the energy that is consumed by 

the movement, and the energy that is being 

produced by the automatic winding 

mechanism over the previous two hours. 

Taking the two extremes, the red zone 

means that the UR-210 is running down 

its stored energy, and that you’re not 

moving anywhere near enough to generate 

any discernable winding energy. At 

the green zone, you’re engaging in some 

sort of calisthenics, generating considerably more power than 

is needed to replenish the single mainspring barrel so it can 

provide its 39 hours of power reserve. 

At this point, the decision is yours; you can now influence the 

winding efficiency by means of a selector switch on the back 

of the UR-210. At the “Full” position, the winding rotor will 

be unimpeded, and any movement is likely to generate some 

power. Select the “Reduced” position and you’ve engaged an 

air turbine compressor that acts as a damping system for the 

rotor, reducing its effectiveness, but in turn avoiding unnecessary 

wear on the movement. Lastly, the “Stop” position will, 

as you might have guessed, completely immobilize the winding 

mechanism, such that the UR-210 relies entirely on its power 

reserve. While a similar system was introduced with the UR- 

202, this is the first time that you can visually gauge the effective 

state of the winding mechanism, leading you to act on it 

should you see fit. 

We make no excuses for our obsession with mechanical horological 

hearts. With the UR-210, Urwerk has given us another way to 

interact with them beyond the mere time setting or daily winding 

routine; future wearers of the UR-210 will be lead to explain why 

they are even more frequently staring at their watch!

PRIME TIME 

URWERK 

URWERK UR-210 


MOVEMENT: Caliber UR-7.10; self-winding coupled to turbines; 51 jewels; 

28,800vph; 39-hour power reserve 

FEATURES: Patented revolving satellite complication with wandering hour 

and three-dimensional retrograde minute hand; power reserve 

indicator; winding efficiency indicator 

CASE: Titanium and steel; sapphire crystal glass; water resistant to 

30 meters; satin finish; circular graining, sandblasted, 

circular and straight satin-finished plate; satin-finished and 

diamond-polished satellites; bevelled and polished screw heads 

DIAL: 3D minute hand in aluminum with brass counterweight; 

central cylindrical spiral in spring-steel; hour satellites in 

aluminium; central carrousel and screws in Titanium Grade 5; 

Super-LumiNova treatment on markers, dials, indices, 

hands, and satellites 

STRAP: Black leather


> > TAKE THE HIGH ROAD 

ABOVE 

Gerry Tosh, global marketing 

manager of Highland Park 

Single Malt, with 

the-one-of-a-kind 

Highland Park 50 years 

 

BROUGHT TO YOU BY EDRINGTON GROUP 

Among the Edrington Group’s esteemed whiskies, 

a notable one is the Highland Park Single 

Malt. Martin Daraz, brand ambassador of Highland 

Park Single Malt and The Macallan in the 

US and Asia Pacific, calls the tipple the Indiana 

Jones of whisky, compared to a James Bond-like 

The Macallan. “Both come from the same world; 

both pioneer the realm of whisky-making, and 

both are targeted to the committed drinker, but 

they do so differently,” he says. “Highland Park 

gives a characteristically luscious, smoky and 

sweet palette.” 

Gerry Tosh, global marketing manager of 

Highland Park Single Malt, takes the analogy 

even further. He calls the tipple the Sherlock 

Holmes of whisky, because it allows the discerning 

drinker to investigate a wide variety of flavours 

derived from maturation in Spanish and 

American oak, including its signature smokiness. 

“Walk into a bar in Scotland and ask for a 

whisky tasting, and the bartender will give you a 

Highland Park 12 Years. It’s smoky; it’s sweet; it’s 

got everything,” says Tosh. 

Arguably “the most respected whisky in the 

world,” Highland Park Single Malt hails from 

northern Scotland’s Orkney Islands – a place so 

The complexity and single-malt prowess of HIGHLAND PARK 

wows whisky drinkers’ palates the world over

BROUGHT TO YOU BY EDRINGTON GROUP 

windy that the tallest vegetation in the region 

doesn’t grow past the knees. On average, wind 

blows at 161km/h for at least 80 hours a year. 

Yet, it’s precisely these trying circumstances 

that allow for Orcadian peat and a climate of 

two to 12 degrees Celsius that, when combined, 

give Highland Park Single Malt an award-winning 

edge. 

Founded in 1789 by Magnus Eunson, Highland 

Park prides itself as one of the world’s few 

distilleries that still does floor malting, where 

tonnes of malted barley are laid out across the 

distillery to be smoked with peat. The tree-less 

Orkney Islands, however, nurture a distinctive 

peat: one that comprises mainly heather and dry 

grass, and gives a uniquely dark, honey aroma. 

Pair these qualities with Edrington’s famed sherry 

oak casks, and you’ve got a drink that remains on 

whisky connoisseurs’ top 10 lists year after year. 

Two years ago, Highland Park also launched 

a 50-year-old 1960 vintage. With only 275 bottles 

produced, each masterpiece is encased in an intricate 

cage of ornate handcrafted sterling silver 

by Scottish jewellery designer Maeve Gillies, who 

took inspiration from the island’s elemental forces. 

“It has been our goal to make vintages every 

now and then,” says Tosh. “We’re very excited 

about the 50-year-old, judging from the success 

the years before have brought us. It’s about 

strength and depth in history, and of course, a 

matter of making a quality of whisky that is absolutely 

amazing.” 

 

 


ABOVE 

Highland Park 

Single Malt 21 years, 

World Whisky of 

the Year 2009


 

COVER STORY 

CARTIER

COVER STORY 

CARTIER 


A LANDMARK 

IN DESIGN 

CARTIER’S TIMELESS TANK WELCOMES 

A NEW MEMBER TO THE COLLECTION 

+DAVIDE BUTSON-FIORI (photos) +PRISCILLA I’ANSON (styling) +STEPHEN HARVEY (makeup) 

 

 

+ALEXANDER CHUI @ IL COLPO HAIR (hair) +BORI N (model)


No one does timeless elegance quite as exquisitely 

and enduringly as Cartier – a brand that has, over 

the last century, presented some of the most iconic 

and identifiable timepieces we’ve come to know 

and admire. Case in point, when Cartier watches 

are mentioned – whether you’re a serious watch collector or not 

– it’s certain that almost instantaneously, the Santos, Pasha, 

Baignoire, Tortue and Tank will come to mind. 

Even more remarkable is that Cartier has so successfully 

sustained interest in their lines even decades after their launch, 

and long after the initial buzz of novelty has died down. While 

these models have seen many reinterpretations, their most 

fundamental aesthetic element – their form – remains at the very 

heart of the piece. We focus our attention on one of these iconic 

models, which to many is Cartier’s boldest and most memorable 

design: the Tank. 

WHAT’S IN A NAME? 

As you may have already guessed the inspiration for the Tank 

is, in fact, the military. As Europe marched to World War I, 

the British did so equipped with the latest artillery at that time, 

including what spectators could only then describe as “iron 

rectangular assault vehicles with a tractor tread,” or what 

we would later come to know as army tanks. Louis Cartier is 

believed to have patterned the design of the Tank watch after the 

top view of this ironclad weaponry, with the brancards echoing 

the treads; and the rectangular case, the cockpit of the vehicle. 

While the Tank is today a certified classic, it was very much 

avant-garde when it was first presented in 1917. Widely known 

for their penchant for tradition, Cartier went out on a limb with 

the Tank in that it completely shied away from the generous 

curves and arches that were en vogue at that time. Instead, 

they introduced clean lines, geometric forms and essentially, a 

more discreet, understated appearance with the lugs and case 

seamlessly integrated and appearing as an extension of the 

strap. These components made the Tank watch simultaneously 

quadrilateral, with the traditional circular hour dial giving way 

to the square or rectangular form. 

TANKS 

TREAD 

THROUGH 

TIME 

 

COVER STORY 

CARTIER 

1917 

TANK NORMALE 

The Tank Normale was modelled after 

the top view of a military tank, with its 

brancards echoing the treads, and the 

case representing the cockpit of the 

vehicle. Its was a design leap in that it 

took a chance on a pared-down look 

over then fashionable elaborate curves. 

Clean, crisp lines and defined shapes 

were its distinct characteristics, and 

would come to define the many Tanks 

that would later succeed it. 

 

 

OPENING SPREAD 

Tank Louis Cartier XL Slimline 

THIS PAGE 

Tank Américaine 

1921 

TANK CINTRÉE 

Following the Tank Normale is the Tank 

Cintrée or the “curved” Tank. Function- 

and style-wise, it set the foundation 

for the Tank Américaine of the 1980s. 

The Tank Cintrée’s arched rectangular 

case is the first major modification to 

the original 1919 version, and intended 

for the timepiece to follow the natural 

contour of the wrist. By virtue of its 

rectangular case, this 1921 Tank has 

been deemed by many to be another 

bold move on Cartier’s part.

On Bori is the Tank Americaine in 18k pink gold 

with diamonds, large model; 

Panthere de Cartier necklace in 18k white gold 

with diamonds, sapphires, onyx and emeralds; 

Panthere de Cartier ring in 18k white gold with 

diamonds, onyx and emeralds; 

Escada shirt, Escada pants and Celine heels 

1922 

TANK LOUIS 

CARTIER OR 

TANK L.C. 

 

COVER STORY 

CARTIER 

The Tank Louis Cartier, or Tank L.C. is 

distinguished mainly by its soft edges 

and round upper lugs – its “smoothed 

geometry” supposedly somewhat 

echoing the traditional round watch. 

The Tank L.C.’s most significant 

departure from the original Tank 

was the thinning of the two vertical 

brancards and the borders of the case 

at 6 and 12 o’clock. 

TANK CHINOISE 

The Tank Chinoise is the last of the 

five Tanks made in the early days of 

the series. Inspired by the structure 

of the Chinese temple porticos, it is 

one of the few watches in history to be 

inspired by an architectural feature. 

Asia had left quite an impression on 

Louis Cartier, from his regular visits 

to antique dealers in Paris. It was a 

derivation of the 1919 Tank in that 

their squares are identical with two 

crossbars extending onto the lateral 

brancards. Featuring a commanding 

square case, it is believed to be the 

most masculine Tank. 

 

 

1928 

REVOLUTION 109 109 

TANK À GUICHETS 

As the trend for watches with numerical 

displays took on, Cartier introduced the 

Tank à Guichets. In this bold piece we 

see the glass, dial and hands replaced 

by a plate with two windows or guichets, 

each displaying a number on a turning 

disc: one indicating the hours, the 

other the minutes. The concept of the 

Tank à Guichets was founded on the 

jumping hour, while its unconventional 

naked metal with small windows for a 

dial was no doubt a show of modernity. 

Maintaining that subdued feel, Cartier 

used brushed platinum or gold to give it 

a matte appearance.


FROM TOP 

Cartier boutique at 13 Rue de la Paix, Paris, circa 1915; 

Design sketch for a watch created for Princess Mdviani, wife of Louis Van Allen, 1935 

1932 

 

COVER STORY 

CARTIER 

TANK BASCULANTE 

As playing sports became increasingly 

popular in the 1930s, watchmakers 

scrambled to find a way to protect 

the dial and bezel from scratches and 

shock. Cartier responded with the 

Tank Basculante, a wristwatch with 

a dial that can be concealed upon 

pivoting the watch 180 degrees via 

an integrated winding mechanism 

positioned at 12 o’clock; it will then 

reveal a gold case back engraved with 

the owner’s initials. 

1936 

TANK ASYMÉTRIQUEE 

Showing its design versatility, Cartier 

went out of character with the Tank 

Asymétrique, skewing the balance 

of the watch and shifting 12 and 6 

o’clock to the corners, and the winding 

mechanism at 2 o’clock. A version made 

in 1963 was named the Tank Oblique. 

Beyond aesthetics, the (rebellious) 

Tank Asymétrique can be interpreted 

as the paradoxes of an era, and the 

clamor for serious change. 

 

 

1952 

TANK RECTANGLE 

(BROAD MODEL) 

The Tank Rectangle is pure class, 

with its generous dimensions, dense 

graphics and satin-finished gold 

rectangular case that matches its 

gold dial. The watch has an octagonal 

winding crown embellished with a 

cabochon sapphire, and a leather strap 

equipped with a folding buckle made 

of yellow and pink gold.

Widely known for their penchant for tradition, Cartier went out on a 

limb with the Tank in that it completely shied away from the generous 

curves and arches that were en vogue at that time. 

Through the Tank, the French house became one of the first 

to demonstrate that less can be more – a tenet that many 

designers took on soon after with their work. This approach, 

however, was as much socially relevant as it was a design 

milestone. Remember that the Tank came just right at the 

end of the war and at the dawn of a new century, and its 

pared-down appearance and seamless structure was a perfect 

embodiment of modernity, innovation, and to some extent, 

modesty. It was also a time when women were taking on a 

more active and important role in the workforce, and as a 

consequence abandoning their elaborate, restrictive dresses 

for more sensible, silhouette-baring clothes. 

A 1917 prototype of the Tank was symbolically presented 

to General John Pershing, the commander of the American 

Expeditionary Forces responsible for leading American 

troops along the Western Front, at the end of the war. Actual 

production of the first series of the Tank, the Tank Normale, 

however, would only commence two years later. From 

mid-November towards the end of 1919, six models were 

produced – all of which sold out by January the following 

year. Needless to say, it was an instant hit, and as Cartier 

recognized the growing prominence of women in society, the 

house released a jewelry version, making it among the first 

watch brands to target this demographic. 

TANKS ACROSS THE DECADES 

The beauty of the Tank lies in its minimalism. Apart from 

the sapphire cabochon on the winding crown – a Cartier 

signature – the timepiece is kept simple, with the dial clear 

of anything but hours and minutes. Even in the Tank’s later 

1960 

MINI TANK 

ALLONGÉE 

 

COVER STORY 

CARTIER 

From an imposing Tank Rectangle, the 

Tank gets a more refined appearance 

with the Mini Tank Allongée. Targeting 

women with its delicate case, its 

brancards are embellished with 

diamonds, recalling Louis Cartier 

jewelry watches in the 1920s. 

incarnations, and amidst the emergence of a rather feature- 

and complication-crazed watch market, Cartier has managed 

to resist from further embellishing the Tank’s pristine dial, 

which allows all attention to be given where it is most certainly 

deserved: its ingenious design. 

A suite of Tank models would soon follow the Tank Normale; 

in the 1920s alone, Cartier presented four: the Tank Cintrée, 

Tank Chinoise, Tank Louis Cartier and Tank à Guichets. In 

the 1930s, Cartier introduced the Tank Basculante, and the 

“rebellious” Tank Asymétrique and Tank Oblique; and in 1952, 

the Tank Rectangle, followed by the Mini Tank Allongée in 

1960; and in 1977, the Tank Must de Cartier Vermillion and 

Burgundy dial. 

The Tank Américaine of 1989, and the Tank Française later in 

1996 – said to pay tribute to two of Cartier’s iconic boutiques 

in New York and Paris – would gain worldwide admiration. 

The Tank Américaine was inspired by the Tank Cintrée, taking 

cues from the latter’s curved case while modernized with a 

more compact rectangular form and rounded brancards. An 

adjustable folding buckle would likewise make a debut, updating 

the mechanism used by Cartier since 1910. The Américaine is 

also a tribute to the Tank watch presented to General Pershing. 

Seven years later, Cartier gave the Tank a refreshed look in the 

Tank Française with bevelled brancards, concave curved links 

and a curved form. Finishes were carefully selected as to give the 

watch a strong appearance. Its most notable change, however, 

would be its curved case being set in a chain-link bracelet, whose 

corrugated edges echo the treads of armored tanks. 

1974 1977 

TANK ALLONGÉE 

The elongated case of the Tank Louis 

Cartier gave way to the Tank Allongée. 

Its main distinguishing characteristics 

are its change from square to 

rectangle, and its miniaturization. 

A feminine watch in principle, the 

Tank Allongée was made available 

only in 2 calibers – the 7 and 8 lines 

– as the 9 line models were reserved 

primarily for men’s watches. Curiously, 

however, it was the Tank Allongée that 

transitioned to a men’s watch more 

organically than other Tanks. 

 

 


TANK MUST 

DE CARTIER 

The Tank Must de Cartier was made 

more contemporary giving color to 

the dial by using onyx, coral, ivory, 

lapis lazuli, tortoiseshell and garnet. 

To showcase the gems in all their 

glory, the numerals were removed, 

leaving only the gold baton hands, an 

engraving of “Must de Cartier” and the 

Cartier logo at 6 o’clock; it maintains 

however, the distinct sapphire 

cabochon on its crown.


 

COVER STORY 

CARTIER 

The Tank Américaine aine is the first Cartier 

watch featuring a curved, waterproof 

case. Another descendant escendant of the Tank 

Cintrée, the Américaine éricaine dons a more 

compact rectangular gular case with flatter 

brancards and thinner inner horizontal sides. 

Other distinguishing hing features are its 

modern octagonal al crown and folding 

buckle. 

Tank Française 

TRIUMVIRATE COMPLETE 

Cartier took its time before adding another member to its Tank 

family – all of 16 years. As they say, you can’t hurry art. 

Having paid homage to two of its historic boutiques – New York 

and Paris with the Tank Américaine and Tank Française – it 

was just a matter of time before Cartier cast the spotlight on the 

third distinguished boutique from its origins: London. 

Seamless integration has always been one of the main pillars of 

the Tank and the Tank Anglaise certainly will not disappoint 

purists. The Anglaise’s case – in true Tank fashion – flows 

effortlessly into the bracelet, while the crown is thoughtfully 

concealed behind its vertical brancards, giving only a classy 

hint of its existence by virtue of a sapphire cabochon for the 

gold version, and a diamond for the jewelry version. The series’ 

other distinct features likewise make an appearance, such as the 

Roman numerals, chemin-de-fer chapter ring, and blued-steel 

sword-shaped hands. 

Unlike the earlier Tank Française, which focuses mainly on 

the jewelry aspect of the piece, the Tank Anglaise is certainly 

all about the watch and its harmonious integration with the 

rest of its parts. The Tank Anglaise returns to the classic dial, 

rejuvenating it with silver lacquer. 

1989 1996 2012 

TANK AMÉRICAINE MÉRICAINE TANK FRANÇAISE FRANÇ 

TANK ANGLAISE 

The Tank Française is, argu arguably, a 

jewelry piece first and foremost. fore 

For this stunning timepiece, timepiece Cartier 

created a metal metal bracelet like lik a piece 

of jewelry then tailored a watch w into 

it. Don’t be mistaken though thoug as the 

Tank Française is still very much a 

Tank, with its Roman nume numerals, railroad 

minute track circle, and pa parallel vertical 

brancards extending above 

and below 

the case. 

 

 

Characterized for its sheer robustness, 

the latest version of the Tank pays 

homage to the vibrant city of London 

– its passion and influence in the arts, 

and how it has produced some of 

today’s most brilliant world-renowned 

artists. Harmony being paramount 

to the Tank Anglaise, it maintains the 

uninterrupted flow between the case 

and the bracelet, while its crown is 

carefully embedded into the brancard 

with only a jewel in sight.

COVER STORY 

CARTIER 

 

 


Bori wears the Tank Française 

in 18k pink gold and steel, 

large model; 

Maryling jacket, 

Salvatore Ferragamo 

shirt and skirt, 

Givenchy heels


 

COVER STORY 

CARTIER 

 

 

Tank Anglaise

COVER STORY 

CARTIER 

While it stays true to the Tank tradition, the Tank Anglaise 

makes a statement with its strong lines and flawless 

proportions. The Anglaise is currently available in three 

sizes to suit men or women, in three colors of gold, with 

the large models powered by the Manufacture 1904 MC 

movement with its upper bridges and oscillating weight 

decorated with Côtes de Genève. This is significant as it is 

the first Tank to have a movement designed, produced and 

assembled entirely in-house, which can be admired through 

its open case back. It also comes in a jewelry version, with 

various interpretations of diamonds, from a spectacular 

full diamond setting, across the gold bracelet, around the 

case, and on the dial, to more discreet versions, making the 

Tank Anglaise a versatile watch that can suit any occasion. 

LEGACY CONTINUES 

Not to be overshadowed, Cartier this year also re-introduces 

one of its most breathtaking and timeless pieces, the 

Tank Louis Cartier. Refreshing the piece, Cartier tones down 

its rigid, precise lines, giving it a softer, more approachable 

Unlike the earlier 

Tank Française, 

which focuses mainly 

on the jewelry aspect 

of the piece, the Tank 

Anglaise is certainly 

all about the watch 

and its harmonious 

integration with the 

rest of its parts. 

On Bo Bori is the Tank Anglaise 

in 18k 

pink gold with diamonds, 

medium mediu model; 

Escada Escad jacket and dress, 

Prada heels 


appearance. The piece is but 5.1mm thick, making it the 

most svelte in the Tank family. 

The French house also shows that it can tread dangerously with 

the Tank Folle, which evokes the character of the Crash watch 

from the 1960s. If smooth lines and perfect proportions were 

paramount with the Tank Anglaise, the Tank Folle goes exactly 

the opposite direction with its deconstructed, yet harmonious 

lines. Apart from its eccentric profile, it still maintains other 

Tank prerequisites, such as the Roman numerals and blued-steel 

sword-shaped hands but given an interesting twist, while the 

brancards and winding mechanism are studded with diamonds. 

Very few brands have been able to carry out what Cartier has been 

doing impeccably for more than a century: create designs great 

and memorable enough to be considered icons, and revisiting them 

so as to introduce the line to a new breed of collectors, without 

disappointing their loyal followers. We can only look forward to the 

future incarnations of the Tank, in fact Cartier’s campaign could not 

be more appropriate: Never Stop Tank.

118 GREUBEL FORSEY: THE MIND’S EYE 

124 A. LANGE & SÖHNE: EXCELLENCE IN SAXONY 

132 PRECIOUS METTLE 

138 THE MIDAS TOUCH 

148 OMEGA AND THE LONDON OLYMPICS 2012

“It takes an endless amount of history to make 

even a little tradition” 

 

 

Henry James 

WATCH CULTURE


 

WATCHCULTURE 

GREUBEL FORSEY 

SEAN LI (text) 

THE MIND’S EYE 

GREUBEL FORSEY AND WILLARD WIGAN JOIN FORCES ON ART 

PIECE 1, TAKING MECHANICAL ARTISTRY TO AN ENTIRELY NEW SCALE 

When your passion revolves around fine 

mechanical watches, you’re likely to have 

a certain appreciation for looking at 

life through a loupe. After all, with the 

naked eye, it’s not easy to truly grasp the 

workmanship that goes into the movements whose virtues 

we are constantly espousing. Even when the movement is in 

plain view through a sapphire caseback, or if it’s skeletonized 

and you can peer even more into the heart of the watch, it’s 

easy to forget the challenges posed by working on such a 

scale, and the amazing skills that are truly required to put 

the myriad of parts together, and to ensure that the sum of 

these parts functions reliably. Many ardent watch collectors 

will have tried their hand at these in workshops, only to 

be left perplexed at why it’s taken them 15 minutes to put 

two screws on a balance wheel (not to mention the damage 

inflicted on said screws in the process), or why they managed 

to get all the parts together, and yet the darn thing still 

won’t tick over. By the same token, if you’ve ever visited a 

manufacture, or even a small workshop, you will have seen 

that it takes a particular environment and mindset to be able 

to, day in, day out, perform any of the related tasks.

WATCHCULTURE 


Now picture a craft where the scale is even more diminutive, one 

that is dwarfed by even the smallest part on any watch. This is a 

world that lives on the head of a pin, or in the eye of a needle. It’s 

inhabited by infinitesimally small sculptures, which are virtually 

invisible within your day-to-day environment, but which come to 

life should you view them through a microscope – a watchmaker’s 

loupe would not do them justice. This dimension is one that Willard 

Wigan has lived in and crafted for the past 50 years. 

At a very young age, Willard Wigan found himself having 

some trouble at school. Not being able to pick up reading and 

writing as easily as his schoolmates – eventually determined 

to be dyslexic – he found that he was considerably more 

interested in the life of the ants in his garden. At five years’ 

 

 


THIS SPREAD CLOCKWISE FROM LEFT 

Sketch of the concept watch; 

For Wigan’s work to be actually seen and 

appreciated, Greubel and Forsey incorporated a 

magnifying viewing window at 9 o’clock


 

WATCHCULTURE 


THIS SPREAD CLOCKWISE FROM TOP 

Wigan looking into the hole of a needle; 

A few of Wigan’s microsculptures: 

The Olympic Flame and Nefertiti ; 

Rendering of the Art Piece 1 

old, he started making furniture for the ants, and for the past 50 

years, has devoted his entire life to the world of microsculptures. 

Proclaiming himself as the greatest micro-artist who has ever 

lived, and, truth be told, it would be difficult to argue. Viewing his 

works of art can be somewhat frustrating, as they are impossible 

to view without a microscope. Just imagine that the head of a 

needle gives him ample space to put one of his sculptures, and 

in some cases, he’s put several of them, fully detailed and, just to 

top it off, painted. His tools comprise fragments of objects that he 

finds around him. His paintbrush is made of the hair from the leg 

of a dead fly – which, incidentally, had already passed by the time 

he plucked it. His tools are diamond chips for scalpels; spider 

webs that can be used as support within the eye of the needle; 

honey as adhesive; Kevlar, cotton, nylon, or human eyelashes. He 

has even crafted a diamond ring so small that it can rest at the 

tip of an eyelash.

WATCHCULTURE 


Wigan goes to great lengths to explain though that this 

work comes at a price. It requires significant physical 

training, as he has learned to move in between heartbeats, 

and to keep as still as possible. Should you meet him, 

don’t be surprised if he asks you to put your finger against 

his, to show you that, even without any espresso-induced 

shaking, you’re not very likely to be able to hold still for 

more than a few seconds. He takes tremendous pleasure 

when each piece is finished, but states that he endures 

significant physical suffering in the process of crafting it. 

It comes as no surprise though that his achievements have 

been globally recognized, receiving an MBE (Member of the 

British Empire) award from Her Majesty Queen Elizabeth 

II in 2007, and keynoting the Technology, Entertainment 

and Design Institute’s (TED) World Conference in 2009. 


Wigan’s world intersected with the horological one in May of 

that same year, when he met with Robert Greubel in London. 

The idea was to collaborate on a timepiece that would merge 

Wigan’s microsculptures with the technical mastery of Greubel 

Forsey. Even through the language barrier – Greubel’s English 

vocabulary is on par with Wigan’s French, that is, rather 

minimal – the artists managed to find a common ground and 

to communicate through drawings and gestures, and embarked 

on a project that would become Greubel Forsey’s Art Piece 1. 

The project was presented for the first time at The Shanghai 

Art Fair in September this year. Underlining the importance 

to all parties involved, Robert Greubel, Stephen Forsey, and 

Willard Wigan were in attendance. Greubel, in particular, 

was a surprise; he is well known for his proclivity to staying 

close to home, so seeing him make the journey from the 

coziness of La-Chaux-de-Fonds, to the expanse of Shanghai,


THIS PAGE CLOCKWISE FROM TOP 

Robert Greubel, Stephen Forsey and Willard Wigan; 

Sketches of the Art Piece 1; 

Wigan’s dragon microsculpture; 

Peering microscopically into the prototype, you will 

see this mask 

 

WATCHCULTURE 

GREUBEL FORSEY

WATCHCULTURE 


The idea was to collaborate on a timepiece that would merge Wigan’s 

microsculptures with the technical mastery of Greubel Forsey. 

was unexpected. The timepiece is not quite completed yet, 

with the final piece scheduled to be unveiled at next year’s 

Salon International de la Haute Horlogerie (SIHH) in January 

in Geneva. The basic concepts were shown though. 

As with all of Greubel Forsey’s timepieces, Robert Greubel 

and Stephen Forsey sought to develop a way that would 

showcase Willard Wigan’s microscopic world on the wrist, 

and not just to adapt an existing one from their collection 

with one of Wigan’s sculptures. For a brand that has been 

obsessed with a quest for perfection, that approach would 

have been considered a let down. The Art Piece 1 features 

a carrousel, in a sense, a miniaturized art gallery, with 

several of Wigan’s sculptures, each crafted specifically for 

this project. A significant challenge was to develop a way 

to actually view and appreciate Wigan’s work, which was 


achieved by the addition of a magnifying viewing window at 

9 o’clock. At this late stage, you would see a mask staring 

back at you with the same surprised look that you probably 

would have at seeing it in the first place. Greubel Forsey’s 

favored complication, the tourbillon, is also featured and 

in plain view, although its usual scale takes on a different 

proportion when you realize how large it is compared with 

Wigan’s sculptures. And time itself takes a secondary place 

in the Art Piece 1; at this stage, it’s hidden inside a window 

on the watch, and revealed only when a pusher is activated. 

REVOLUTION will of course be on hand when the Greubel 

Forsey Art Piece 1 is presented in its entirety in just a few more 

weeks. In the mean time, we revel in this concept that brings 

even more to the fore the mix of artistry and technical mastery 

that can turn a mechanical device into a masterpiece.


 

WATCHCULTURE 

A. LANGE & SÖHNE

WATCHCULTURE 

A. LANGE & SÖHNE 


EXCELLENCE 

IN SAXONY 


REVLUTION gets a unique glimpse into the Lange Akademie, 

and the German brand’s obsession with quality and finishing


REVOLUTION 

 

WATCHCULTURE 


An age-old dilemma facing all the watchmaking 

brands, young and old, is how best to educate their 

retail network to ensure that their own histories, 

brand values, and the quality of their timepieces 

are properly presented to a prospective watch 

buyer. After all, most watches are sold in a retail environment 

where each brand shares the space with a number of other 

brands, competing for the same attention and coveted moment 

when the enthusiast overcomes all resistance and hands over 

the credit card. 

Of course, each retailer must decide beforehand which brand 

will be present in a particular store, and receives some form 

of training material to go along with the branded display 

cases and catalogs to be handed out. However, this material 

must be absorbed by the individual salesperson, which can 

be an arduous task when confronted with the specificities of 

so many high-end watches. 

There is a brand though that is known for stretching the 

limits when it comes to its commitment to quality and the 

finest arts of watchmaking. They very proudly tell you 

that every single surface of their components is finished 

to a high degree, even those that are hidden from view and 

are unlikely to be seen, except by the watchmakers who 

put the movement together and take it apart for servicing. 

The brand also assembles each movement twice, initially 

to ensure that all components are properly made, and that 

they work together as anticipated. After first assembly, and 

the initial functional controls are made, the movement is 

disassembled, then all the component finishing is done 

before being re-assembly and subsequent casing of the 

watch. We’re of course referring to A. Lange & Söhne, 

which burst back onto the fine watchmaking scene after 

the reunification of Germany, and has continued to build 

from strength to strength to be considered one of the most 

prestigious brands on the planet. 

You would expect then that A. Lange & Söhne would 

seek to achieve a higher level of training for its retailers, 

so that the brand’s lofty guidelines can be adequately 

conveyed to a potential customer, to try and bring that 

extra bit of the spirit and dedication that’s pervasive 

throughout its manufacture in Glashütte to the person 

who’s contemplating the watch in front of them on the 

presentation tray. 

EXCELLENCE IN TRAINING 

To achieve this goal, in 2007 the brand created the Lange 

Akademie, with a specific mission to train and qualify the 

sales associates from their official retail network. Taking place 

at Lange’s state-of-the-art manufacture in Glashütte and at


A. Lange & Söhne’s headquarters in 

Glashütte, Germany; 

Ground breaking ceremony at the building 

A. Lange & Söhne moved into in 1990; 

Its Technology and Development Centre 

completed in 2003 

 

WATCHCULTURE 


their dedicated watchmaking school in another 

nearby town called Bärenstein, the training 

given to each associate is in great depth and 

detail that usually spans three days, so that 

they gain product knowledge, manufacturing 

know-how, and can achieve a level of confidence, 

passion and commitment commensurate with 

the special timepieces that they are tasked to 

sell. It currently runs anywhere from ten to 

fifteen courses per year, and since its inception, 

the Akademie has given rise to approximately 

500 graduates. 

It doesn’t mean that each sales associate just 

gets the training once, and is then sent on their 

merry way to evangelize. There are, in fact, 

different stages that can be attained – from Lange 

 

 

REVOLUTION 127


Every surface of Lange’s components, even those 

unseen, is finished to a high degree, and their 

movements assembled twice to ensure components are 

properly made, and that they work properly together 

 

WATCHCULTURE 

A. LANGE & SÖHNE

WATCHCULTURE 


Ambassador, to Coach, followed by Expert. Even those who 

reach Expert grading are invited back for “sustainability” 

training to learn about new calibers, or other significant 

developments, on a regular basis. 

Every aspect of Lange’s philosophy and manufacturing 

technique is explained, and the attendees are given hands on 

exercises to gain an increased appreciation of what they have 

been exposed to, either during a visit to the workshops, or in a 

classroom environment. 

NEW INSIGHTS 

REVLUTION was given a unique opportunity to participate, 

along with other members of the media from around the world, 

in a slightly shorter Lange Akademie session over the course of 

two days instead of three. The classroom sessions provided us 

with a number of unique facts about Lange watches, as well as 

developments that have occurred since their re-launch in the 

late 1990s. For example, while Lange’s ability to manufacture 

balance springs has been well communicated, it could surprise 

more than a few that the project was actually started during the 

time of the late Günter Blumlein, one of the founding fathers of 

the modern A. Lange & Söhne. It’s a capability that took some 

10 years to develop, with the first in-house balance spring being 

used in 2004, in the Double Split. Today, 75% of the balance 

springs that Lange uses are produced in-house, certainly no 

mean task given that there are some 20 different classifications, 

with diameters ranging from 0.05mm to 0.014mm. 


Finishing is such a vital part of 

Lange’s ethos that this department 

actually works hand-in-hand with 

the movement construction and 

development department on each 

new movement, to optimize how the 

movement will be put together with the 

available finishing techniques. 

Of course, we spent a significant amount of time on the 

finishing, engraving, and quality control – aspects Lange 

feels truly set them apart from the rest of the industry. Here, 

we learned that for “black” polishing – so named because 

it’s polished to such a high degree that it can appear black 

depending on the incident light – can take up to five days on 

a single part. For perlage, or the circular graining that can 

be seen on some plates, Lange uses 17 different diameters. 

That number doesn’t really sink in until we’re told that only 

three diameters are available on the market, which means that 

Lange have had to make 14 different diameters of the required 

tools in-house. While a Lange 1 may require up to five different 

diameters during its finishing, the Tourbograph is the only 

one that will use every one of the 17 diameters somewhere on 

its movement. Finishing is such a vital part of Lange’s ethos


THIS SPREAD FROM LEFT 

Datograph Up/Down; 

Rigorous testing of Lange watches 

 

WATCHCULTURE 

A. LANGE & SÖHNE

WATCHCULTURE 


that this department actually works hand-in-hand with the 

movement construction and development department on each 

new movement, to optimize how the movement will be put 

together with the available finishing techniques. 

Quality control is another one of Lange’s obsessions, with 12 

specialists whose sole task is to control the esthetics and function of 

each part. Each and every watch is submitted to no less than three 

quality inspections; first after the winding mechanism is assembled, 

then after final assembly, and finally after the movement is cased 

and the watch is prepared for delivery. Yet again, Lange has had to 

develop specialized measuring tools to aid in their quality control 

endeavors. Even lubricants do not escape scrutiny; the Lange 1 

requires three different oils and three different grease types. While 

random checks are performed throughout, 100% of the parts are 

controlled prior to final assembly, to ensure that the finishing 

process did not affect its dimensions, and that all components are 

within the required tolerances. 

GETTING YOUR HANDS DIRTY 

As informative as the presentations are, it’s the hands-on 

sessions that are most eye opening. It’s not until you’ve spent 

some 20 minutes trying to get a tiny part polished to perfection, 

getting every minute swirl off the surface only to have it rejected 

by the instructor because it’s still not good enough that you 

gain a true sense of the magnitude of work involved in putting 

even the simplest Lange watch together. The sought-after blued 

screws, which involve heating the steel screws to harden them, 

is another exercise in frustration; it sounds excessively simple 

but trying to get four tiny screws heated properly so that they 


are actually the same hue of blue is almost akin to alchemy. You 

need to place the screws individually in their holders, and place 

them over a flame and wait for the metal to change color. The 

fact that the screws actually continue morphing slightly after 

they’re removed from the flame adds insult to injury, making 

the final task of getting just four screws prepared a daunting 

one. Several classmates were heard muttering under their 

breath, saying, “I just can’t do this” on more than one occasion. 

Thankfully, Lange has now expanded the Akademie concept 

to reach beyond the sales associates, and have created the 

Connoisseurs’ Akademie, aimed at their loyal collectors. The 

format is similar, except, it’s condensed into an evening when 

guests can try their hand at some of the same exercises before 

moving on to enjoying a fine dinner, where they can talk about 

their newfound insight into their favorite timepieces. 

While we would urge you to attend the Connoisseurs’ 

Akademie at the next opportunity, we would also recommend, 

if at all possible, to visit Lange in Glashütte. It’s there, 

walking through the workshops and seeing the watchmakers 

and engravers at work that you can feel the pride that goes 

into their timepieces. They truly make no excuses about it; it’s 

not, ultimately, about efficiency. Lange has always remained 

very secretive about the number of watches they produce in 

any given year, but rest assured that the number is minute 

compared with many other prestigious brands. The fact 

that Lange has just broken ground on an extension to the 

manufacture shows the growing interest in their watches, and 

we would surmise the effectiveness of the Lange Akademie in 

conveying their message to collectors around the world.


 

WATCHCULTURE 

GOLD 

SARAH MURRAY (text) 

PRECIOUS 

METTLE 

THE ALLURE OF GOLD HAS ENCHANTED MAN SINCE TIME 

IMMEMORIAL. MORE RECENTLY, THE HOROLOGICAL WORLD SEEMS 

TO HAVE SURVIVED THE ONSLAUGHT OF ALTERNATIVE MODERN 

MATERIALS ONLY FOR GOLD TO RETAIN ITS FASCINATION. AND SO, 

DESPITE INFLATED PRICES OF THIS NOBLE METAL, THE APPEAL OF 

THE CLASSIC GOLD WATCH HAS NEVER LOST ITS SHINE

WATCHCULTURE 

GOLD 

Like the foolish Emperor in this classic tale, the 

world of horology, as of late, has taken to using 

bizarre materials that have little or no place 

in or on a watch, and as such, has led to an era 

of horological modernism bordering on utter 

madness. Initially, the intentions were reasonable, justified even; 

to make an extremely lightweight, strong watch for example, 

it is acceptable to use a metal like titanium, so we’ll let truly 

practical, advantageous applications of a select few modern 

materials slide. But, the industry got a little carried away. 

Coating a Submariner or Nautilus in black PVD (as some soidisant 

boutique watch customizers do) is sacrilege; selling it for 

an inflated price is positively wicked. The words “carbon fiber” 

are bandied about far too often, as if the material is designed 

to be the savior of the future of humanity; when in actual fact, 

more often than not, it takes form as carbon-reinforced plastic. 

These prevailing trends have opened the floodgates for new 

aesthetic materials, creating a revised and distorted definition 

of luxury. At what point did ceramic, tantalum and zirconium 

become an acceptable alternative to man’s most precious and 

noble metals? 

As man celebrated the momentous occasion of having first 

fermented grapes, turning them into wine, and around the time 

that rice was first cultivated in Asia, another magical discovery 

was unearthed in the form of near-pure, shiny, yellow nuggets, 

gleaming in muddy streambeds and rocks. In fact, recognition 

of the material and its ability to easily be unearthed by hand, 

was one of the fundamental factors to its accidental discovery. It 

was around 6,000 BC and man had discovered gold. Along with 

copper, it is one of the oldest metals to have been worked by man, 

and our fascination has yet to cease; rather, it has tormented our 

desires for many thousands of years. However, copper — an 

equally important metal in terms of society’s ancient industrial 

developments — was more suitable than gold for tools and 

weapons. While easily recognizable in the ground, gold was still 

a scarce metal; however, its aesthetic and physical attributes 

made it particularly appealing to man. The earliest civilizations 

realized its incredible properties of intrinsic beauty combined 

with malleability, virtual indestructibility and precious rarity. 

Thus, the eternal value of gold was established. 

The oldest existing examples of gold are usually found in 

jewelry or ornamental form rather than its practical copper or 

bronze cousin which were workhorse materials. As a precious 

metal, gold came to represent wealth and was chosen to adorn 

our bodies as jewelry. As a noble material, its natural resistance 

to corrosion highlighted a huge part of its appeal in that it 

endures forever. This gave it a religious and cultural relevance 

intrinsically linked to immortality and power. Gold is mined 

on every continent except Antarctica, and so, most ancient 

cultures and modern civilizations have at some point had 

access to its natural stores, and upon its discovery, have been 

allured by its beauty and value. In Homer’s Iliad and Odyssey, 

gold represents wealth and immortality. Ancient Egyptians 

wished to enter the afterlife with gold burial customs, and as 

early as 3,000 BC, they were already comparing its relative 

value to that of silver, which, while precious, was not as revered 

due its slightly more corrosible nature. 

“The collar’s always around the 

neck, the sleeves always come 

off the shoulders, the waist 

always goes around the middle! 

When will they invent something 

original?” 

— The Emperor’s New Clothes, Hans 

Christian Andersen 

FROM TOP 

This gold-cased pocket watch 

from Girard-Perregaux dates from 

circa 1860; The miniaturization of 

movements allowed watches to be 

fitted into rings — this no. 180 small 

gold ring watch with alarm from 

Breguet, circa 1835, was once owned 

by Prince Alexandre Demidoff 


Clearly a significant part of gold’s appeal is that it endures 

forever, and today, the majority of gold is still used for 

jewelry. Its symbolism is a powerful reflection of our cultures 

and traditions, as a declaration of love or as an outward 

demonstration of success; gold, in every respect, projects the 

immense value we have attributed to it. 

Like a mechanical watch, one of gold’s most valuable 

attributes is that it will subsist forever, and the marriage of 

these two entities is a perfect amalgamation of transcendent 

beauty, emotional significance and material strength. Its 

use in horology is predated by the earliest clocks which were 

made of bronze, brass, forged iron or copper, with steel or iron 

movements. As watches gradually moved to be worn on one’s 

person, gold was the material of choice for the chain on which 

the pendant watch would hang either around the wearer’s 

neck or stay protected in a pocket, and gold coins were what 

the watch would have been purchased with.


Gold bars being prepared 

for melting in Chopard’s 

gold foundry 

 

WATCHCULTURE 

GOLD

WATCHCULTURE 

GOLD 

 

 

REVOLUTION 135


 

WATCHCULTURE 

GOLD 

FROM TOP 

An antique 18K gold 

Breguet self-winding pocket 

watch, circa 1793; this 1904 

Cartier Santos with a gold 

case marked a departure 

from classic watch- and 

jewelry-making at the time; 

possibly the most iconic gold 

wristwatch of all time, the 

Rolex Oyster Perpetual Day- 

Date with a President bracelet 

Skills of goldsmiths and in metalworking began to improve 

and become more widespread as skilled artisans fled religious 

persecution from parts of Europe toward Switzerland. When 

the balance spring was introduced in 1675, the case was 

adjusted to accommodate the larger size of the movement, 

and most were made from gilded brass, silver or gold. (Silver 

continued to be used well into the 20th century in watchcases, 

but due to it being prone to corrosion, it was rarely used after 

the mid-20th century.) Toward the late 17th century, the courts 

of Versailles reintroduced the watch as an object of refinement. 

From the 1730s, watches became an important aesthetic dress 

accessory, and while silver and brass were still used, gold began 

to be used as a common case material. This period of aesthetic 

importance saw the rise of decorative enameling, which was 

often displayed in watches cased in gold — its delicate variations 

in colour an aesthetic complement to the artistic skills of 

enamelers. This period saw a distinct emphasis on sophisticated 

ornamentation and decoration coupled with increased precision 

in the movements. The visual appeal of gold and its increased 

availability ensured its place in watchmaking. By the early 

20th century, wristwatches had made their appearance, and 

so, the ornamental quality was of utmost importance as 

they remained in the realm of jewelry design. Jewels, enameling, 

precious stones and gold, were desired more than ever before in 

a watch. 

A 

century later, the enormous cultural value of gold and what 

a 

gold watch has come to represent are as significant as ever. In 

bbusiness, 

the presentation of a gold watch represents gratitude 

aand 

respect. Your first gold watch is a symbol of success or 

aaccomplishment. 

As a material, gold has been adopted by every 

sstrata 

of society, as a symbol of taste or wealth, in jewelry, in 

ddentistry, 

in ornaments. Lenin even famously declared his desire 

tto 

create toilets from the lustrous metal — somewhat of a waste. 

TThe 

gold watch has even taken on symbolic relevance within 

tthe 

culture of hip-hop, where, in the late 1980s, it exemplified 

iits 

ultimate role as a status symbol among the nouveau riche 

oof 

a subculture and MTV generation who came to represent 

radical change in the politics of race. 

The virtues of this pretty, shiny metal have played a hugely 

significant role throughout our social history. It has had the 

ability to convey a commanding message capable of empowering 

a social group, while its mythical properties provided the 

earliest civilizations with creations initiating worship. 

While even the horological world can be subject to trends, 

particularly in relation to the advent of new materials, even the 

oldest metal in the world is not immune to the weight of changes 

in tastes. Currently and for some time, the gold of choice has 

been that of rose gold — an alloy of gold and copper in various 

proportions, depending on the intensity of the reddish tinge 

desired. Watch brands have even explored their own gold alloys; 

Rolex, for example, has created Everose gold, which includes 

the addition of platinum to ensure longevity of the rose color. 

But it would appear that the horological world is encouragingly 

reverting to discreet luxury, with gold (yellow, pink or white) 

and other more traditional materials such as stainless steel, 

finally taking their place ahead of obscene uses of man-made 

materials better kept within the realms of aviation. This move 

toward classicism and away from unnecessary modernism 

serves to underline the importance that what endures is the 

internal value of a mechanical watch, deepened by the external 

value of gold. A mechanical gold watch demonstrates emotional 

and cultural significance and exudes lasting, eternal value.

A 1kg gold bar from the 

Chopard gold foundry 

 

WATCHCULTURE 

GOLD 

 

 

REVOLUTION 137


 

WATCHCULTURE 

THE MIDAS TOUCH 

 

 

IMAGES OF ROLEX DEEPSEA CHALLENGE COURTESY OF ©ROLEX/JEAN-DANIEL MEYER

WATCHCULTURE 



Rolex Oyster Perpetual 

Cosmograph Daytona in yellowgold 

case and yellow-gold bracelet 

THE 

MIDAS 

TOUCH 

There is that unavoidable association one has with images of the 

feminine form blanketed in gold (“No, Mr Bond, I expect you to die”). 

Death via skin suffocation caused by gold paint has been proven 

a myth, much to the good of the precious metal of that hue and its 

metaphorical lethality for the soul is still ever present. The soft clink of 

gold upon a wrist is both celebration and cautionary symbol — it lies 

at the confluence of power, desire and human nature 

 

 

SIDNEY TEO (photographer) +ESTHER QUEK (fashion director)


 

WATCHCULTURE 


 

 

Jaeger-LeCoultre Reverso 

Classique in yellow-gold case and 

brown alligator strap. 

Metallic gold elastane bikini 

bottom, Mileti 

OPPOSITE 

Cartier Tank Anglaise in yellowgold 

case and yellow-gold 

bracelet. Tank Française Ring in 

yellow gold and diamonds, and 

Agrafe Necklace in yellow gold 

and diamonds, both Cartier

WATCHCULTURE 


 

 

REVOLUTION 141


Audemars Piguet Royal Oak 

Tourbillon Chronograph in yellowgold 

case and yellow-gold bracelet 

OPPOSITE SPREAD 

Omega Constellation 27mm 

“StarS” in yellow-gold case set with 

diamonds and yellow-gold bracelet 

 

WATCHCULTURE 

THE MIDAS TOUCH

WATCHCULTURE 


 

 

REVOLUTION 143


 

WATCHCULTURE 


 

 

Piaget Polo in two-tone 

yellow-gold and white-gold 

case set with diamonds and 

two-tone yellow-gold and 

white-gold bracelet; 

Metallic gold elastane bikini 

bottom, Mileti; 

Possession Classic Chain 

Motif Ring in yellow gold, 

and Possession Band Chain 

Motif Ring in yellow gold and 

diamonds, both Piaget 

OPPOSITE 

Bulgari Serpenti in yellowgold 

case set with diamonds 

and yellow-gold double-coil 

bracelet. Monete Sautoir 

necklace in yellow gold with 

antique bronze coins, Bvlgari

WATCHCULTURE 


 

 

REVOLUTION 145


Chopard Classic watch in yellowgold 

case and black alligator strap 

Fashion Stylist: Marie Lee 

Fashion Assistants: Firda Samat & Malavika Manay 

Photography Assistant: Matthew Ng 

Hair: Aaron Ng from Decorum Hair & Makeup 

Make-Up: Rina Sim using M.A.C 

Model: Barbara B/Upfront 

 

WATCHCULTURE 

THE MIDAS TOUCH

WATCHCULTURE 


 

 

REVOLUTION 147


 

WATCHCULTURE 

OMEGA 

WEI KOH (text) 

OMEGA 

AND THE 

LONDON 

2012 OLYMPICS

WATCHCULTURE 

OMEGA 

 

 

REVOLUTION 149


 

I 

t’s an extraordinary thing to be in the audience when 

an athlete from your country wins an Olympic medal. 

And while this might be a more commonplace occurrence 

for citizens of global superpowers like China, the United 

States, or the 2012 host nation, the United Kingdom, for 

someone from Singapore, it’s a once-in-a-lifetime moment. OK, 

so the athlete in question, Feng Tianwei, who defeated Japan’s 

Kasumi Ishikawa for the women’s bronze medal in table tennis, 

is China-born and only became a Singapore citizen in January 

2008. The more cynical amongst us could postulate that her 

allegiance to her new home nation could be somewhat tenuous. 

And it’s true that previous to this, my perception of ping-pong 

was limited to the idea of a sport played by senior citizens in 

recreation centers or by college students looking for creative 

ways to get each other drunk. And finally, I am not given to 

public displays of enthusiasm, preferring to invoke the mid-’60sjazz 

house practice of snapping one’s fingers in a demonstration 

of appropriately genteel appreciation. But damn it all if I didn’t 

get swept up in the nationalistic frenzy of the moment. 

As Feng and Ishikawa traded dizzying volleys so blindingly 

rapid that the sound of their paddles reached my ears only 

after the ball had already traveled across the table, after Feng 

routed Ishikawa and raised her fist in victory, I found myself 

leaping off my seat, screaming in Mandarin — a language I 

have no working knowledge of — and beating together two 

plastic inflatable Singapore flags, as a wave of elation so 

palpable that I can still feel it today, swept over me along with 

the rest of the Singaporeans gathered 

there that day. 

The week that followed would be 

one of the most extraordinary of my 

life. I would witness Michael Phelps 

win his 19th Olympic medal, and 

watch the amazing Gabrielle Douglas 

perform a gymnastics routine with 

effortlessness and confidence to rival the 

legendary Nadia Com˘aneci’s perfect-10 

performance in 1976. And even though I wouldn’t see it live, 

I could hear the roar explode through the arena when it was 

announced that my hero, Britain’s first Tour de France winner 

Bradley Wiggins, had decimated the competition to take the 

Olympic gold in the individual time trial, and put an emphatic 

exclamation mark on his status as the world’s best bicyclist. 

For a nation undergoing its share of economic turmoil, the UK 

was given a moment of wonderful optimism by the Olympics, 

a collective resetting of the consciousness toward rebuilding 

the future. Indeed the appearance of the Spice Girls — yes, 

including Posh — at the closing ceremony seemed to be an 

almost mythical rain dance to bring back that late-’90s era 

when money did indeed fall from the sky. For me, this Olympic 

Games and Omega, the Swiss watch brand that was my host, 

brought back a flood of memories. 

The last Olympics I attended was with my grandfather at the 1984 

Los Angeles Games. My grandfather could be described as a bon 

vivant, a man who spoke German, French and Italian, as well 

as Mandarin, Fukienese and Shanghainese. He had a penchant 

for ivory-colored linen suits and Ferragamo crocodile loafers. He 

wore his wavy hair slicked back like a Chinese Valentino, and 

he had courted and married a Shanghainese model and actress. 

His skin had turned chestnut brown from years on the tennis 

court and golf links. He was jovial and generous to a fault. He 

purchased me a tiny red sports car, which as a child I apparently 

used to terrorize the faculty and ground staff at Singapore’s 

National University where my father was made Dean of the 

Law School at the tender age of 28. Because he loved sports, he 

had made it a point to visit every Olympic Games he could, and 

there are phenomenal images of him and my father at the 1976 

Montreal Olympics. My grandfather was in a powder blue linen 

safari suit, gazing at the camera with a look of unbridled joy. 

In 1984, I was 14 years old and it was deemed that I was old 

enough to attend the Games with my grandfather. So, we set 

off for Los Angeles together. However, at 14 years old, a typical 

teenager, I was sullen, taciturn and willful, yet that week, we 

reveled in watching Carl Lewis equal Jesse Owens’ incredible 

four gold medals. When we returned to New York, we said our 

goodbyes; a year later, my grandfather 

passed away. The fact that I was not more 

communicative with him during that 

incredible summer was something that I 

regret to this day. 

However, my grandfather was also the 

individual who created a passion in 

me for wristwatches. He always had a 

spectacular watch on his wrist, and very 

often, it was an Omega. Indeed he gave 

my mother a stunning platinum Omega the day she married 

my father. Some 40 years later, the watch was badly in need of 

an overhaul. So one day, I picked it up from my parents’ home. 

I should mention that attempting to remove anything under my 

mother’s watchful eye is like trying to sneak out a Delacroix 

from the Louvre. But nonetheless I persisted and, with my 

father’s help, eventually succeeded. 

I presented it to Omega and Swatch Group’s Southeast Asia 

president David Ponzo. He looked the watch over carefully as I 

explained its history. What I find extraordinary about Omega 

is the brand’s absolute commitment to restoring and refinishing


Gabrielle Douglas’ athletic grace; 

Michael Phelps makes history with his haul 

of four gold medals in the London Games, 

bringing his Olympic gold-medal tally to 22; 

the Spice Girls reunite for a special 

performance at the Games’ closing ceremony; 

Briton Bradley Wiggins wins the Olympic gold 

on home soil in the men’s cycling individual 

time trial 

 

WATCHCULTURE 

OMEGA 


any watch that is up to 100 

years old. What was obviously 

difficult about restoring the 

timepiece in question was 

that it was not one of the 

brand’s more iconic models, 

but clearly a small, elegant 

women’s model that had been 

made in smaller quantities. 

But Ponzo remained confident 

that his brand would be able 

to restore this meaningful 

keepsake from the past. 

Several months later, he 

rang me and I went down to 

the Swatch Group office to 

meet him. He presented the watch to me and the change was 

dramatic: the restoration had transformed a dusty antique 

to a watch that was simply breathtaking. The dial had been 

completely remade. I know from a discussion with the director 

of Nivarox, the legendary Swatch Group supplier of oscillators 

and escapements, that for vintage Omegas, Nivarox will remake 

historically accurate balance wheels and escapements if needed. 

The Swatch Group and Omega’s commitment to preserving the 

timepieces that it creates is simply unparalleled and a marked 

contrast to many brands that happily churn out watches with 

little or no concern as to their service needs for the future. Said 

Ponzo, “For us at Omega and Swatch Group, a watch is a precious 

thing. It is supposed to endure indefinitely and becomes the host 

to many personal memories. So, we have invested enormously 

to ensure that we can restore and maintain these timepieces for 

generations to come.”


The appearance of 

the photoelectric 

cells used over the 

years has changed, 

but not their function 

Omega’s new electronic starting 

blocks made their debut at the 

2012 London Games 

 

WATCHCULTURE 

OMEGA 

Chronometer-certified Omega chronographs were 

selected for the 1932 Olympic Games 

The swimming 

starting block 

features lights to 

indicate the top 

three finishers 

Automatic touch pads 

eliminated the possibility 

of human error in timing 

 

 

The Racend 

Omega Timer 

was later 

renamed 

Photofinish 

for the 1952 

Olympics 

Omega’s new Electronic Start 

System includes a flash gun 

that is connected to a speaker 

behind each runner, so that no 

one has an unfair advantage 

Old-school starting pistol in 

the 1948 Olympic Games 

Omega’s Swim Eight-O-Matic Timer

WATCHCULTURE 

OMEGA 

ABOVE Advertisements proudly proclaiming Omega’s role in the 

Olympics over the years FAR RIGHT The Omega Countdown Clock at 

Trafalgar Square for the 2012 London Olympics BELOW the Quantum 

timing system is accurate to 1/1,000,000th of a second 

I had the living proof of Omega’s commitment in my hands 

and was absolutely blown away. My mother was also similarly 

delighted to have the watch returned, because Ponzo was right. 

A watch is more than just a timepiece; it is a chalice into which 

we put our memories. This particular one was a tremendous 

tribute to a man who had had an enormous effect on all our lives. 

Beyond Omega’s commitment to the perenniality of its 

timepieces, this Olympics has also brought to bear the brand’s 

incredible commitment to timing innovation specific to these 

games. It can be said that the greatest sports timing innovations 

of the last century have all been brought about because of 

Omega’s relationship with the Olympic Games. 

Omega’s involvement with the Olympic Games began with 30 

high-precision chronographs, all of which had been officially 

certified as chronometers after passing individual trials at the 

famous Neuchâtel Observatory. This observatory was legendary 

for its international timing competitions, and it was this added 

certification that convinced the 1932 Olympic Committee 

to choose Omega chronographs as their official timekeepers. 

The results, which were recorded to one-fifth and 1/10th of a 

second, were flawless, convincing the committee to embark on a 


relationship with Omega that endures 

to this day. 

In 1936, Omega upped the number of 

chronometer-certified chronographs 

to 185; these were amusingly 

transported to Berlin in a suitcase 

of a 29-year-old watchmaker named 

Paul-Louis Guignard. The 1936 

Berlin Olympic Games were of 

particular geopolitical importance as 

Hitler saw them as an opportunity 

to demonstrate the unerring veracity 

of his theories on racial supremacy. 

His expectation was to see the athletes of all other countries 

destroyed by the superior performance of German athletes. 

Initially, he did not want Jews or blacks to participate in the 

games. However, when other nations threatened to boycott the 

games, he relented. Importantly, these Games were the first to 

be televised live around the world. 

Although Germany had a prosperous Olympics, Hitler’s beliefs 

were radically challenged by black athletes like Jesse Owens, 

who routed the competition in track and field and won four 

Olympic gold medals. As the single most successful athlete of the 

1936 Olympics, Owens’ success had undermined Hitler’s Aryan 

ideals. In each event where the slight five-foot-10, 165lb Owens 

defeated far-larger German athletes to win the gold, an Omega 

chronograph was there to immortalize his victory, demonstrating 

the brand’s inseparable role within the annals of cultural history. 

Such was Omega’s commitment to improve timing technology 

at the Olympics that in 1948, it introduced the first cellular 

photoelectric eye where timing was automatically triggered 

when a start gate opened. At the same time, the British Race 

Finish Recording Co. Ltd developed the first photofinish 

camera nicknamed the “Magic Eye”. In conjunction with


 

WATCHCULTURE 

OMEGA 

Omega’s boundary-pushing new technology, it heralded a new 

era in timing accuracy. Logically, in 1952, Omega introduced 

the era of quartz and electronic timing aids. In 1956, 

improvements included the Swim Eight-O-Matic Timer, the 

first semiautomatic timekeeping tool for swimmers replete with 

a digital display, which finally allowed officials to distinguish 

between competitors who finished within fractions of a second 

of one another. 

In 1960, these timers played a crucial role in a controversial 

decision related to American swimmer Lance Larson. Larson 

came in first in the 100m freestyle race according to an 

electronic timer, as well as all three Omega chronographs. But 

the president of the International Swimming Federation gave 

the gold to Australian John Devitt instead. This resulted in the 

creation of automatic touch pads to eliminate human error from 

all future timing results. 

Created in 1961, the amazing Omegascope was launched at the 

1964 Games. Omegascope unveiled the idea of “real time” in 

televised sporting events, superimposing luminous numbers of 

the bottom of the television screen and leaving absolutely no 

margin for error, as times were available to all viewers of all 

events. Omegascope proved to be a tremendous success, bringing 

a heretofore-unknown level of interaction and participation 

between the viewer and the events. 

In 1968, “integrated timing” was introduced, meaning that 

automatic and electronic timekeeping now provided statistical 

analysis with results visible to judges, coaches, the media and 


With a design inspired by the first steel 

Seamaster from 1948, the Seamaster 1948 

Co-Axial ‘London 2012’ Limited Edition 

features an 18K gold medallion engraved 

with the London 2012 Olympic Games 

logo on the caseback; the Seamaster Aqua 

Terra Co-Axial ‘London 2012’ is available 

in brushed stainless steel, as well as in 

a two-tone red-gold and stainless-steel 

version; the Omega Seamaster Aqua Terra 

Co-Axial Chronograph ‘London 2012’ in 

red gold and stainless steel 

the public. Photo printing also allowed results to be more widely 

disseminated than ever before. 

In 1972, the Olympics was occasioned by a dramatic turn 

of events when a gold medal in the men’s 400m individual 

swimming medley was awarded based on the basis of the 

1/1,000th of a second. Initially, Sweden’s Gunnar Larsson and 

USA’s Tim McKee were announced to have finished in the same 

time on the Olympic scoreboard. But after the results were 

reexamined, it was decided that Larsson finished 0.002s faster, 

demonstrating Omega’s extraordinary role in deciding the fate 

of the Olympic champion Larsson. This is the first and only 

Olympic medal to be awarded based on 1/1,000th of a second. 

The 1976 Olympics is best remembered for the incredible 

performance of Romanian gymnast Nadia Com˘aneci’s perfect 

10/10 score across every gymnastic discipline. Her first perfect 

score was awarded for a mandatory routine on the uneven bars 

and was the first-ever perfect 10 awarded in the history of 

women’s gymnastics. 

In 1980, Omega’s Game-O-Matic calculated and displayed each 

competitor’s ranking the moment the finish line is crossed — a 

system that is still used to this day. 

In 1984, Omega introduced its false-start detectors. Omega was 

also instrumental in awarding Nancy Hogshead and Carrie 

Steinseifer the very first shared Olympic gold when Omega 

timing devices accurately demonstrated that both athletes 

completed the 100m freestyle in precisely 55.92s. 

In 1988, Omega boasted the first timekeeping results and data 

analysis that would be stored in databases for posterity. 

In 1992, Omega released Scan-O-Vision, a system that digitally 

measures time to 1/1,000th of a second as speed skaters 

crossed the finish line. Incredibly Scan-O-Vision essentially 

photographed time itself by fusing together one continuous 

picture in a single document.

The 1996 Olympics was seminal for Omega as, for the first time, 

the Games introduced “global” timekeeping for every sport and 

every discipline, with Omega taking charge of timekeeping, 

data handling and distribution of results for every event. 

This encompassed technical breakthroughs across the board, 

including GPS in sailing events as one of the 20 innovations 

introduced by the Swatch Group in the 1996 Games. 

In 2000, Omega unveiled “Live Timing”. No more than 15s 

after a swimmer hit his touch pad, an entire set of split times, 

ranking and more was available at www.omegatiming.com. 

In the 2006 Winter Games, transponders were strapped to 

the ankles of speed skaters to capture moments of sudden 

acceleration, the speed around a hairpin bend and the sudden 

end of a challenge when a racer crashed into the ice. 

In the 2008 Beijing Olympics, Michael Phelps beat his rival 

in the 100m butterfly by 1/100th of a second, the smallest 

permissible margin. Omega’s electronic timekeeper recorded 

this tiny margin, and although the result was passionately 

disputed, high-speed video cameras demonstrated that Omega’s 

system had performed perfectly. 

The 2012 Olympic Games in London represents something of a 

homecoming for Omega. Says Omega’s CEO Stephen Urquhart, 

“In 1948, the Olympic Games were held in this city. Omega 

was responsible for timing each discipline in every sport. 

That edition of the Games was remembered for the technical 

milestones in timekeeping; the photoelectric cell, our fully 

automated timing system and the first photofinish camera ever 

used at the Olympic Games. Then and now, we were proud to be 

at the service of the International Olympic Committee and the 

world’s greatest athletes.” 

To commemorate this incredible occasion, Omega has launched 

the Olympic Collection London 2012. The first of these watches 

is a ravishing Omega Seamaster based on the original 1948 

design of the first automatic steel Seamaster: the Seamaster 

1948 Co-Axial “London 2012” Limited Edition. The continued 

The Omega Seamaster Aqua Terra 

Co-Axial Chronograph ‘London 

2012’ in stainless steel is stamped 

with the London 2012 Olympic 

Games logo on its caseback 

relevance of this watch 64 years later is an apt demonstration 

of the absolutely timeless design integrity of Omega. After more 

than half a century, the timepiece is still as aesthetically perfect 

as ever. At 39mm in diameter, its size is in perfect alignment 

with the prevailing neoclassic ethos of today. Its sublimely 

restrained case features a polished bezel and lugs, and a 

contrasting brushed caseband. The crown of the watch features 

a vintage Omega logo. Turn the watch over and you’ll see an 

18K gold medallion engraved with the London 2012 Olympic 

Games logo. The dial of the watch is a stunning opaline silver 

with a small seconds display at six o’clock featuring a flameblued 

steel seconds hand. The hour indices as well as the 

Omega logo are all made from white gold. Beating inside is the 

Omega caliber 2202, replete with the brand’s famous Co-Axial 

escapement. The Seamaster 1948 will be produced in a limited 

series of 1,948 watches. 

The second model from the collection is the Omega Seamaster 

Aqua Terra Co-Axial Chronograph “London 2012”. The muscular 

44mm-diameter watch is available in brushed stainless steel, as 

well as in a two-tone red-gold and stainless-steel version, both 

featuring a stunning blue PVD-coated dial that is embossed with 

a vertical-striped teak pattern. The casebacks of both watches 

are stamped with the London 2012 Olympic logo. 

Finally, the Seamaster Aqua Terra Co-Axial “London 2012” 

is a lovely expression of Omega’s design integrity in a 34mm 

watch that is perfect for ladies or those with smaller wrists. 

This watch is available in stainless steel, as well as a two-tone 

stainless-steel and yellow-gold model. Both watches feature the 

unique blue PVD-coated dial with teak motif and the London 

2012 Olympic Games emblem on the back of the watch. 

All three of the Olympic Collection London 2012 models are 

fitting testaments to Omega’s extraordinary relationship with 

the most legendary Games and greatest athletes on earth. Since 

1932, Omega has relentlessly pursued the greatest technical 

advances — all at the service of more accurately immortalizing 

the feats of these athletes. And in this commitment, they have 

been unparalleled and unequaled.

158 

 

“Any sufficiently advanced technology is indistinguishable from magic” 

THE ECSTASY & THE AGONY 

 

 

Arthur C. Clarke

TIME 

COMPLICATIONS


WEI KOH (text) 

THE 

 

COMPLICATION 

CONTEMPORARY HOROLOGY 

ECSTASY 

& THE AGONY 

Contemporary Horology’s 10*Best (& Worst) Technical Innovations 

 

 

nical Innovations 

*In no particular order

It is interesting that most dynamic social changes — 

the most incendiary systemic upheavals that fracture 

and reconstruct human culture — occur at the end of 

one century and the beginning of the next. “It was the 

age of wisdom, it was the age of foolishness,” wrote Charles 

Dickens in reference to the twilight of the 18th century, 

which brought with it the French Revolution — that period 

of immense social upheaval that resulted in the abolition of 

absolute monarchy in France and the conspicuous removal of 

numerous aristocratic heads in the process — but he could just 

as easily have been talking about the state of haute horlogerie 

in the third millennium. 

Because the last couple of decades have, in terms of true 

horological breakthroughs and the sincere advancement of 

watchmaking’s enduring story, truly been an “epoch of belief”, 

“a season of Light” and “the spring of hope”. But running 

concurrent to this technical grandeur — these beautiful 

attempts to encapsulate an element of the divine through 

the gear wheels, levers and springs that define the language 

of horology and that must have motivated Switzerland’s first 

Huguenots to pour the hidden contents of their souls into tiny 

timekeeping devices — has also been the collective work of 

opportunists, charlatans and blackguards. 

And it is this latter category that has simultaneously cast a 

dark shadow over the legitimate work of true watchmakers 

that has transformed the past years into what must also be 

called an “epoch of incredulity”, “a season of Darkness” and 

“a winter of despair”. 

Because these individuals have deracinated the faith of 

unwitting consumers by the production of high-concept high 

complications with total disregard to their underlying horological 

value and long-term reliability. They have hijacked and usurped 

the term “contemporary horological art” — unfortunately coined 

by yours truly — and used this to justify their spinning, turning 

micro-mechanical abominations which either tell time poorly 

or, in some cases, not at all, before invariably breaking down 

shortly after their purchase, which has been just enough time for 

the company that made them to file for bankruptcy, leaving the 

owners of these watches bereft of recourse. 

Now it’s time for this magazine to take a stand to weed out the 

good from the bad, the wheat from the chaff, because if the 

watch industry wishes to continue in success despite troubling 

global economic conditions, we’ll need to enforce a new zerotolerance 

policy for marketing drivel. We need to underscore 

and support true horological value at every opportunity and 

every turn. Because the championing of mediocrity will cause 

more and more consumers to turn away from watchmaking in 

frustration at having wasted money on watches with absolutely 

no enduring value. 

It is important that REVLUTION takes this stand, because we 

have, in the past, been equally smitten by what we once perceived 

to be watchmaking’s nouvelle vague, a creative new wave 

that would redefine watchmaking by transforming it a highly 

contemporary, emotional art form. Richard Mille and URWERK 

created this genre and remain the sole brands/individuals in this 

category that, to me, still evoke legitimacy. 

COMPLICATION 



But let me be the first to state, for the record, that the remaining 

majority of the brands, which have essentially imitated the work of 

these pioneers, will no longer be in existence in a few years’ time. 

So, listen to me if you’ve been duped into buying a ridiculously 

priced triple tourbillon with resonance that broke down after 

two days and that you can’t get fixed because the company that 

made it doesn’t exist anymore. Listen to me if you’ve been conned 

into bringing home that 1/100th-of-a-second chronograph only 

to realize that its balance wheel beats at 3Hz. Listen to me if 

you’ve drunk the Kool-Aid and pulled the trigger on that PVDcoated, 

carbon-festooned, time-telling sculpture only to realize 

when you look in the mirror with it on, that you resemble a 

70-year-old woman trying to squeeze into a macramé thong. 

Listen to me if you understand that you’re not wearing your 

watch, but your watch is wearing you. 

In the immortal words of Peter Finch from the seminal movie 

Network, “I want all of you to get out of your chairs. I want you 

to get up right now, sit up, go to your windows, open them and 

stick your head out and yell, ‘l’m as mad as hell and I’m not 

going to take this anymore!’” 

Because if this were the auto industry, the charlatans populating the 

watch world with watches with zero empirical performance veracity 

would be sued into non-existence in the space of a heartbeat. 

To the brands and individuals creating this type of watches: 

heed this warning. You do not want to be that last lonely 

woman sitting at the discothèque bar when the lights come on, 

still desperately trying to sell your withered wares to a crowd 

that’s already moved on. 

It’s time to look deep inside yourself and ask yourself if you have 

the capacity to reinvent yourself, to reach deep and access that 

inner emotional space that will allow you to create real, legitimate, 

eternal horology. And if you do look within and are met with a 

hollowness that says you are wanting, then perhaps it’s time to 

move on to another medium such as performance art, which has 

historically been far more tolerant of pervasive bullshit. 

In the last quarter-century, extraordinary men like Philippe 

Stern, Rolf Schnyder, Nicolas G. Hayek, Philippe Dufour and 

Günter Blümlein have strived to write the next chapter in 

horology’s enduring story. But this renewed Golden Age has 

also opened the door and paved the way for some of the most 

unconscionable acts of time-telling chicanery and horological 

idiocy that the world has ever had to suffer. 

It’s time to clear the air, set things straight, and assign praise 

and blame with emotionless clarity. In so doing, you will 

find that a great number of brands and individuals are, to 

this day, still legitimately advancing true haut-de-gamme 

watchmaking and that much of the snake-oil salesmanship 

over the past decade rests solely at the doorstep of a small 

number of individuals. 

While REVLUTION USA’s editor-in-chief Jack Forster 

has warned me that to some greater or lesser extent, the allmechanical 

watchmaking is subjective, to my thoughts, the 

world can clearly be divided into ecstasy and agony. Here they 

are in no particular order. Let the division begin.


1) ASTROLOGICAL COMPLICATIONS: ASTROLABE BY 

ULYSSE NARDIN AND SIDEREAL-TIME DISPLAY BY 

PATEK PHILIPPE 

In 1983, Ulysse Nardin’s indomitable new owner Rolf Schnyder 

was skiing with his compadre Balthasar Meier when Meier 

chirped, “You must make a watch that does not yet exist.” 

Meanwhile, technical genius Ludwig Oechslin had been 

inspired during the restoration of the Farnesian clock at the 

Vatican to create his own astrolabe clock, which tells the time 

based on the position of the sun and stars as seen from earth. 

Astrolabes are grand complications, based on the observation of 

celestial phenomena, which reached their height in popularity 

in the Middle Ages and faded away by the end of the 17th 

century. They represent a true zenith in human imagination 

and mathematical ability, but no one had ever thought about 

putting one in a wristwatch, until Schnyder walked into Jörg 

Spöring’s atelier and saw Oechslin’s astrolabe clock. 

“Who would want this in a wristwatch?” asked Oechslin. As it 

turned out, Schnyder did, and the resulting astrolabe watches 

repositioned Ulysse Nardin from the maker of reliable marine 


The Patek Philippe Star Calibre 2000; the Ulysse 

Nardin Astrolabium Galileo Galilei; the two faces of 

the Patek Philippe Calibre 89 

 

COMPLICATION 


chronometers into one of the true hothouses for real horological 

innovation. The astrolabe also took pride of place in the 

Astrolabium Galileo Galilei, a cornerstone of Ulysse Nardin’s 

breathtaking Trilogy of Time. 

In 1989, with the Swiss industry recovering from the vestigial 

trauma of the Quartz Crisis, Patek Philippe created a pocket 

watch ostensibly to celebrate its 150th anniversary, but also 

as a profound statement of confidence in the return of highcomplication 

watchmaking. 

Evoking the Graves and Packard pocket watches of legend, 

the Calibre 89 packed 33 complications, including a secular 

calendar as well as a sidereal-time display which shows the 

star map over a fixed location at any given time. This amazing 

astrological complication then appeared in Patek Philippe’s 

Star Calibre 2000, another double-faced pocket watch, before 

appearing in wristwatch form in its Sky Moon Tourbillon. 

What is charming about these astronomical complications is 

that they connect us with some of the most ancient methods of 

tracking the passage of time.

2) THE ADVENT OF SILICON: 

ULYSSE NARDIN’S FREAK 

Unfortunately, this magazine’s heralding of the Freak 

as watchmaking’s first act of modern art also opened 

the door to a vast array of ridiculous timepieces trying 

to emulate this watch in looks, but not in technical 

content. What you need to understand about the 

Freak is that as wild as it looks, it is reductionist 

horological purity in extremitas. It is minimalist 

watchmaking at its best, and it is in this way that 

it differs from the slew of horological pretenders 

that followed it. 

The various “modernist” watches that emulated the 

Freak in each instance piled additional indicators, 

rotating discs and oddly shaped hands to artificially 

induce a more complex way of telling time for purely 

superficial purposes. In contrast, every part of the 

Freak has a purpose. It is a seven-day-power-reserve 

carousel tourbillon that uses components of its own 

movement as the time-telling indications. Hours 

are read off the barrel cover, which completes a 

full rotation every 12 hours, and minutes are read using the 

escapement bridge, which completes a full rotation every hour. 

The Freak is the product of Rolf Schyder and Ludwig Oechslin, 

but its initial spark belongs to one of watchmaking’s great 

heroes — Carole Forestier-Kasapi, the current head of high 

watchmaking at Cartier. 

The Freak is also responsible for introducing silicon into the 

watch industry, because its Dual Direct escapement, created 

by Oechslin but based on Breguet’s natural escapement, used 

two silicon escape wheels. Traditional materials were too heavy 

to turn them efficiently, so Pierre Gygax, Ulysse Nardin’s 

technical director, together with Michel Vermot and the CSEM 

COMPLICATION 


The proprietary escapement (left) by 

Ulysse Nardin and seen in the Freak 

(below) uses two escape wheels 

with unique tooth profiles, which 

are executed in silicon to extremely 

fine tolerances 


(Swiss Center for Electronics and Microtechnology), created the 

first production silicon escape wheels used in a contemporary 

wristwatch. While experiments into silicon’s mechanical 

viability had been conducted by several companies — in 

particular Rolex — it was Ulysse Nardin that had the courage 

to put this material in an actual production watch. 

Results were mixed with some watches having to be retrofitted 

with LIGA nickel-phosphorous wheels, but Schnyder stood by 

and fixed each and every Freak. Eventually, silicon technology 

was refined and perfected, to a large part thanks to the 

Ulysse Nardin-owned Sigatec, but only because the Freak 

first introduced this material to horology. Today, silicon is 

responsible for the first true forays into high-frequency watches.


3) THE WORLD’S FIRST GRANDE-ET-PETITE-SONNERIE 

WRISTWATCH: PHILIPPE DUFOUR’S GRANDE ET 

PETITE SONNERIE 

A grande et petite sonnerie is, irrefutably, the most complex, 

delicate, maddeningly difficult to craft and therefore the most 

badass of all complications. It is a watch that plays the hours 

and quarters in passing, in grande mode, or just the hours in 

petite mode, and can also be switched to silent. It can also be 

played like a traditional minute repeater. The genesis of the 

modern grande-et-petite-sonnerie era came about in 1983, 

when Audemars Piguet commissioned Philippe Dufour — then 

a renowned restorer — to create five grande-et-petite-sonnerie 

pocket watches. 

Dufour then built from scratch five magnificent, jeweled-tothe-hammers 

movements. He completed these watches in 1988 

(although one watch had to be immediately repaired, as the 

AP representative who came to pick it up, the jolly but rather 

sizeable Martin Wehrli, accidentally crushed it in the car door 

of his Porsche). 

Four years later, in 1992, Dufour literally stunned 

the watch industry into slack-jawed amazement 

with the world’s first grande-et-petite-sonnerie 

wristwatch, which is also commonly agreed 

upon to be amongst the best-sounding striking 

watches, and hands down the best-sounding 

grande sonnerie ever crafted. 

HONORABLE MENTIONS 

All watch brands that have managed to 

ascend to the top of the complication 

heap through the creation of an in-house 

grande et petite sonnerie, including Bulgari 

(ex-Genta/Roth, created by Pierre-Michel 

Golay), Audemars Piguet (created by 

Renaud & Papi, led by Giulio Papi), Jaeger- 

LeCoultre (created by David Candaux), F. 

P. Journe (created by François-Paul Journe) 

and Franck Muller (created by Pierre- 

Michel Golay). 

The Philippe Dufour Grande 

et Petite Sonnerie with a 

magnificent open dial, revealing 

the sonnerie and repeater 

mechanism 

 

COMPLICATION 


During an evening in Singapore, when maverick watchmaker 

François-Paul Journe unveiled his grande et petite sonnerie, a 

question was posited from the collectors: “Which sounds better, 

yours or Philippe Dufour’s?” Journe replied, “That is a stupid 

question. The Dufour is so rare — only six [not including the 

five made for AP] were ever made. It would be ridiculous to 

think of a moment when we could have a chance for a direct 

comparison.” One collector raised his hand — on his wrist was 

a Dufour Grande et Petite Sonnerie. “I’ve got one,” he called 

out. Another person raised his hand, “I’ve got one, too.” And 

so began the great Dufour vs. Journe grande-sonnerie shootout 

before the eyes and ears of the assembled collectors. The victor? 

Dufour, hands down.

The manual-winding Blancpain rattrapante 

chronograph caliber 1181 with isolator 

4) SPLIT-SECONDS CHRONOGRAPHS WITH ISOLATORS 

You have to give credit to Blancpain and Frédéric Piguet. 

Think about this. In 1987, when the Swiss watch industry was 

taking its first tentative steps back to re-embracing mechanical 

watchmaking, Blancpain made the decision to come out with the 

caliber 1180, the most advanced Swiss chronograph movement 

ever made. 

It was not only the thinnest chronograph caliber at the time, 

but it featured a column wheel, was automatic winding (in the 

cal. 1185 version), and used a vertical-clutch coupling system 

so that the chronograph could be run indefinitely with no 

adverse effect on timing. A year later, Blancpain and Piguet 

one-upped this by introducing the most advanced split-seconds 

chronograph caliber ever made! What was so special about this 

COMPLICATION 


The new and improved isolator 

mechanism of Patek Philippe’s inhouse 

caliber CHR 29-535-PS (far 

left), used in the ref. 5204 



Shortly after this, Breguet and Lemania incorporated an isolator into their 

Lemania CH 27 split-seconds chronograph. When Patek Philippe saw this, 

according to their technical guru Jean-Pierre Musy, they also fitted their 

Lemania-based split-seconds chronograph with an isolator, the returnlever-lifting 

wheel taking the form of the now-famous “Octopus”. 

The isolator was brought to another level by the Lange Double Split, 

which features isolators not just for the seconds, but also for the 

minute indicators. Finally, Patek Philippe has just elevated the splitseconds 

chronograph with isolator to an all-new performance level 

with the ref. 5204 which features a unidirectional return-lever-lifting 

wheel, as well as a new improvement to ensure that the split-seconds 

and seconds hand meet together with no sloppiness or play when the 

split-seconds function is released. 

movement? Traditionally, when the split-seconds function is 

activated, two brakes clamp down on the split-seconds wheel, 

while the chronograph seconds wheel continues to turn. How 

does the split-seconds hand catch up with the chronograph hand 

when the brakes are released? There is a spring-loaded return 

lever fitted with a jeweled roller that rolls around a heart cam 

created specifically to synchronize these hands. But the pressure 

placed by the lever on the heart cam creates sizeable resistance 

and affects the amplitude of the balance wheel. Blancpain 

and Frédéric Piguet fitted their split-seconds chronographs 

— the cal. 1181 (manual-winding) and cal. 1186 (the world’s 

first automatic split-seconds chronograph caliber) — with an 

isolator that lifted the return lever off the heart cam when the 

split-second functions was activated, and then released it when 

the split-seconds function was released.


5) THE PRECISE JUMPING MINUTE COUNTER: 

A. LANGE & SÖHNE’S DATOGRAPH 

Annegret Fleischer is another name that rightly belongs 

in high watchmaking’s hall of fame, having created what 

for many is the reference in manual-winding chronograph 

movements. It was the legendary Günter Blümlein’s dream 

to empower a Germ`an watch brand with as much equity 

as brands like Patek Philippe or Vacheron Constantin. “He 

was an engineer,” recalls IWC CEO Georges Kern, “and so he 

always thought about the movement first.” Indeed, he built 

Lange & Söhne’s reputation on the technical brilliance of its 

movements. In 1999, he tasked Fleischer and her colleague 

Helmut Geyer to create what would become one of the most 

talked-about chronographs in the world. 

While the Lange 1’s asymmetric dial layout divided people 

into two camps, the Datograph’s harmonious, symmetrical 

and damnably handsome dial united collectors in agreement 

Chronograph-minuteswheel 

jumper 

Chronograph minutes 

wheel (ratchet teeth) 

Chronograph-minuteswheel-advancing 

pawl 

Chronograph 

seconds wheel 

 

COMPLICATION 


BEHIND THE JUMPING MINUTE DISPLAY 


The precise jumping minute counter has now 

been adopted by Patek Philippe for its CH 29 

in-house chronograph caliber. 

that it was one of the best-looking time-writers ever. 

But it was the in-house movement inside that blew them 

away. Bear in mind that during this era, the world’s most 

prestigious brands Patek Philippe and Vacheron Constantin 

were still relying on the beautiful but rather long-in-thetooth 

Lemania caliber for their chronographs. In contrast, 

the Lange movement bristled with technical innovations. 

It came with a grande date display and a highly ingenious 

precise jumping minute counter, which uses a snail cam and 

a ruby finger to ensure that the elapsed minute indicator 

would always jump precisely on the stroke of the minute. So 

amazing was the Lange Datograph that the aforementioned 

Philippe Dufour, master of the grande et petite sonnerie, 

put down his own hard-earned cash to buy one. His choice 

was the now-discontinued rose-gold, black-dialed model, 

which collectors have since dubbed the “Dufour Dato”. 

When I asked him why he bought this watch, he explained, 

“Because it is the best chronograph in the world.” 

Chronographminutes-wheeladvancing 

lever 

Sprung ruby finger 

contacting snail 

cam (hidden, co-axial 

with chronograph 

seconds wheel) 

 

 

1) The chronograph seconds wheel turns 

counter-clockwise, carrying a co-axial snail 

cam (hidden below chronograph seconds 

wheel) 

2) A ruby finger is sprung (via the minutewheel-advancing 

lever) to maintain 

continuous contact with the snail cam, and 

lifts the minute-wheel-advancing lever and 

pawl to move over the ratchet teeth of the 

chronograph minutes wheel 

3) Upon one complete turn of the 

chronograph seconds wheel, the ruby finger 

falls off the highest point 

of the snail cam 

4) The minute-wheel-advancing pawl, having 

engaged with the ratchet teeth of the 

chronograph minutes wheel, advances the 

chronograph minutes wheel a single step 

5) The chronograph-minutes-wheel jumper 

tensions the chronograph minutes wheel and 

prevents it from advancing further than one 

step per minute 

FROM FAR LEFT 

The original A. Lange & Söhne Datograph; the 

new A. Lange & Söhne caliber L951.6 is what 

powers the 2012 update of the Datograph, called 

the Datograph Up/Down (far right)

6) DUAL-AXIS TOURBILLONS: 

JAEGER-LECOULTRE’S 

GYROTOURBILLON 

The tourbillon complication 

was patented by Abraham-Louis 

Breguet in 1801 to combat the 

negative influence of gravity on 

the performance of watches in the 

vertical positions. In the beginning 

of the third millennium, several 

watchmakers began toying with the 

idea of a tourbillon that rotated on 

different axes. Among the first of these was 

Thomas Prescher’s as well as Franck Muller’s 

Revolution 2 (this project was helmed by 

former Patek employees Michel Navas and Enrico 

Barbasini, teamed with Pierre-Michel Golay). But it is 

Jaeger-LeCoultre’s Gyrotourbillon 1, conceptualized by Eric 

Coudray and Magali Métrailler, that wins my vote for the 

best dual-axis tourbillon, for the fact that Jaeger-LeCoultre 

boldly entered this watch into the first international timing 

competition in Le Locle to empirically demonstrate its 

superior chronometric abilities. In the end, it came in second 

place — beaten by another Jaeger-LeCoultre tourbillon, 

the 4Hz Master Tourbillon — but this result is still strong 

empirical evidence of the complication’s vast technical merit. 

While the Jaeger-LeCoultre Gyrotourbillon 1, with its 

perpetual calendar and equation-of-time indicator, 

was a technical powerhouse, its successor, the stunning 

Gyrotourbillon 2 in the brand’s signature Reverso case, 

featuring the first-ever cylindrical hairspring in a wristwatch, 

combined technical virtuosity with staggering beauty. Sadly, 

the Reverso Gyrotourbillon 2 was robbed during the 2008 

Geneva Watchmaking Grand Prix when it inconceivably lost 

out on the L’Aiguille d’Or (Golden Hand) to F. P. 

Journe’s Centigraphe, a 1/100th-of-a-second 

chronograph, which neither divides time to 

1/100th of a second, nor was released that 

year, greatly discrediting this awards 

ceremony in the eyes of many. 

The good news is that the Gyrotourbillon 

has positioned Jaeger-LeCoultre as one 

of the most innovative manufactures 

around, a reputation that in last decade 

has proven to be irrefutably true. 

COMPLICATION 



The Jaeger-LeCoultre Gyrotourbillon 

1; the Jaeger-LeCoultre Reverso 

Gyrotourbillon 2 

 

 


The Jaeger-LeCoultre 

Reverso Gyrotourbillon 2 

utilizes a helical hairspring 

for greater concentricity in 

the oscillation of the spring


7) HIGH-FREQUENCY WATCHES 

PART I: SINGLE-OSCILLATOR 

WATCHES — AUDEMARS PIGUET’S 

CHRONAP 6HZ WATCH, BREGUET’S 

TYPE XXII AND CLASSIQUE 

CHRONOMÉTRIE REF. 7727 10HZ 

WATCHES, AND CHOPARD’S L.U.C 

8HF 8HZ WATCH 

Really high-frequency watches can be 

divided into two categories. The first 

category is single-oscillator watches 

that are beating at a high frequency. 

The first and therefore most deserving 

watch in this category is Audemars 

Piguet’s spectacular ChronAP, which, 

interestingly enough, is the only watch 

that doesn’t uses silicon to achieve its 

high vibrational speed of 6Hz. Instead, 

it uses a single-impulse escapement. 

In contrast, Breguet’s Type XXII and 

Classique Chronométrie ref. 7727, and 

Chopard’s L.U.C 8HF all take advantage 

of silicon for escapement components. The 

advantages of silicon parts are that they 

do not need lubrication, are not affected 

by magnetism, are light, and can be 

fabricated to extremely high tolerances 

— all of which play a part in creating a 

high-frequency watch. The actual benefit 

of a high-frequency watch is the idea 

that when the watch receives a massive 

or micro shock, the balance wheel will 

regain its optimal amplitude faster than 

with a lower-frequency watch. 

Of the various high-frequency watches, 

the one timepiece that most impressed 

me is Breguet’s ref. 7727. This is because, 

in addition to its 10Hz vibrational speed, 

it also uses magnetic pivots to allow the 

balance wheel to essentially float in a 

fixed position regardless of how the watch 

is placed. The combination of its 10Hz 

speed and this amazing innovation is 

a demonstration of CEO Marc Hayek’s 

incredible technical ambition with his 

brand and should be congratulated. 

 

COMPLICATION 


 

 

FROM TOP 

The Breguet Classique 

Chronométrie ref. 7727; 

the Breguet Type XXII; 

the Audemars Piguet 

Jules Audemars 

ChronAP; 

the Chopard L.U.C 8HF

PART II: MULTIPLE-OSCILLATOR 

WATCHES — TAG HEUER’S 

MIKROGRAPH AND MIKROTIMER, 

AND MONTBLANC’S TIMEWRITER 

The second category of high-frequency 

watches belongs to multiple-oscillator 

watches where a smaller balance wheel 

vibrates at very high speed so as to provide 

a particularly accurate chronograph reading. 

In this realm, the King of Accuracy is TAG 

Heuer: in 2004, it made the world’s first 

chronograph to vibrate at 360,000vph 

with a modular system, then in 2011 with 

an integrated system; it also created the 

Mikrotimer Flying 1000, which has an 

oscillator that beats at 3,600,000vph to 

divide time to the 1/1,000th of a second. 

This year, Montblanc introduced its 

TimeWriter II Chronographe Bi-Fréquence 

1000, which also has a balance wheel that 

beats at 50Hz, with a device it refers to 

as an “thousandths wheel” in the gear 

train that theoretically allows an accurate 

chronograph reading down to 1/1,000th 

of a second. 

Zenith, the first brand to elevate the 

frequency of production watches to 5Hz, also 

has a high-speed chronograph in the pipeline 

using a super-fast-vibrating oscillator. 

 

COMPLICATION 


 

 


FROM TOP 

The 2011 TAG Heuer Carerra 

Mikrograph 1/100th of a Second 

and the Mikrotimer Flying 

1000; the front and back of 

the Montblanc TimeWriter II 

Chronographe Bi-Fréquence 1000


A 

D 

G 

 

8) VERTICAL-CLUTCH CHRONOGRAPHS 

Look further up the page and you’ll see that Blancpain’s 

caliber 1180 already appears as one of the modern era’s best 

technical innovations. But the modern era of the verticalclutch 

chronograph would not reach critical mass until more 

than a decade afterward. In 2000, Rolex unveiled the cal. 4130 

— its 4Hz in-house, vertical-clutch chronograph movement — 

used to power the iconic Daytona. The next vertical-clutch 

movement to make news was the in-house Jaeger-LeCoultre 

4Hz caliber 752, launched in 2005 in conjunction with 

the brand’s Extreme World line of sports watches. In 2006, 

Patek Philippe pulled the covers off its own vertical-clutch 

chronograph caliber, the CH 28. Next came Chopard’s GT3 

(now renamed the L.U.C 10 CF) vertical-clutch movement, in 

2007, which featured a zero reset of the small seconds hand. 

At some point, it appeared that the Richemont Group had 

decided to adopt vertical-clutch chronographs for the majority 

of its brands with Piaget, Panerai and Cartier all with inhouse 

vertical-clutch chronographs. Breitling highlighted the 

B 

E 

H 

COMPLICATION 


F 

I 

C 

creation of its own vertical-clutch chronograph movement, 

the B01, in 2009. The most recent new vertical-clutch timewriter 

is Roger Dubuis’ RD680 found in their La Monégasque 

collection. This movement features the Geneva Seal. It should 

be noted that Omega chronographs use a version of the 

famous Piguet movement, providing their watches with great 

mechanical credibility. 

What makes vertical-clutch chronographs such a significant 

innovation? In part, it is due to the fact that they are easier 

and therefore less expensive to produce and adjust. But they 

also offer two major benefits. The first is that because the 

chronograph wheel and the clutch wheel engage on flat surfaces 

rather than on toothed rims, no backlash of the chronograph 

seconds hand occurs. The second is that because these 

movements are designed to be run with the chronograph on, 

you can leave your chronograph running indefinitely without 

affecting overall timing accuracy, which is particularly useful 

when timing a long event such as an endurance race.

9) THE ROLEX PARACHROM HAIRSPRING 

The Border Collie is a magnificent dog. Not only is it the 

world’s most intelligent breed — OK, it ties with the poodle, 

but which testicularly intact man is going to caught dead with 

one of those? — but it is also the world’s hardiest. It is capable 

or running nonstop all day alongside horses, chasing wayward 

cows, occasionally being kicked in the muzzle, but still able to 

will them into submission. Rolex’s magnificent watches are the 

Border Collies of horology. 

I have a much-abused 40-year-old Rolex that, I suspect, 

has never been serviced, that runs better than most of the 

tourbillons I own. The Rolex is the perfect desert island tool. 

The beauty of the Rolex watch is that you could use it to pound 

nails through boards, smash open coconuts and it would still 

keep perfect time to within a few seconds… a month! But 

OPPOSITE PAGE 

A Blancpain cal. 1180 

B Rolex cal. 4130 

C Jaeger-LeCoultre cal. 752 

D Patek Philippe CH 28 

E Chopard L.U.C 10 CF 

F Panerai P.2005 

G Piaget cal. 880P 

H Breitling B01 

I Roger Dubuis RD680 

 

COMPLICATION 



Rolex, in the words of Spinal Tap, turned things “up to 11” 

in 2000 when they commenced to augment their movements 

with the in-house parachrom hairspring fabricated from 

a combination of 85-percent niobium (a material with 

extraordinary metal memory) and 15-percent zirconium to 

create the best-performing hairspring since Charles Édouard 

Guillaume invented the damned things. 

Parachrom springs are amagnetic, which instantly helps to 

avoid what service centers 

report as 75 percent of the reason consumers bring watches 

in: magnetized hairsprings. The Parachrom hairspring was 

launched in 2000 as part of Rolex’s in-house Daytona caliber, 

but has since gravitated to almost all their movements, 

demonstrating Rolex’s extraordinary in-house capacity.


 

10) BETTER PERPETUAL CALENDARS 

A perpetual calendar is a beautiful watch to behold. On your 

wrist, you have a reading for time, day, date, month, year, 

and often, the phase of the moon. This watch will keep telling 

all information as its name implies, in perpetuity, on the 

condition that you keep it wound. 

But the thing is, we often don’t; and when it comes the time to 

reset our perpetual calendars, it can be intimidating. Try to 

set them during the delicate midnight changeover and you can 

jam the mechanism. Also, all those little pushers are so fussy 

and significantly increase the chances of you accidentally 

scratching your watchcase by incompetently stabbing away 

with the supplied pushpin. 

There’s got to be a better way, you say? Welcome to the 

synchronized perpetual calendar. It is impossible to refute the 

added practicality and ease of adjustment they provide. The 

first synchronized perpetual calendar was created by IWC’s 

former technical director and horological elder statesman, 

Kurt Klaus. Rather than having to adjust day, date, month, 

COMPLICATION 


FROM LEFT 

The IWC Da Vinci 

Perpetual Calendar 

Edition Kurt Klaus; the 

Ulysse Nardin GMT 

Perpetual Calendar 

year and moonphase separately, you simply turned the crown 

and all these indicators would advance together. 

There were only two drawbacks to this design. The first was 

that the watch did not compensate for the fact that in years 

ending in “00”, the leap year was omitted (the watch had to be 

sent back to the factory to have the indications decoupled and 

adjusted) and that if you accidentally adjusted this indication 

too far in advance of your current date, you would either have to 

wait for time to catch up, or send the watch back to the factory. 

This latter issue was addressed by Ulysse Nardin with their 

Ludwig Oechslin-designed perpetual calendar, which while 

synchronized, could be adjusted both forwards and backwards. 

This provided the added practicality for travelers who might 

arrive at time zones where the date is one day earlier than 

that at the home city they left. Indeed the intelligent powers 

that be at Ulysse Nardin capitalized on this by adding a GMT 

complication to their perpetual calendar, synchronizing all 

calendar information to local time and creating the most 

badass travel watch in existence. The only small bugbear with

the Ulysse Nardin watch was that the calendar information 

changeover at midnight was semi-instantaneous and actually 

began slightly before midnight. 

Though they never talk about it, Lange & Söhne has one of 

the world’s most innovative perpetual calendars, which solves 

the issue presented by the Kurt Klaus module by allowing 

for synchronized as well as unsynchronized adjustments. 

All information can be advanced using a central push-piece, 

but look closer and you’ll see that watch also has individual 

pushers. This is advantageous, for example, when you are in 

a year ending with “00” and you need to manually adjust the 

watch to not reflect a leap year. The Langematik Perpetual, the 

first watch to feature this module, was also the first perpetual 

calendar with outsized date. 

In 2006, H. Moser & Cie., along with Andreas Strehler, created 

one of my favorite perpetual calendars. The Moser Perpetual 1 

is minimalistic and unconventional in that it does not have a 

FROM LEFT 

The Ateliers deMonaco Quantième 

Perpetual Calendar; the H. Moser 

& Cie. Moser Perpetual 1 

 

COMPLICATION 



moonphase or day indicator. What it does have is date, month 

and leap-year cycle (displayed on the movement). What I like 

about the watch is the way in which months are read off the 

12 hour indices using a small hand mounted on the canon 

pinion, keeping the dial super clean. Further, this perpetual 

calendar is synchronized, instantaneous and can be adjusted 

backwards or forwards. 

But the man responsible for what is, in my opinion, the most 

impressive perpetual calendar to date is Pim Koeslag, one of 

the two founders of Ateliers deMonaco. Take note of his name 

because it is affixed to an individual destined to be one of 

horology’s future greats. You press the pusher in the crown 

of the watch to select which calendar indicator you want to 

select, and then adjust it backwards or forwards using the 

crown. Which indicator you’ve selected is clearly shown by a 

hand in the subdial at six o’clock. I would love to see this gem 

of a movement in a more stylistically subdued, smaller and 

thinner classic-themed case for it to be the perfect watch.


That ends my list for the best technical 

innovations in contemporary watchmaking. 

Some other watches that I feel are deserving of 

credit are: 

THE ULTRA-LIGHT WATCHES OF 

RICHARD MILLE 

It is incredible to me that Rafael Nadal is actually 

wearing a 20-gram haut-de-gamme tourbillon 

during competition. Richard Mille created a very 

specific aesthetic, which is today much imitated, 

but his watches are unique in that they serve the 

purpose of lightness, increased shock resistance 

and added comfort. His are the real deal, while 

others are mere styling exercises! 

DUAL-OSCILLATOR WATCHES 

You could divide these types of watches into 

two categories. The first is watches with 

differential that average the errors between 

the two oscillators. Among these are Philippe 

Dufour’s Duality, Roger Dubuis’ Double Flying 

Tourbillon and Greubel Forsey’s Quadruple 

Tourbillon à Différentiel Sphérique. However, 

to really embrace these watches — at least the 

commercially produced ones — I need to see 

empirical proof that two oscillators are better 

than one. The second type of dual-oscillator watch 

uses two gear trains to separate timing functions 

from an additional complication. These include 

Jaeger-LeCoultre’s ultra-cool Duomètre, as well 

as TAG Heuer’s high-frequency chronographs 

— the Mikrograph 1/100th of a Second and the 

Mikrotimer Flying 1000. 

ZENITH’S CHRISTOPHE COLOMB 

Interestingly, I believe Giulio Papi of 

Audemars Piguet Renaud & Papi was 

working on a similar solution to 

keep the balance wheel flat at all 

times, but kudos to Zenith for 

achieving this first. However, 

I would very much like to 

see this watch entered in 

chronometric competitions. 

FROM TOP 

The Richard Mille RM 027 Rafael 

Nadal; the Philippe Dufour Duality; 

the Greubel Forsey Quadruple 

Tourbillon à Différentiel Sphérique; 

the Roger Dubuis Excalibur Skeleton 

Double Flying Tourbillon 

 

COMPLICATION 

CONTEMPORARY HOROLOGY

COMPLICATION 


 

 

FROM TOP, LEFT TO RIGHT 

The Zenith Christophe Colomb; 

the Cartier ID One; the De 

Bethune DB 28 Tourbillon; the 

Van Cleef & Arpels Lady Arpels 

Poetic Wish 


CARTIER’S ID ONE 

This watch was not destined for production, but 

was a test bed for new technology. I particularly 

liked the idea of having a watch that was 

amagnetic and never needed regulation. ID One 

is a symbol of the technical merit of a brand that 

was once considered more aesthetically driven, 

but has now become a true major technical force 

to be reckoned with. Having just returned from 

Cartier’s manufacture to witness the unveiling 

of the incredible ID Two, I am continuously 

impressed with Cartier’s extraordinary ambition 

to truly bring all-new levels of performance to 

the mechanical watch. I am also delighted to see 

that elements of ID One are being integrated into 

commercial watches as with the carbon-crystal 

oscillator, escapement and escapement bridge 

found in the new Astrotourbillon Carbon Crystal. 

DE BETHUNE’S DB 28 TOURBILLON 

De Bethune deserves some praise for doggedly 

pursuing true horological innovation during a 

time when many so-called independent brands 

were making nothing more than styling exercises 

using outsourced marketing watches. The level 

of study and innovation that Denis Flageollet 

has focused around improving oscillators is 

truly remarkable, and his pinnacle achievement 

has been his tourbillon, which features both a 

silicon oscillator beating at 5Hz and a silicon 

cage that completes one rotation in 30 seconds. 

VAN CLEEF & ARPELS’ POETIC WISH 

Van Cleef & Arpels makes, hands down, the most 

beautiful and wonderfully expressive women’s 

watches in the world. In this instance, emotional 

expression is executed perfectly.


 

“‘Is this not a beautiful piece of cloth?’ asked the two swindlers, 

showing and explaining the magnificent pattern, which, however, 

did not exist” — Hans Christian Andersen, The Emperor’s New Clothes 

1) THE WATCH THAT DIDN’T TELL TIME 

Aspiring watch-industry impresarios love to use the word 

“sold out” as in, “Hey, I made a watch with no hands that costs 

US$300,000 and it’s all sold out.” What they don’t tell you is 

that what they mean is they’ve convinced enough retailers to 

display their watches — not that they’ve found enough gullible 

people to actually buy them. 

Such was the case when Yvan Arpa, the founder of RJ- 

Romain Jerome — the brand famous for using a minuscule 

amount of Titanic’s steel in their watches — launched his 

magnum opus: a watch that didn’t actually tell time. Arpa, 

like several other brands on this list, commissioned complete 

watches from a company called BNB, which specialized in 

“high-concept” complications. Company founder Mathias 

Buttet once admitted to me, “I am not a watchmaker; I am a 

micro-engineer. My concern is not horology, but mechanical 

animation.” Which essentially means he could get things to 

turn and rotate, emulating haute horlogerie, with little concern 

for their underlying horological or chronometric merit. 

Thus liberated from the confines of traditional, responsible 

watchmaking, he collaborated with Arpa on this particular 

gem, the Day&Night Tourbillon. With its exposed train that 

COMPLICATION 


would shut down power to the day tourbillon after 12 hours, 

and then send it to the night tourbillon for the next 12 hours, 

the Day&Night was retailed at US$300,000 and embodied the 

era of excess and marketing hype that was pre-financial-crisis 

watchmaking. 

It was huge, brazenly eye-catching, with fashionable modernist 

styling, bore the requisite PVD coating on its intentionally 

rusted parts, was ridiculously expensive — and made no 

sense whatsoever. 

Upon being shown the watch, I asked, “If it divides time into 

12-hour periods, how do you set it such that each 12-hour 

period precisely coincides with nightfall?” The response was a 

look of perplexity. I continued, “So, essentially you could just 

look out of your window and get a more accurate reading for 

day or night?” More perplexity. 

While watches were moving toward ever-more-wildly 

emotive expressions of time, the removal of time indications 

altogether was essentially the straw that broke the camel’s 

back and ignited my burning antagonism against this 

entire genre of watchmaking. What was next? The watch 

that didn’t work at all? 

 

 

The RJ-Romain Jerome 

Day&Night Tourbillon

2) GOOD VIBRATIONS 

Look, I have a lot of respect for Oprah. She’s an amazing 

entrepreneur, a stellar success story, and she is obviously 

brilliant and generous, and may well be on the short list to 

be canonized as a new-world saint. However, what I don’t 

need from Oprah is her advice on what watch to buy. Even 

more so when she shamelessly touts a brand that has largely 

constructed their unique sales pitch around one of the most 

idiotic concepts of all time. Amazingly enough, when I met 

the creators of Philip Stein, they too were at a loss to explain 

exactly how the “Natural Frequency Technology” inside 

their watches is supposed to help what they call “overall 

well being”. I strapped one on while talking to them and 

it just made me feel angrier. I have too much affection 

for real horology than to open up the back door to snakeoil 

salesmanship that attempt to use watchmaking as a 

platform to sell their bullshit. Amusingly, on their website, 

Philip Stein uses the following statement to back up the 

legitimacy of their harmonic technology: “Based on initial 

feedback from Philip Stein wearers, we commissioned in 

2009 a clinical trial to study the effects of the Natural 

Frequency Technology on relaxation and sleep. Although 

the study was preliminary and statistically inconclusive, 

some of the findings were very promising.” I find it 

incredible that a brand would actually state that the very 

COMPLICATION 


FROM LEFT 

The Philip Stein Prestige 

Automatic Gents; the HD3 

Bi-Axial; the HD3 Idalgo XT1 


fundamental technology that justifies their existence is 

“statistically inconclusive”. 

3) WATCHES WITH ILLEGIBLE INDICATIONS OF TIME 

THAT THEN BREAK DOWN REPEATEDLY 

Several watches by HD3 Complication — an artistic 

exercise for designers Jorg Hysek, Fabrice Gonet and Valérie 

Ursenbacher — find their way was on this list, not because 

of the lack of artistic merit of the designers involved. They 

are, for the record, very nice and aesthetically talented 

people. Their watches appear here for the fact that the basic 

premise of the brand was highly problematic. The idea was 

to completely outsource ambitiously wild-looking timepieces 

from a company (BNB) that then went out of business, 

leaving every single person who had purchased one of these 

watches without any recourse to get them repaired. And 

repaired they would have to be, because each one of these 

watches was created with aesthetics as the priority, with 

little thought as to whether the inclusion of multiple discs to 

tell hours, minutes and seconds — as was in the case of the 

Hidalgo watch — would be in the least bit reliable. 

They were not. The message here is that watches can no 

longer be designed with self-indulgently wild aesthetics 

with little regard for horological viability.


FROM LEFT 

The Confrérie Horlogère La Clef du Temps; 

the AK Genève Warp HMS Automatic MKII 

 

4) CONTROLLING THE PASSAGE OF TIME 

At one point or another, BNB — the company founded by 

Mathias Buttet — supplied the vast majority of tourbillons 

and other complicated watches to any brand without the inhouse 

capacity to create these themselves. In my dealings 

with Buttet, I’ve always found him to be a perfectly nice man, 

but when BNB closed down in 2010, it meant that all of the 

complicated watches created by him for other brands could 

now no longer be serviced or repaired unless the company 

that commissioned them had somehow created this technical 

equity in-house. (Some brands did and should be applauded 

for it.) But for watches with an aggregate price of well over 

US$100,000 and with definite regular service intervals 

needed, you can see where the problem lies. 

I have witnessed one of the world’s most powerful retailers 

personally hand-carrying a BNB-fabricated watch back to 

Geneva to try to resolve a repair issue himself. Multiply this 

situation by the number of BNB tourbillons ever produced and 

you get an idea of the sheer scale of the impending disaster. 

The lesson here is simple. Never ever, ever buy a complicated 

watch unless it is made in-house by a brand that you know 

has a legitimate history in high complications and has been in 

existence for longer than a few weeks. For God’s sake, if you 

are going to buy a repeater, tourbillon or perpetual calendar, 

get one from a brand that has real in-house capacity! 

At some point, Buttet decided to create his own brand — 

Confrérie Horlogère. By creating an internal competition 

among his watchmakers, he arrived at several ideas, the first 

one of which being La Clef du Temps, or the Key of Time. So 

why does this watch belong on this list? 

COMPLICATION 


To begin with, the design of the watch is 

probably the most bizarre in the history 

of the Swiss industry, combining an 

amorphous space-age-ish case with a dial 

decorated with lavish engraving. The 

strap of the watch consisted of several 

elastic bands reminiscent of the devices 

Italian soccer players use to tie their 

hair up with. But the kicker was the 

complication. The watch would allow 

you to either slow time down or speed it 

up — superficially anyway, on its display. 

Why you want to do this, I have no idea. And 

of course, if this wasn’t enough, the watch 

also had a vertical tourbillon, just like that in 

Concord’s Tourbillon Gravity. 

5) THE RIDICULOUS-LOOKING SPACESHIP 

WATCH WITH THE CYLINDRICAL MOVEMENT 

I have to admit that during the crazy days of 2008, in 

a horological world that seemed to be redefining its own 

language, I was initially impressed by the unfortunately 

named Arny Kapshitzer’s spaceship-themed watches. 

But when the world came crashing back to reality and we woke 

up to the fact that the watch you buy today should endure 

perennially, I realized that I, too, had been swept up in the 

temporary insanity of the pre-crisis era. 

Look, there are many silly watches out there that want to look 

like spaceships or manga star-cruisers. The fact is, this one 

was particularly horrible-looking, appearing sort of like a 

women’s electric grooming device affixed to a watchstrap. It 

is, in scale, enormous, rivaling some of the industry’s most 

inanely oversized seven-barreled tourbillon timepieces. But AK 

Genève’s main technical talking point was that the movement 

was designed to be totally cylindrical, which is to say it was 

made differently simply for the sake of being different. But 

in the context of pervasive horological silliness, why does AK 

Genève and its timepieces deserve the Wrath of Khan? 

The story behind this brand was that Kapshitzer’s patron 

was a now-deceased entrepreneur and journalist who founded 

watchmaking’s most conspicuous awards ceremony, which is 

well known to have been one of the most corrupt competitions 

in Swiss horology. Were the individual in question still alive, 

there is no doubt that a Kapshitzer special, through the magic 

of nepotism, would be the recipient of this competition’s grand 

prize. Thus, the AK Genève watch and the people behind it 

embody a dark era that is thankfully over.

6) WATCHES WITH DINOSAUR DUNG DIALS 

Has it really come to this? Have we become so 

gullible that there are people out there who are 

compelled to buy a watch with a dial made of 

fossilized feces? 

7) WATCHES WITH FAULTY MEMORIES 

After the spectacular parties, after the 

champagne flowed, after we were each driven 

around Shanghai first in our own personal 

rickshaws and then in a convoy of magnificent 

vintage cars, after we were introduced to the 

watch’s designer and its technical team, after I 

gave it an award, it was my friend Joe Thompson, 

the elder statesman of watch journalism, who 

asked me the salient question, “Is it just me or 

did we never see a working watch?” He was, of 

course, correct. 

The idea behind the Mémoire 1 was great. 

Basically, it was a watch where the hands could 

be used to tell time, but you could also switch 

to chronograph mode and the hands would 

become chronograph elapsed-time indications. 

But the sad thing was that after all the hype, after 

leadership changes, after spectacular amounts 

of ink were dedicated to it, the watch basically 

never appeared and was never mentioned again. 

In truth, Mémoire 1 was a victimless crime in that 

no one actually put down money for the watch 

only to have it not materialize or only be delivered 

a decade later. But as an act of all show and no 

go, all talk and no substance, it was spectacular. 

“Listen, here’s the thing. If you 

can’t spot the sucker in your first 

half-hour at the table, then you 

are the sucker” 

— MIKE MCDERMOTT, ROUNDERS 

COMPLICATION 


 

 


FROM TOP 

The ArtyA Coprolite; the Maurice 

Lacroix Memoire 1


 

8) IT DIVIDES TIME TO 1/100TH OF 

A SECOND… WELL, KIND OF 

There is no doubt that François-Paul Journe is a brilliant 

watchmaker. With his Chronomètre à Resonance, he created 

a watch that has been the source of enormous debate for many 

years, with still no conclusive evidence proving or disproving 

its function. One thing that is a little suspicious is that winding 

either of the two crowns causes both barrels to arm, meaning 

you cannot run one movement without running the other to see 

how they perform independently, and then contrast this with 

how they perform together through the magic of resonance. But 

he went a little too far with his purported 1/100th-of-a-second 

chronograph named the Centigraphe Souverain. 

Clearly if the watch has one oscillator beating at 21,600vph or 

3Hz, it will not be able to divide time to 1/100th of second in 

the way that TAG Heuer’s Mikrograph does. So, how does F. P. 

Journe’s Centigraphe achieve this? 

COMPLICATION 


The Centigraphe Souverain has a foudroyante display where 

a hand adopts six positions a second. However, the subdial in 

this display is calculated to 100 units. So, if it only adopts six 

positions per second, how can it record a timing down to 1/100th 

of a second? Journe has decoupled the foudroyante hand in a 

way that when you press the stop switch on his chronograph, 

this hand can be arrested at any position between the six actual 

positions it consistently adopts each second. 

But the problem is that it actually stops at the six positions 

fractionally longer than it does in any of the positions in between, 

and so its movement around the dial is not consistent because 

it is essentially braking and accelerating between each of these 

positions. So does it actually divide time to 1/100th of a second? 

When REVHLUTION Asia’s editor Suzanne Wong asked Journe 

this, he replied, “It is accurate as it needs to be.” Sure, the watch 

is in possession of a neat visual trick, but a true 1/100th-of-asecond 

chronograph, the Centigraphe Souverain is not.

9) PHYSICAL VAPOR DEPOSITION 

Honestly, if I see one more watch that has been 

thoughtlessly festooned with a black coating 

for no apparent reason than to unleash the 

watch’s inner aggressiveness and bring forth 

the beast that lurks within, I’m going to bang 

my head against the wall. There is an intelligent 

way to use alternative materials to enhance 

the performance of a watch. IWC pioneered 

ceramic cases so as to render them scratchproof, 

and titanium cases for their resistance and light 

weight. Rolex started to adopt ceramic bezels 

for the same reason, and this year’s Tudor 

Pelagos, with its ceramic bezel impregnated 

with luminous dive markers, is an act of genius. 

I applaud Panerai’s research into new materials 

that have resulted in their composite-material 

cases. Carbon-fiber cases are acceptable to me if 

the purpose is to significantly lighten the weight 

of a watch, such as in Richard Mille’s RM 027 

or Audemars Piguet’s Alinghi Team. (Though, 

personally, I feel the world is turning back to 

embrace the traditional materials of steel, gold 

and platinum.) But what I am truly sick of is the 

myriad of watchcases that have thoughtlessly 

been colored black as the result of trend. 

Beyond the endless aesthetic repetition, the fact 

is that PVD is a highly imperfect process that 

results in cases that can and, if you wear them 

long enough, will scratch. Is it just me who finds 

it ironic that a watch that has been made to 

look more aggressive or military-themed using 

PVD has also been rendered many times more 

fragile? A PVD case can only be refinished 

at enormous expense, so much so that most 

brands refuse to do it, or will simply re-case 

the watch. Basically, PVD-coating a watchcase 

compromises its performance. 

 

Conversely, look at the watches that have 

actually served military duty: what do the 

fantastic Rolex ref. 5517 Milsubs, the Tudor 

Marine Nationale watches, the array of 

magnificent Panerai military watches and the IWC B-Uhr 

watches all have in common? They are all made out of plain 

steel. And each scar, each scratch looks like a campaign ribbon 

pinned to the chest of a real soldier’s uniform. The PVD-coated 

watch, in comparison, looks like (and makes the man wearing 

it look like) a hairdresser hopped up on amyl nitrate and tarted 

up in faux military garb for Halloween. 

10) PARASITICAL COMPANIES MAKING A LIVING BY 

TURNING PERFECTLY GOOD WATCHES BLACK AND 

THEN CHARGING A RIDICULOUS PRICE FOR THEM 

I have another magazine called The Rake, which is dedicated 

to classic elegance. So imagine my surprise when I discovered 

that in Paris, there is a magazine called Dandy, which copied our 

COMPLICATION 



A trio of black-(de)faced Rolexes by Pro-Hunter, clockwise from top: the Military Submariner, 

the Daytona and the SeaDweller DeepSea 

cover paper stock, our fonts, our layouts and even selected many 

of the same images we use. In short, it sucks when people ride on 

other people’s hard work to make their living. 

The most extreme examples of this are companies that survive 

parasitically on real watch companies by coating their watches 

black. This is another reason the introduction of PVD unleashed 

all kinds of hell on the world. The owner of companies like Pro- 

Hunter, which to me do nothing but deface the work of the world’s 

most legitimate watch brands such as Rolex, Patek Philippe and 

Audemars Piguet, should be similarly be black-coated by being 

tarred, feathered and driven out of the boundaries of the civilized 

world so that they can no longer perpetuate their sacrilegious acts 

of horological perversity.

182 Cartier: Living in a vacuum 

Something gold, something new 190 

“There are no rules of architecture for a castle in the clouds” 

Gilbert K. Chesterton 

 

 

ATCHES OF TOMORROW


REVOLUTION


CARTIER 


LIVING 


IN A 

VACUUM 

CARTIER LEADS THE WAY WITH THE NEW ID TWO CONCEPT WATCH, 

STRETCHING YET AGAIN THE BOUNDARIES OF HOROLOGICAL IMAGINATION


 


CARTIER 

Today’s watchmaking industry is one that is, 

justifiably so, very proud of its heritage. Some 

prestigious brands have been developing their 

know-how over decades, if not centuries. Save 

for a few renegade brands, modern watches 

are animated by the same basic mechanical 

principles, albeit considerably improved over the years by 

the application of modern technologies, whether it’s in the 

manufacturing process itself, or with specific components. On 

occasion though, someone comes along with such a tangential 

approach that we are forced to review even the most fundamental 

concepts in horology. 

The fact that one of the leading proponents of this futuristic 

thinking is the legendary Cartier is somewhat surprising, but 

it must be said that we are getting accustomed to it. Carole 

Forestier-Kasapi and her technical team have been very hard 

at work, not only on developing the mechanical future for 

Cartier – from the workhorse 1904MC caliber, to the various 

complications such as the brand’s first annual calendar – but 

also its forward looking vision through its “Innovation & 

Development,” or ID concept watches. 

You will remember that the first of these was the ID One, 

which sought to address the basic problems of regulation of a 

mechanical movement during production. While this might not 

necessarily excite the average watch collector, the fact is that 

the regulation of a movement is a very time-consuming part 

of the assembly process – one that is highly dependent ndent on the 

individual skill of the watchmaker, and on the precision ecision of the 

parts that are provided. Removing this variability, ity, not only 

at the initial point of production, but also over the he life of the 

watch, is one of the holy grails of watchmaking. Cartier artier proved 

that the concept is viable, and is, in fact, commercializing ercializing it 

for the first time with the Rotonde de Cartier Astrotourbillon 

rotourbillon 

Carbon Crystal watch. 

With the introduction of the ID One only three years ago, and its 

numbering, it was only logical that there would be an ID Two. 

What we didn’t know at the time was what shape it would take, 

nor what ideological concept it would seek to address. ss. So when 

whispers that the ID Two would be presented this year, much 

head scratching ensued to try and deduce what Cartier rtier would 

unveil at their state-of-the-art manufacture in Switzerland. erland. 

We know that modern wristwatches are not particularly rly energyefficient. 

Watchmakers have worked around that problem, 

focusing on the end result of ensuring that the watches atches are 

accurate within a certain range, rather than going back ack to the 

root of the problem and deconstructing it. After all, this his is how 

they’ve done it for eons, so why not continue? 

Carole Forestier-Kasapi, though, is making a habit of asking 

herself and her team: “Why? What can we do about bout it?” 

Certainly not meant to be rhetorical questions, her zealous 

team, which includes Edouard Mignon, product and services 

 

 

In order to better understand 

the basic problems, Cartier 

presented the ID Two with a 

series of technical demonstrations 

– in a way showing us their 

train of thought throughout the 

development process, and the 

technologies that they used to 

produce the whole concept.


CARTIER 


Edouard Mignon, product and services director for Cartier’s 

Watchmaking Innovation; 

The ID Two’s four mainsprings are arranged 

in a two-barrel construction; 

Its differential gear train compensates loads, reduces friction, 

and optimizes efficiency 

director for Cartier’s Watchmaking Innovation, is quick to put 

on their worn-out thinking caps and search for answers. When 

confronted with this low efficiency, which Cartier quantifies by 

saying that 75% of the energy contained within a movement is 

wasted, how does a movement need to be changed to ensure that 

it makes much better use of the energy available? The result 

is the Cartier ID Two concept watch, which the brand proudly 

presents as the world’s first high efficiency watch. 

In order to better understand the basic problems, Cartier presented 

the ID Two with a series of technical demonstrations – in a way 

showing us their train of thought throughout the development 

process, and the technologies that they used to produce the whole 

concept. The first step was to store the maximum amount of energy 

given a particular volume; the ID Two is, after all, a wristwatch, 


and it would not behoove Cartier to produce something that 

would not fit under the average shirt cuff, even if they have been 

trending ng towards larger cases in recent years. 

STORING THE ENERGY 

In mechanical wristwatches, the energy is stored in the 

mainspring, which has traditionally been made of a metal 

alloy. This has allowed the mainspring to be highly durable, 

but presents a challenge with power delivery, specifically 

relating to the torque; a highly wound mainspring will 

generate considerably more torque – all other things being 

equal – than one that is almost unwound. This has an 

impact on the accuracy of the watch, due to the variance 

in the power delivery. Apart from centuries of experience in 

the production of metal mainsprings, there are mechanical


 


CARTIER 

 

 

FROM LEFT 

The ID Two’s monobloc case 

minimizes the length of the 

special gaskets and improves 

the “air resistance;” 

The caseback is held in place by 

the vacuum alone


CARTIER 

ways of addressing this, such that the shape and elasticity 

are relatively well controlled, and give predictable power 

output. The team at Cartier decided that this wasn’t good 

enough, and, inspired by the fiberglass used in pole vaulting 

– which manages to launch the athletes and yet return to 

their equipment to their original state – has developed the 

first fiberglass mainsprings used in watchmaking. 

The mainsprings are arranged in a two-barrel construction, with 

two mainsprings within each barrel in opposing concentricity 

to even out the power delivery from each barrel. These, in 

turn, are arranged serially to extend the available power. The 

fiberglass mainsprings are coated with a special polymer, to 

make the friction negligible within the spring, likewise are 

the barrels, but this time in ADLC (amorphous diamond-like 

carbon), to reduce any negative impact from friction as the 

mainsprings unwind. The result of these developments alone 

is that 30% more power is stored. But that’s not enough; it 

doesn’t yet address the way this power makes its way through 

the watch’s gear train. 


Apart from centuries of 

experience in the production of 

metal mainsprings, there are 

mechanical ways of addressing 

this, such that the shape and 

elasticity are relatively well 

controlled, and give predictable 

power output. 

DELIVERING POWER 

The next step is to optimize the use of this additional power, 

which Cartier has done with two specific developments: a 

differential gear train constructed to compensate loads, reduce 

friction through the use of ADLC coating again, and optimize 

efficiency with specific gear teeth geometry; and carbon crystalsilicon 

wheels, which are significantly lighter and harder than 

steel, with the added benefit of being impervious to magnetism 

and corrosion. This system alone improves the transmitted 

energy by 10%, but when combined with the adjustment- and 

lubrication-free escapement from the ID One, the total gain in 

power delivery is more than 25%. 

HIGHEST OPTIMIZATION 

Now we have 30% more power, and a 25% improvement on 

how that power is used, but that’s still not enough; there’s one 

more hurdle that Cartier has leaped over: aerodynamic friction. 

We might not necessarily think of the impact of air molecules 

at such a scale, but there is no doubt that it’s significant. In a 

highly effective demonstration, Cartier showed that removing 

the air around a more traditional movement, for instance their 

1904MC caliber, generated significantly greater amplitude in 

the balance wheel. Which is all fine and well, except that we’re 

not about to walk around with vacuum chambers around our 

wrists. Tests were done to see whether improved aerodynamics 

could be used as an approach, by profiling the shape of the 

balance wheel, but this did not result in significant savings, and 

it was determined that the entire movement should, in fact, be 

placed within a vacuum. Again, much, much easier said than 

done; not only do you have to take the air out of the watch, you 

have to make sure that it doesn’t get back in. While the industry 

is accustomed to waterproofing, air molecules are much, much 

smaller than water molecules, and existing methodologies were 

not sufficient to guarantee that the watch could maintain its 

vacuum over a significant period of time.


 


CARTIER 

CARTIER’S 

ASTROTOURBILLON 

CARBON CRYSTAL 

It’s almost unfortunate that Cartier chose to unveil 

its Rotonde de Cartier Astrotourbillon Carbon 

Crystal watch at the same time as the ID Two. It’s 

a virtual footnote to the technical achievements 

that its concept watch cousin has showcased, but 

it’s nonetheless a significant timepiece in its own 

right. As the first commercial application of Cartier’s 

Innovation and Development laboratory, it shows 

us that the brand is very serious about its ability to, 

one day, put these technological breakthroughs into 

production. The new Astrotourbillon Carbon Crystal 

features a tourbillon escapement that – thanks 

to the combination of DRIE (Deep Reactive Ion 

 

 

Etching) manufacturing processes producing carbon 

crystal components that are precise to the micron, 

and their inherent extreme hardness – requires no 

adjustment during assembly and no lubrication to 

ensure its durability. The entire tourbillon cage, 

which incorporates a platinum counterweight – a 

metal generally known for its high density equating 

to significant weight – is only 0.46 grams. The 

niobium-titanium case provides added protection as 

it’s non-magnetic, corrosion- and scratch-resistant, 

and in fact provides a certain shock resistance as 

well. It will remain a rare piece though, as only 50 

pieces will be produced. 

Carole Forestier-Kasapi, 

director of Movement 

Development at Cartier


CARTIER 

Cartier approached this in two ways: minimizing the number 

of parts for the case, thereby reducing the number of potential 

entry points for the air molecules; and by developing new 

gaskets that would make it that much harder for air molecules 

to penetrate. The case of the ID Two is made of only two parts, 

which are made of a transparent ceramic compound that 

Cartier has dubbed “Ceramyst.” Given that there is just the 

monobloc case and a transparent back, the ID Two requires 

48% less gasket length to isolate its movement from external 

molecules. In addition, these gaskets have been developed to be 

“high performance,” that is, they are nanoparticle doped, which 

reduces their porosity and roughness, minimizing the chance of 

any air leak. As a comparative measure, if you were to create 

a vacuum within a “standard” watch, it would maintain that 

state for one day only before the air molecules would enter the 

case and equalize the air pressure; a watch that’s rated to being 

waterproof to 30 meters would maintain that state for up to 

three months, while the ID Two will maintain its vacuum for 

ten years. The vacuum also ensures that the case back simply 

stays in position due to the difference in air pressure outside 

the watch, with the end result being that power consumption 

is decreased by 37%. Coincidentally, one of the downsides of a 

vacuum is that it reduces a liquid’s boiling point; were it not for 

the lubrication-free technology inherited from the ID One, the 


vacuum would not have been feasible for the simple reason that 

the lubricants would boil away at room temperature. 

MORE THAN THE SUM OF ITS PARTS 

When you add it all up, the additional power from the 

fiberglass mainsprings, improved power delivery from the 

differential gear train and adjustment and lubricationfree 

escapement, and the reduced power consumption due 

to the vacuum within the case, the Cartier ID Two’s high 

efficiency results in a power reserve that is a truly massive 

32 days, all in a watch that is only 42mm in diameter and 

15.5mm thick. 

Cartier’s ID Two concept watch has again showcased 

the brand’s commitment to mechanical watchmaking 

at the highest level. Carole Forestier-Kasapi’s team has 

deconstructed – it must be said in spectacular fashion – 

another of the basic problems that had become almost an 

inevitable given in the industry, and proved that with a lot 

of lateral thinking, and undoubtedly, significant resources, 

horology still has tremendous potential for technological 

development. Not to be particularly impatient, but the ID 

Two has only made us that much more eager to discover what 

Cartier has in store for the ID Three!


 


NEW GOLD ALLOYS 

 

 


The Rolex Cosmograph Daytona 

in 18k Everose gold, the Hublot 

Big Bang Ferrari Magic Gold and 

the A. Lange and Söhne ‘Homage 

to F. A. Lange’ Tourbograph 

‘Pour Le Mérite’ in 18k ‘honeycolored’ 

gold



CEDRIC TENG (text) 

SOMETHING GOLD, 

SOMETHING NEW 

PEOPLE CHANGE AFTER MARRIAGE, AND MATERIALS DO TOO. REVLUTION EXAMINES 

SOME OF THE ILLUSTRIOUS UNIONS BETWEEN GOLD AND OTHER MATERIALS 

W 

hen they weren’t working on achieving 

eternal life, medieval alchemists pursued 

the relatively humbler goal of making 

gold. Their conviction that it was possible 

to transmute lead into gold stemmed 

from the belief that all forms of matter 

were made up of four essential elements, namely air, earth, 

fire and water, through the manipulation of which one could 

theoretically transform anything into something else. Today, 

chemistry has replaced alchemy, but the fascination with gold 

still exists, and modern-day descendants of the alchemists have 

embraced science and technology not so much to create, but to 

develop gold, and make it even more desirable to a society that 

has been taken in by its charms for millennia. 

Magic has been replaced by metallurgy, and the alchemists of 

today are none other than the teams of materials researchers 

that ply their trade in laboratories all around the world. Far 

from trying to create supernatural stones and enchanted elixirs, 

they busy themselves with the arduous task of inventing new 

substances in watchmaking and reinventing old ones. 

In the area of gold, alloying is probably the single most important 

process that has sparked its ever-growing demand. Ductile and 

malleable though it may be, pure gold is incredibly soft. The 

process of alloying not only addresses this problem, but also 

allows brands to manipulate the color of the eventual product. 

These combinations breathe new life into classic materials, and 

result in creations that are more than a mere sum of their parts. 

Amongst the many gold alloys developed are the three stalwarts 

of the watch industry: rose (or red) gold, yellow gold and white 

gold, and almost all manufacturers incorporate this trinity into 

their spectrum of products. Rose gold involves the introduction 

of varying amounts of copper to gold — the more the copper, 

the deeper the color. Yellow gold is closest in color to the original 

material, and therefore allows for the highest percentage of 

gold in the eventual product, even when composited with other 

metals like silver or zinc. The process of creating white gold is 

slightly more complex. Gold is combined with a white metal, 


most commonly nickel or palladium, and then rhodium plated 

to give it a brighter and more consistent silver glow. 

Recent years have seen a surge of startling new innovations 

in the field of gold alloys that have taken the already sky-high 

desirability of the material to an unprecedented level. 

Its radiance and warmth make rose gold one of the most 

desirable materials in the world of watchmaking. Yet this 

charm is but ephemeral, as the metal tends to gradually lose its 

distinct color tones. And while time is usually the antagonist in 

the quest for eternal beauty, this time, he is only a sidekick to 

the real perpetrator — chlorine. 

A powerful disinfecting agent, chlorine is omnipresent in our 

daily lives. Public swimming pools routinely utilize chlorinebased 

substances to keep the waters fit for human recreation. 

Laundry bleach also has copious amounts of chlorine to keep 

our white shirts clean, speckless and free from the stubborn 

spaghetti sauce stains that seem magnetically attracted to fine 

fabric. And in its ubiquity lies its danger — contact between 

chlorine and your prized rose gold watch will gradually strip the 

gorgeous red tint straight off. 

Scientifically speaking, the difference in the reduction potential, 

which is the ease with which a substance gains or loses its 

electrons, between copper and chlorine is what causes oxidization 

to occur when they come into contact. The creation of the byproduct, 

copper chloride, gradually reduces the amount of copper 

content in the gold alloy, causing the eventual discoloration. 

But before you systematically toss out every single bottle of 

laundry bleach within a two-mile radius, and build your own 

private swimming pool in the backyard filled with naught but 

fresh spring water from the French Alps, we must remind you that 

the water you get off the tap also contains traces of this dastardly 

devious chemical. This means that unless you commit to taking 

off your watch before contact with any dubious sources of water, 

or decide to strike personal hygiene off your list of priorities, odds 

are you’d eventually be left with a yellow gold watch instead.


 



Far from being satisfied with seeing their customers have the 

soul-wrenching experience of watching their most treasured 

timepieces discolor, Rolex developed a patented 18k rose gold 

alloy, fittingly called Everose gold. Just as the class and quality 

of a Rolex has never showed signs of fading, this new material 

promises to retain its rosy tones for an eternity. 

Everose gold involves the introduction of a dash of platinum to 

the usual suspects, gold and copper. One of the least chemically 

reactive metals, platinum is incredibly resistant to common 

acids and oxidization, two banes of the metallurgical world. 

In one of the earliest written accounts on the properties of 

platinum, Italian scholar Julius Caesar Scaliger discoursed on 

the resilience of platinum — “which neither fire nor any Spanish 

artifice [the metal first became known to European culture 

through alloys used in Mesoamerican culture, discovered by the 

Spanish] has yet been able to liquefy”. 

The formula for Everose gold is 76 percent gold, 22 percent copper 

and two percent platinum. While the percentage of platinum 

might appear nominal, it is what makes all the difference. The 

inert platinum plays the role of the overprotective chaperone 

for the more promiscuous copper atoms, preventing any illicit 

misdemeanors when chlorine comes calling. Since the copper 

atoms are what give the gold alloy its color, safeguarding them 

helps to retain the material’s original tint. Thus Rolex owners 

can safely don their favorite Rolex timepieces on laundry day, for 

a trip to the pool, or, if they so desire, a long soak in the hot tub.

LEFT 

Everose gold features on the case and bracelet of 

the Rolex Cosmograph Daytona 

RIGHT 

Twelve brilliant cut diamonds are set into the bezel 

of the Rolex Datejust Special Edition in Everose gold 

 



 

 

REVOLUTION 193


 



Of course, gold alloying is not just about improving its 

decorative function. Introducing more sturdy elements 

improves the resilience and hardness of gold, giving it both 

better form and substance. 

The fact that our hands are almost indispensable in completing 

our everyday tasks makes the wrist a horribly hazardous 

place for a watch. Opening doors, driving down the freeway 

or uncorking a bottle of bubbly all put your wristwatch at the 

mercy of fate and circumstance, making it susceptible to the 

odd bump or scratch. This means that the materials that go 

onto the timepiece must be able to emerge entirely unscathed 

from your daily duels with inanimate objects. 

There are two common scales we use to measure the hardness 

of a material, namely the Vickers hardness test and the Mohs 

scale of mineral hardness. The Vickers test measures the amount 

of physical deformity a material displays upon pressure from 

a standardized source. A harder material would show less of an 

indentation, thereby giving it a higher score on the scale. The Mohs 

scale works on the principle of big fish eats small fish, as it orders 

materials based on its ability to scratch one another, without really 

considering the difference in hardness between them. 

Pure gold has a hardness of around 2.5 Mohs, which translates 

to 30 Vickers. To put that in context, that is about the same 

hardness as the keratin in our fingernails. And anyone who 

has chipped a nail in his or her lifetime will concur on its 

unsuitability for watchcases. Even after alloying, most gold 

materials would still be on the losing end of an encounter with 

something as common and unimposing as a copper penny. 

Celebrating its 165 th anniversary in 2010, watch 

manufacture A. Lange & Söhne paid tribute to its founder, 

Ferdinand Adolph Lange, by unveiling the “Homage to F. A. 

Lange” collection. This collection featured limited editions 

of three classic models, namely the Tourbograph “Pour le 

Mérite”, the Lange 1 Tourbillon, and the 1815 Moonphase. 

While any of the watches alone would already command the 

attention of the well-versed watch enthusiast, the defining 

trademark of this triumvirate was the use of a new 18k 

gold alloy on the cases. An ode to the German tradition of 

pragmatism, the alloy was simply called honey-colored gold, 

after its distinctive pigmentation. 

As unique as the color may have been, what made it a real 

step forward was its strength. A meld of gold, manganese, zinc 

and silicon, the new alloy had a Vickers rating of around 300, 

making it almost twice as hard as common yellow gold and on 

par with some forms of steel. This level of durability should 

be more than enough for most consumers to overcome the fear 

of scratches — amychophobia, if you were wondering — that 

may come with wearing a gold watch, and go about life without 

looking like they were nursing a broken wrist. 

But for those who are still unable to overcome this paralyzing 

paranoia, Hublot’s new gold alloy must come as a welcome relief. 

Hublot might just be the firm that is leading the way for the 

watchmaking world in terms of developments in gold alloys. 

Hublot worked together with precious metal manufacturer 

Cendres+Métaux to create King Gold back in 2010. This 18k rose 

gold alloy boasts an amazing 24 percent copper composition, 

giving it the deepest tones among its competitors at the time.

LEFT TO RIGHT 

All three watches in A. Lange and Söhne’s ‘Homage 

to F. A. Lange’ edition — the Lange 1 Tourbillon, 

the Tourbograph ‘Pour le Mérite’ and the 1815 

Moonphase — come in 18k ‘honey-colored’ gold 

 



 

 

REVOLUTION 195


 



Last year, Hublot unveiled their new 18k gold alloy, fittingly 

christened Magic Gold, and the material lives up to its name 

with its near-mystical physical properties. With a hardness of 

1,000 Vickers, it not only far outstrips all other gold alloys in 

terms of its durability, but also puts to shame plenty other more 

industrially used metals, such as hardened steel. With diamond 

being one of the few materials that can actually leave a mark 

on it, unless you live in a house that has been generously “iced”, 

chances are your watch will still look to be in pristine condition 

years (and possibly centuries) on. 

The fusion of gold and ceramic is what gives this new material 

this indestructibility. In recent times, the adoption of ceramic 

in watches has been the hot topic on the lips of many in 

the watchmaking industry. While there are detractors, its 

functionality cannot be denied. Durable yet lightweight, many 

timepiece manufactures have incorporated ceramic into their 

products, and its popularity looks set to continue growing. 

Working together with the Swiss Federal Institute of Technology 

in Lausanne, Hublot took almost three years of research and 

development to perfect the process of creating this new alloy. 

Boron carbide is first shaped and then sintered to create a 

mold that is both hard and porous. The introduction of molten 

gold under extraordinarily large amounts of heat and pressure 

The use of Magic 

Gold gives the Hublot 

Big Bang Ferrari 

not just a unique 

aesthetic, but also 

incredible durability 

causes the liquefied metal to fill up the pores in the mold and 

fuse together to form a single material. Diamond-tipped tools 

then take over the unenviable task of milling and processing it 

into the desired shape. 

What makes this novel production process even more 

groundbreaking is the fact that its applicability is not restricted 

only to gold, but other metals as well. And unscratchable gold 

may only just be the tip of the iceberg, heralding a new wave of 

indomitable creations. 

Already, Hublot has utilized this new material for its iconic 

Big Bang collection, unveiling the Big Bang Ferrari in Magic 

Gold. With patents pending, we can expect this material to 

become one of the brand’s signatures in the foreseeable future. 

But it is in this same future that we also expect to see strong 

innovation from the other luxury brands in the industry 

with regard to gold alloying. The fact that gold is still the 

single most definitively luxurious metal in the modern day 

is widely accepted. Regardless of where you come from, 

gold still symbolizes wealth, power and regality. And the 

unceasing demand for it should be more than enough impetus 

for companies to strive for new breakthroughs, and pursue 

creations that are more than worth their weight in gold.



MEETING THE 

GOLD STANDARD 

The insatiable worldwide demand for gold has 

spawned an entire catalog of its alloys, but not all 

of these alloys are equal. Each one can have vastly 

disparate amounts of pure gold in the recipe, affecting not 

just the properties of the alloy, but the eventual price as 

well. These varying compositions are reflected in an alloy’s 

karat rating. 

This karat rating takes 24K gold to be “pure” gold, and 

shows how much out of a total of 24 parts of an alloy is 

pure gold. For example, 12K gold consists of 12 parts pure 

gold and 12 parts other materials. Due to the possibility 

of creating gold in enormously varying purities, some 

countries have adopted laws that govern the lowest amount 

required for it to be marketed as a gold product. In the 

United States, the minimum purity required to advertise 

your wares as gold is 10K, while across the Atlantic, in Italy 

and France, the baseline goes up to 18K. 

Aside from the amount of gold present, alloys are also 

available in a kaleidoscope of colors, a result of the 

different mixtures of metals. 

In watchmaking, the three stalwarts of the watch industry 

are rose (also pink or red) gold, yellow gold and white gold, 

and mostly in 18K, which many feel is the best balance 

between luxury and functionality. 

Rose gold involves the introduction of varying amounts 

of copper to gold. And while the terms pink, rose and red 

gold are sometimes used interchangeably, red gold usually 

refers to the 6N version of the alloy, which has a higher 

copper content and thus a deeper color as compared to 

rose gold (usually 5N) and pink gold (usually 4N). 


The 3N and 2N alloys come under the umbrella of yellow 

gold, which is composited with other metals such as silver, 

and maintains much of the original hue as pure gold. The 

process of creating white gold is slightly more complex. 

Gold is first combined with a white metal such as palladium 

(nickel was previously commonly used, but it was phased 

out due to skin allergies), and then usually rhodium plated 

to give it a brighter and more consistent silver glow. 

Due to the precise procedure required to produce these 

alloys, some watchmaking companies have developed their 

own gold foundries for better quality control and greater 

in-house convenience. One such company is Chopard, 

which makes five variants of 18K gold at its foundry 

in Meyrin, Switzerland: white gold, 2N and 3N yellow 

gold, and 4N and 5N rose gold. For every batch of alloy 

produced, a sample is sent to the Swiss Precious Metals 

Control to certify its gold content, before the material is 

actually ready for use. 

And even amid the rising prices of gold, every gold ingot 

made at the workshop still contains a little over the 

necessary amount for it to enter the 18K classification. “It’s 

a Chopard guarantee,” says Paulo, one of the two Chopard 

employees tasked with the heavy responsibility of making 

gold, “an additional token of quality”. 

 

 

FROM LEFT 

Gold and other 

materials are placed 

in an oven to be 

melted down; 

Removing blocks of 

the completed alloy 

from the mold

TIMELY PROJECTIONS 

DRINKS: ABSINTHE 

TEST DRIVE: RANGE ROVER EVOQUE 

MOTORING: GENTLEMEN RACERS 

200 

214 

220 

226 

“You will never be happy if you continue to 

search for what happiness consists of. 

You will never live if you are looking for the 

meaning of life” 

 

 

Albert Camus

LA DOLCE VITA


 

LA DOLCE VITA 

PROJECTIONS 

T imely 

Projections 

Watches are usually worn on the wrist, but truth be told, 

it’s not always the best canvas for admiring their mechanical beauty 

 

 

JESPER MCILROY (photographer) +MEGUMI SEKINE (makeup) +KEN HUI (hair) +LEA T. (model)

ON TATIANA: 

Richard Mille RM020 

Tourbillon pocket watch 

Salvatore Ferragamo dress; 

Linda Farrow Projects 

eyewear from I.T.; 

Gareth Pugh safety pin 

cape 

 

 

 

Jaeger-LeCoultre Duomètre à 

Sphérotourbillon in rose gold

Audemars Piguet Openworked 

Extra-Thin Royal Oak 

Tourbillon 41mm in platinum

Roger Dubuis Pulsion 

Skeleton Flying 

Tourbillon in titanium 

 

LA DOLCE VITA 

PROJECTIONS 

 

 

REVOLUTION 203


ON VALENTINA 

Bell & Ross WW1-92 

La Fée Verte bra and shorts 

available at Sheer 

 

LA DOLCE VITA 

PROJECTIONS

ON LENA 

Zenith Pilot Doublematic 

Rosamosario camisole; Cosabella 

bra and panties; Wolford stay-ups 

available at Sheer 

ON VALENTINA 

Hublot Classic Fusion 

Chronograph 

Zinke bodysuit available at Sheer 

Badollet Ivresse 2012 Caliber

MB&F HM3 Poison Dart Frog

LA DOLCE VITA 

PROJECTIONS 

 

 


HYT H1 Liquid Mechanical Movement

Urwerk UR-110 RG

LA DOLCE VITA 

PROJECTIONS 

 

 

REVOLUTION 209


A. Lange & Söhne L072.1 

caliber (Richard Lange 

Tourbillon “Pour Le Mérite”) 

 

LA DOLCE VITA 

PROJECTIONS


A. Lange & Söhne L951.6 

caliber (Datograph Up/Down) 

 

LA DOLCE VITA 

PROJECTIONS

Hautlence HL 2.0


 


 

LA DOLCE VITA 

ABSINTHE

LA DOLCE VITA 

ABSINTHE 

A scapegoat for decades, it is now absinthe’s time to shine 


 

It is merely human nature to be drawn to the mysterious, the forbidden… 

the taboo. We all have at some point heard of absinthe or “the 

green fairy” – a drink so elusive, few have dared to sample it. In fact 

there seems to be no other more enigmatically threatening yet fascinating 

drink over the years out there. After nearly a century of prohibition, 

this mysterious green spirit has certainly garnered an air of depraved 

charm, set to make a comeback. Join us, if you dare, on the journey to find 

out why. 

BEGINNINGS 

The origin of absinthe, known by its botanical name as Artemisia Absinthium, 

however disputable, stems as far back as 1792 in the Swiss town of 

Couvet, where French doctor Pierre Ordinaire developed the very first version. 

By mixing wormwood with other herbs and alcohol, he discovered a 

cure-all elixir that treated everything from anemia to malaria. As a result, 

both the French and Swiss claim it as their own, and thus began absinthe’s 

long and very controversial road to where it is today. 

It was then a man named Major Dubied obtained a secret formula, and 

together with his son Marcellin, and son-in-law Henry-Louis Pernod, debuted 

the first absinthe distillery named Dubied Père et Fils in 1797. Seven 

years later, Henry-Louis went on to open a second distillery in Pontarlier, 

France, seeing production rise to a whopping 30,000 liters from a paltry 16 

liters a day. Decades later saw the French Foreign Legion quaffing absinthe 

in an attempt to ward off disease while battling in Algeria. 

Once back on home turf, the troops were seen demanding this newly discovered 

drink at the cafés and salons of Paris. 

By 1860, the consumption of absinthe was so rampant in bars, cafés, bistros 

and cabarets; the hour of five in the afternoon was christened ‘l’heure 

verte’ (the green hour), and particularly popular amongst all manner of 

artists, poets and wealthy dilettantes sampling a taste of bohemia. During


 

LA DOLCE VITA 

ABSINTHE 

The hour of five in the 

afternoon was christened 

‘l’heure verte’ (the green hour), 

and particularly popular 

amongst all manner of artists, 

poets and wealthy dilettantes 

sampling a taste of bohemia. 

 

 


Varga Lounge’s Green Fairy 

cocktail; and Bohemian Method 

OPENING SPREAD 

A variety of absinthes and 

traditional fountains can be 

found at The Blck Brd

LA DOLCE VITA 

ABSINTHE 

the next decade, wine was scarce due to the devastation of vineyards 

in France by the Phylloxera bug and as a result, absinthe 

stepped in its place as the drink of choice. 

PROHIBITION 

In 1905, it was reported that a Swiss farmer named 

Jean Lanfray ruthlessly murdered his wife and children after 

what was said to be an “absinthe binge” (though rumors later 

surfaced claiming absinthe was only one of numerous other 

alcohols he drank that day.) Unfortunately, this appalling act 

sparked outrage nationwide, generating an aggressive campaign 

to ban absinthe. First prohibited in Belgium in 1906, it 

was then banned in Switzerland in 1908, and in the United 

States in 1912. 

However, it wasn’t until 1915 that absinthe was officially 

banned in France, which ironically, was during the peak of its 

popularity. This was the period of the temperance movement 

that gradually crept across Europe, which due to the timing, 

deemed absinthe the scapegoat for all alcohol overindulgence 

and delinquencies. Wine producers were now pressured to regain 

their presence after their phylloxera outbreak and with 

absinthe no longer a viable option, pastis, a reformed version 

of absinthe excluding the key ingredient of wormwood, was 

consumed as a replacement. 

Remaining relatively absent for the next 75 years, it wasn’t 

until 1990 that modern European Union food and beverage 

laws were implemented, effectively lifting this near centurylong 

ban. Absinthe production was back with a vengeance, in 

full swing, and by the early 21st century, there were almost 

200 different brands from France, Switzerland, USA, Spain 

and the Czech Republic. 

STYLES OF ABSINTHE 

Absinthe is distilled using a method of production not unlike 

a high quality gin, where botanicals are macerated in a base 

alcohol before a distillation process to take out bitter notes and 

impart levels of complexity. The five major herbs include grande 

wormwood, green anise, fennel, star anise and hyssop, giving it 

a distinct licorice flavor. Any chlorophyll extracted from these 

herbs is what gives absinthe its distinct green hue, and is to absinthe 

what tannins are to wines and brown liquors. 

Absinthes served at Hong Kong’s premier bars are separated 

into three major styles and two less ubiquitous, and to most, undesirable 

styles. It must be noted they are not dictated by their 

origins; for instance, one made in Switzerland can be Frenchstyle. 

Absinthe is not regulated or defined globally in the way 

that spirits such as Scotch whisky or gin are, giving manufacturers 

free rein to label their product “absinthe” without any 

rules or regulations. It is also, despite common belief, not considered 

liquor as it is not bottled with sugar like other spirits. 


Swiss style or “balance absinthe” is clear and bottled directly 

after distillation and reduction. French style, on the other 

hand, is known as “verte absinthe” – thanks to its peridot hue 

– though it begins as a blanche – from the introduction of new 

herbs into the clear distillate. Vertes were the most commonly 

drunk absinthes in the 19th century, however, artificially 

colored green absinthes can also be classified a verte. Worth a 

mention, though more as a caution, Bohemian style absinthes 

(also called Czech style) tend to contain little to none of the 

same herbs and flavor profiles as proper absinthes according to 

tradition. Snubbed by connoisseurs, it is cold-mixed with herbal 

essences, and artificially colored and is considered a modern 

creation, along with the “fire ritual” which only came into exis-


 

LA DOLCE VITA 

ABSINTHE 

tence in the 1980s. As for the lesser-known and revered varieties, 

American-style absinthes closely resemble the French’s but 

boast tangy citrus flavors, and favored when making the iconic 

Sazerac cocktail. Finally, the Spanish variation of “Absenta” 

uses Alicante anise that gives it a sweet, citrus flavor. 

HIT OR MYTH? 

One of the greatest reasons people are petrified of absinthe 

is the belief that it is effectively a poison causing hallucinations 

that drive you crazy; its nearly century-long prohibition 

does not help matters. Thujone is a neurotoxin found in wormwood 

–the main component in absinthe – and is toxic but only 

in enormously high doses. Indeed, scientific research negates 

this controversy by proving one would have to ingest so many 

bottles though in which case the alcohol content alone would 

kill you before you experience any of the hallucinogenic effects 

of thujone. Rest assured, there will be no green fairy hovering 

over your shoulder. 

As such, absinthe is on the up and up in Hong Kong, and The 

Blck Bird, a popular bar boasting a large outdoor terrace, has 

its entire absinthe collection supplied exclusively by Absinthe 

Asia, which is helmed by expert and enthusiast, Alex Cumine. 

“Absinthe is like nothing else on the market due to its 

sophisticated and complicated flavors. More and more people 

are trying it and once they try a top quality absinthe, such as 

Butterfly Boston 1902, they never go back to the cheaper or 

bohemian styles,” he muses. Both himself and Eric Stephen-

CLOCKWISE FROM RIGHT 

Lily & Bloom’s Death by Paris 

cocktail; The Prohibition style interior 

of Lily & Bloom sets the perfect 

mood; The Blck Brd’s classic Sazerac 

 

LA DOLCE VITA 

ABSINTHE 

 

 


son, bar manager at Lily & Bloom – a prohibition style speakeasy 

– agree the best way to sample absinthe for the first time 

is to ease into it with a cocktail such as the classic Sazerac. 

Though its main ingredient is rye whiskey, the presence of 

absinthe is unmistakable. According to Stephenson, the aniseed 

and herb qualities of absinthe work well in complimenting 

other flavors. Still in a cocktail state of mind? Head to 

Varga Lounge to sample the Green Fairy that takes you on a 

diametrically opposite experience to the Sazerac. It combines 

pineapple juice and freshly squeezed lemon and lime with La 

Salle absinthe, a Spanish variety which owner Kenneth Howe 

regards as a neutral flavor perfect for cocktails. 

Once an initial palate for absinthe has been established, it is 

time to move on to a more traditional method of imbibing. “The 

French Ritual”, though somewhat arduous, is to some the only 

way to drink absinthe – to drink it on its own or as a shot would 

be to those in the know, blasphemous! The French Ritual or 

“The Perfect Pour” involves placing a sugar cube on a perforated 

spoon laid across the rim of a glass of absinthe. Using a 

fountain to drip ice water on to the sugar dissolves it into the 

absinthe slowly to create a “louche,” which is where the originally 

translucent absinthe turns an opalescent white color with 

a faint green tinge. While the three or fours parts water to one 

part absinthe may seem excessive, keep in mind absinthe has 

an extremely high alcohol content and diluting it is necessary to 

both ones enjoyment and to highlight the aroma of the numerous 

herbs, complex flavors and essential oils. A modern interpretation 

named the “Fire Ritual” or “Bohemian Method” can 

also be employed. It is similar to the French Ritual, however, 

the sugar cube is set on fire before the ice water is dripped on 

it to douse the flame. The result is a caramelized aroma, and 

while not necessarily traditional, it certainly puts on a show! 

Absinthe is also unexpectedly complimentary to food, in particular 

fish, oysters, chicken, soft cheeses and chocolate. Its slight 

acidic nature helps to cut through fats and its subtle sweetness 

and touch of bitterness means it is able to show through even 

hearty flavors. Who needs wine when you could have an absinthe 

fountain next to you at the dinner table? 

Whether you choose to accept scientific proof that it is safe to 

consume or not, the appreciation of absinthe is on the rise in 

Hong Kong. Whether you are in search of some excitement or 

already consider yourself a rebel, we urge you to take a walk on 

the wild side. There is no other drink boasting a more sordid 

past or, for that matter, that which will leave you in the same 

frissons of exhilaration now and for years to come.


 

LA DOLCE VITA 

TEST DRIVE

LA DOLCE VITA 

TEST DRIVE 



 

 

RANGE ROVER TRIMS DOWN WITH THE EVOQUE, AND SHOWS 

THAT IT’S VERY CAPABLE AT TACKLING THE URBAN JUNGLE


 

LA DOLCE VITA 

TEST DRIVE 

There was a time when a large, highly sprung, fourwheel 

drive vehicle meant that you were likely living 

in a rural environment with a significant need for 

transportation over non-paved terrain. In the past 

few years though, our roads have been invaded by numerous 

urban off-roaders; even the Italians are getting into the fray, 

with Maserati and, yes, even Lamborghini, presenting sports 

utility vehicle concepts, which will be available in the not too 

distant future. 

If we are to look to the origins of such vehicles though, there 

is little doubt that Land Rover, and its luxury arm, Range 

Rover, will come to mind. For more than 60 years now, Land 

Rover has focused on tackling the most difficult terrains 

on many far-flung expeditions. Just over 40 years ago, they 

branched out into vehicles that would be adept at handling 

asphalt, as well as mud, with the comfort of a luxury saloon; 

since then, Range Rovers have become familiar sights even in 

Hong Kong’s concrete jungle. 

One characteristic of Range Rovers is that they generally don’t 

change very much. Over their first 40 years, only three generations 

of Range Rovers were developed. They were somewhat 

box-like, with genetics clearly derived from utilitarian, low 

speed applications, favoring loading room and interior space 

over aerodynamics and fitting within standard, not to mention 

Hong Kong sized, parking spaces. So there was considerable 

surprise when in 2008, Range Rover presented the LRX concept 

car – their take on the compact SUV. It would take some 

three years, but the LRX would become the Evoque, which 

started production just over a year ago. 

The first thing that strikes you when seeing the Evoque is that 

it is, indeed, rather compact. This could be in large part due 

to the familiarity with the girth of previous Range Rovers; the 

Evoque is positively minute in comparison. The styling is also 

considerably more modern, almost sleek, and that’s just the 

four-door version; there is a coupé for those who may not make 

much use of those rear seats on a regular basis.

LA DOLCE VITA 

TEST DRIVE 

The Evoque Prestige is compact in Range Rover 

standards, but for a car, provides a lot of room for 

passengers. Apart from the Evoque Prestige, the 

Pure and the Dynamic are also available in Hong Kong 

 

 

REVOLUTION 223


The Evoque Prestige brings 

customization to a whole new level, 

having to choose among 12 body colors; 

four roof colors; five interior themes; 

between oak or Makassar wood, and 

metal finish; and a leather or dark cherry 

wood steering wheel 

 

LA DOLCE VITA 

TEST DRIVE 

The engineers have not completely forgotten the Range Rover DNA; the Evoque 

still has full time four-wheel drive and a number of off-road settings. 

 

 

RANGE ROVER EVOQUE PRESTIGE 

Engine: 2.0 Litre Si4 turbocharged direct- 

injection petrol aluminum engine 

Maximum Power: 240PS AT 5,500 rpm 

Maximum torque: 340Nm at 1,750 rpm 

Transmission: 6-speed automatic transmission including 

drive select with paddle shift & sport mode 

Performance: 0 - 100 km/h in about 7.6 seconds 

Dimensions: 4,365mm X 2,125mm X 1,605mm (LxWxH) 

Curb Weight: 1,640 kgs 

Distributor: LAND ROVER HONG KONG 

+852 28917780

Step into the Evoque though, you’ll find that the interior is still 

spacious for a car this size, but snug if you’ve ever been in a 

“classic” Range Rover. The panoramic roof goes a long way to 

bringing some airiness and a sense of space to the passengers. 

The engineers have not completely forgotten the Range Rover 

DNA though; the Evoque still has full time four-wheel drive, 

and a number of off-road settings (there is a two-wheel drive 

Evoque, but it’s not available in the Hong Kong market). There 

wasn’t much opportunity to try those out, so we will instead focus 

on the Evoque’s characteristics as it makes its way through 

mid-afternoon traffic. 

The particular model that we test drove was the Evoque Prestige, 

which puts an emphasis on higher trim levels. There are 

two other versions available in Hong Kong: the Pure, as an entry 

level model; and the Dynamic, which adds Adaptive Dynamics, 

Range Rover’s more advanced suspension. This allows the suspension 

to automatically adjust its stiffness depending on road 

conditions and driving style. It also adds a dynamic mode to 

the automatic transmission, making the throttle response more 

aggressive. We’ll have to take their word for it though, as the 

Prestige version is equipped with a standard suspension that 

has been tweaked to tackle more general conditions. 

The Hong Kong market also gets access to only one engine variant: 

the 2-liter Si4 turbocharged petrol engine. This engine 

develops 240 horsepower and 340 Nm of torque, which is sufficient 

to get the Evoque from a standstill to 100 kilometers per 

hour in about 7.6 seconds, and on to a top speed of 217 kilometers 

per hour. As we drive off, the power is delivered smoothly, 

with little perception of any turbo lag. The Evoque ably handles 

the steeper roads going up to the Peak, and the Prestige’s suspension 

does a good job of absorbing the occasional rough patch 

– although it must be said that it’s tuned more towards sporty 

than comfortable. While there are paddles mounted on the rear 

of the steering wheel, the automatic transmission doesn’t really 

lend itself to flicking through the gears. Having said that, it 

works well in both traffic jammed conditions, and keeping the 

power available in more spirited driving on twisty roads. 

With Range Rover demonstrating that they’ve very well tuned 

the Evoque’s road-going abilities, we turn our attention to the 

interior and exterior options. This is where the Range Rover 

shows a bit more of their hand with the Evoque and its target 

market. While there are few mechanical options to tick 

on the order form, the color and interior variations are mind 

boggling on the Prestige edition, and definitely not for the indecisive. 

We count no less than twelve body colors available; 

depending on that choice, you also have up to four roof colors 

to choose from (body color, white, silver or black). Then you 

have to match the exterior with five different interior “themes” 

that will determine the color of the Oxford leather instrument 

panel and seats, and even different floor mats. Finally, you 

have to decide whether you want an oak or Makassar wood, or 

metal finish, and in the case of the latter, if you’d like it satin 

brushed or bear a “botanical” pattern. We should not omit 

that you can also choose between a leather and dark cherry 

wood steering wheel. 

Just to take this customization a little further, you can also adjust 

the interior lighting, selecting from five different colors and 

with varying brightness to suit your particular mood that day. 

You do have to choose, too, whether you want to upgrade the 

standard Meridian 11-speaker sound system to the surround 

sound system, pumping out some 825W of audio power. Lastly, 

you can also equip the Evoque with an automated parallel 

parking feature – something to consider should your driver be 

given the night off. 

Since its launch in Hong Kong this year, the Evoque has been 

met with considerable success, almost reaching their yearly 

sales target within the first four months. It’s certainly an attractive 

package, with good power, an excellent interior, and a 

striking profile. There are some rumors that Range Rover might 

expand the Evoque’s line-up even further, with perhaps an R, 

performance oriented version, and – wait for it – a convertible! 

In the meantime, the Evoque should definitely be on your short 

list should you be in the market for a compact SUV that will set 

you apart from the crowd.


 

LA DOLCE VITA 

GENTLEMEN RACERS

LA DOLCE VITA 

GENTLEMEN RACERS 


 


 

 

REVLUTION LOOKS AT SOME OF THE OPTIONS THAT HONG KONG 

RACERS HAVE FOR UNLEASHING THEIR INNER SPEED DEMONS


 

LA DOLCE VITA 


An interest in high-end mechanical timepieces often 

goes hand-in-hand with a similar affliction for 

other machinery, namely, fine automobiles. Some 

aficionados and collectors are attracted to the classics 

from yesteryear, and are content to store them away, have them 

regularly hand polished, and occasionally take them for a gentle 

(or not) spin across their favorite open road. Others prefer the 

more spirited modern cars, that are, in spite of ever more stringent 

environmental regulations, able to achieve performance figures 

that we could only dream about in our youth, when the closest 

we could get to these machines would be through posters on our 

walls or across a velvet rope at a car show. 

As they say, the difference between men and boys is the price 

of their toys, and do we ever have access to some great cars to 

play with! Frustratingly, and in spite of an incredible concentration 

of high performance cars, Hong Kong’s roads do not 

provide the best environment to explore much more beyond a 

fraction of this available performance. And in any case, sports 

car drivers tend to have a very competitive streak in them, and 

there comes a point where the Gran Turismo or Forza Motorsport 

simply doesn’t provide the required adrenalin rush. So 

what’s a local motorhead to do? Fear not, for even though we 

may not have many local options, we are still centrally located 

to access a few racing circuits in Asia; in addition, the sports

LA DOLCE VITA 


car manufacturers have been keen to provide some fantastic 

turn key options. 

STUTTGART’S FINEST 

The first of these options is the Porsche Carrera Cup Asia. The 

series was launched in 2003, and is celebrating its 10 th consecutive 

season in 2012. It has continually gained in popularity, and 

has attracted significant attention from professional drivers and 

teams, as it plays a supporting role in a number of Formula 1 

races in the region. This gives it a unique visibility, and also a 

great opportunity for aspiring race drivers to compete on the 

same weekend, and at the same venue, at the F1 circuit. 

 

 


OPENING SPREAD CLOCKWISE FROM FAR LEFT 

Starting line at the Porsche Carrera Cup Asia; 

Ferrari Days is an event reserved for their own range of cars; 

Making it to the finish line at the first race of the 

Lamborghini Blancpain Super Trofeo Asia Series; 

Competing car at the Super Trofeo Cup; 

drivers rush during the compulsory driver change halfway 

THIS SPREAD 

The Porsche Carrera Cup Asia at the 

Ordos International Circuit in Inner Mongolia


 

LA DOLCE VITA 


Being a one-make series, the conditions are highly regulated, 

and are designed to level the playing field as much as possible. 

For the first few years, teams were required to share 

the same engineering service teams so that all cars were prepared 

as identically as possible prior to the race. However, 

with the increased professional attention, Porsche allowed 

teams to engage their own mechanics in 2010. 

The official designation of the car itself is the 911 GT3 Cup. 

While it bears an outer resemblance to the Porsche 911 that you 

will see in showrooms, this one is a pure racing machine, and 

would not actually be road legal (that is, you cannot decide to 

park it in your garage for your daily commute). 

For amateur drivers, and those who really are looking to have 

as much of the racing logistics handled for them, the Technical 

Service Package is still available, which will provide mechanics 

at each race, handle all maintenance and servicing, transportation 

of the car to each race, and all pre-race set-up tasks. So 

as a driver, your main concern will be finding a suitable color 

scheme and the appropriate racing gear. 

The professional presence in the Carrera Cup should not deter 

you from participating either, as previous race experience 

is taken into consideration; those who are still considered amateurs 

are entered within Class B, which allows you to compete 

against drivers of a similar ilk, and not be discouraged by the 

“pro” who is disappearing in the distance. Class B drivers have 

their own podium, and their own championship. 

MARANELLO’S CHALLENGE 

Just as Porsche and Ferrari have traditionally competed in the 

showrooms, Ferrari has joined the motorsports fray in Asia, and 

this year brought the Ferrari Challenge Trofeo Pirelli to the region. 

Already popular since 1993 in Europe and North America, 

it was only natural that Ferrari would choose to give its 

Asian drivers an opportunity to test their mettle on the track. 

While in spirit, there is some overlap with the Porche Carrera 

Cup, there are some key differences between the two championships. 

The first is that the series is open to teams of two drivers 

per car, so that you can share the car over the weekend, with a 

separate qualifying and race run for each. The second is that

LA DOLCE VITA 


the races start with a rolling start, rather than the standing 

start you may be used to seeing in many racing series. Again, 

racing amateurs should not be concerned about entering the Ferrari 

Challenge, as they are also catered to with a dedicated classification 

under the Coppa Shell. For the current season, the car in 

question is the Ferrari 458 Challenge, which is a race-developed 

version of the road going 458 Italia. 

This year, the Ferrari Challenge and Porsche Carrera Cup will 

share the stage as support races for the Singapore F1 race, which, 

by the time you read this, will have already been run. For the 

rest of the season, Ferrari focused on having separate events, including 

two “Ferrari Days” reserved for their own range of cars. 

Should you have a closer attachment to Maranello, this can be a 

significant attraction to the Ferrari Challenge series. 

THE BULL RUN 

Another new series this year, with its roots from Europe, is the 

Lamborghini Blancpain Super Trofeo Cup. Again, the concept 

is that you enter with a level playing field, as the cars, in this 

case, are the Lamborghini Super Trofeo; it’s a lightweight race 

version of the Gallardo LP570-4. The basic principles remain 

the same as that of Porsche and Ferrari, with as much assistance 

as possible to enable you to drive without spending half 

your time on the logistics of getting the car to the track, and 

putting together a competent pit crew. 

Lamborghini are keen to insist though that a key difference with 

the Super Trofeo cup is that it’s very much built around gentlemen 

drivers. With rolling starts as well, the racing in the series 

is focused more on light endurance racing, with each race lasting 

50 minutes; the Porsche Carrera Cup and Ferrari Challenge 

races are generally targeted to be less than 30 minutes long with 

the number of laps for each race determined in advance, based 

on the average predicted lap time in dry weather; wet conditions 

could shorten the number of laps. An additional twist is 

that a driver change is actually required halfway through each 

race, adding an important tactical element to each event. 

GETTING READY 

So with Porsche, Ferrari and Lamborghini offering such professionally 

managed packages, enabling the well heeled amateur 

 

 

The 2012 Ferrari Challenge, 

Asia Pacific Series, makes its stop in 

Shanghai 

REVOLUTION 231

PORSCHE 911 GT3 CUP 

Engine: Normally aspirated 3,797cc 

six-cylinder boxer 

Max power: 450 hp at 7,500 rpm 

Transmission: Six-speed sequential 

Weight: approx. 1,200 kgs 

www.carreracupasia.com 

FERRARI 458 CHALLENGE 

Engine: Normally aspirated 4,497cc 

six-cylinder boxer 


Transmission: Dual-clutch 7-speed F1 

Weight: 1,220 kgs 

corseclienti.ferrari.com 

LAMBORGHINI GALLARDO SUPER TROFEO 

Engine: Normally aspirated 5,204cc V10 


Transmission: Six-speed sequential E-Gear 

Weight: approx. 1,340 kgs 

www.supertrofeo.com 

 

driver to take to the track and prove to your friends that you really 

are as fast as you claim (or not), how do you choose among 

them and finally enter? 

All three require a racing license of course; you do need some 

training and certification to ensure that you will not pose a danger 

to yourself, and particularly to your fellow racers. There are 

also turn-key solutions, with racing schools around the world 

that will be more than happy to provide classroom training so 

that you don’t scratch your head when the track marshals keep 

waving that blue flag at you in your first race, and with the seat 

time and instruction to maximize your speed and confidence 

around any track. You also need to join the motorsport association 

for your respective nationality or residence; in the case of 

Hong Kong, it’s the Hong Kong Automobile Association. 

You then need to decide which series appeals to you the most. 

Each has a different number of events, with some overlaps with 

the tracks that they will end up racing on. Beyond your particular 

preference for Porsche, Ferrari or Lamborghini, you need to 

decide which level of racing you’re most comfortable with. Mixing 

it with the “pros” can be a daunting task, and it will realistically 

take a new driver quite some time before the lap times 

start tumbling and even approaching the competitive racers. 

Needless to say, all of this does add up very quickly between 

the cost of car itself and the entry and participation fees, which 

then extends to insurance, spare parts, tires, not to mention the 

travel to the tracks. There is another option though.

LA DOLCE VITA 



FROM TOP 

The Lamborghini Blancpain Super Trofeo 

Cup is a lightweight race version of the 

Gallardo LP570-4; 

Sideways in Hong Kong’s Central district 

provides a mean virtual driving center 

VIRTUAL OPTION 

We may have alluded lightheartedly at a couple of the popular 

racing games available today, but it must be said that they have 

progressed in leaps and major bounds since the days of Pole 

Position. In fact, given that they often use geographic mapping 

from real tracks, they can serve as a training tool to help you 

prepare for an actual day on the race track. 

Your significant other might object though to having the racing 

seat, steering wheel and pedals taking up so much space 

in front of the television. And as good as the console games 

have become, there is something lacking when competing only 

against the simulation itself. 

For those who are looking for more of the competitive spirit, you 

can make your way to Sideways, which touts itself as a virtual 

driving center. Located in the heart of Central, you can book 

some time in one of their networked simulators, either by yourself, 

or with up to 14 friends. You may not be taking the wheel 

of your supercar, but rest assured that once you start comparing 

your lap times with the driver sat next to you, the competitive 

spirit will take over. Waiting for the race to start, watching 

the lights counting down, and hoping that you make it through 

the first turn unscathed is a very immersive experience. You 

have the added advantage of being able to try different cars and 

tracks in the same session, if you wish. 

There you have it, three professionally managed series in Asia, 

backed by the iconic supercar manufacturers, or a racing simulator 

option; personal preferences and means will dictate which 

option you end up choosing, but be prepared, for once the racing 

bug bites, it can be particularly addicting!

JÉRÔME & VIVIANE DE WITT 

236 

243 

JEAN-MARC PONTROUÉ 

MANUEL EMCH 

248 

252 

JORN WERDELIN

“Always bear in mind that your own resolution to 

succeed is more important than any other” 

Abraham Lincoln 

 

 

FACES


 

INTERVIEW BY CHARLENE CO 

KEEPING IT 

IN THE FAMILY 

DEWITT HANDS OVER THE REINS TO THOSE WHO KNOW 

AND LOVE THE BRAND MOST

Perhaps not known to many, DeWitt overhauled its management 

last year, and returned its founder and president 

to a more active role in the company. Jérôme de Witt didn’t 

go back to the trenches on his own; he called on his wife, 

Viviane de Witt, to join him as Vice President of the company, 

a move that bodes well with a belief they hold close 

and dear: that it’s all about family, and treating everyone 

as such. 

An interesting dynamic between the two is immediately apparent. 

Jérôme is driven by a creative mind that manifests 

itself quite endearingly through his gentle tone and calm demeanor, 

while Viviane has a sharp and no-nonsense way, and 

quickly kly fills in imp important details that may occasionally be 

missed ed when the monsieur is caught up in sharing his design g 

ideas s and philosophies. 

REVLUTION V V LUTION caught up with the pair while on their visit 

to Hong Kong. 

The e last time we talked, which was last year at Baselworld, 

you u mentioned that the company was going through a rough 

patch, tch, how are things now? 

Jérôme ôme de Witt: Things are better. It’s hard to act on problemsms 

if you’re not aware of them, but if you are, you 

can n do something about it. So that’s what we 

decided cided to do this year. I thought I could 

maintain aintain a certain distance from the 

company, ompany, take on a more relaxed 

role ole but I realized that this was 

not ot possible because the brand 

Twenty-8-Eight Skeleton Haute 

Joaillerie version 

 

FACES 

DEWITT 


in fact needs a face, as well as my guidance, direction and designs. 

And the company was not happy so we had to solve the 

problem, and we came back as a family – me and my wife. It 

had to go back to family because I say my watches are my roots 

and I’m giving a lot of myself and giving that responsibility to 

someone else – someone outside of the family – was problematic 

because how do you speak about something that you don’t understand, 

or something that was not created by you? The person 

I put in charge was not from this business so it was very hard for 

her and we came to the conclusion that I had to go back, and be 

active in the company again. 

How did the company react to this so-called comeback? 

JDW: People were very happy to see me back in this capacity. 

My wife and I came back in February this year, which was 

welcomed by the company; ppeople p were happy to work again. 

I always treated everyone as family so we didn’t really have 

these levels, hierarchy. But we came back and brought back 

that mind set; we had departments and that was it – no hierarchies. 

I’ve always felt that I was in this position mainly to show


them the way, to guide them and also give them the opportunity 

to learn new things, and to improve. And I always told them, 

for you to improve you have to be happy with your work. 

So would you say it was a restructuring? 

JDW: Yes. Everyone in management changed. 

 

FACES 

DEWITT 

Viviane de Witt: Well, production is the same, R&D is the same, 

and it was only the so-called “chiefs” we changed; people who had 

wings growing but not for the company but for themselves. It was 

a decision that was totally necessary, so clear and easy to make. 

JDW: My wife actually always says I am too kind. 

So you’re the fierce one then? 

VDW: Yes, well in a team you always need a kind one and a 

fierce one! But certainly we are both going to serve the company 

and not serving anyone else’s goals or agenda. 

JDW: My wife is very strong and she knows what she wants, and 

I think it will be interesting to work together. We are both first 

and foremost concerned about the watches, and the quality of 

the watches. 

Will this change in management affect the company at all? 

VDW: No, no, no, no. This is already all behind us. Nothing has 

changed, only the people changed, only a few people in fact, 

and it’s all behind us now. There was a bit of a diversion in our 

straight line and we just need to bring it back to the way it was, 

to correct it. That’s all. It’s very simple. 

JDW: We’re maintaining the same philosophies, everything is 

the same and the only thing we changed are some people who 

didn’t have the same vision and goals we had. 

VDW: Yes, because, they wanted to use the company to grow 

themselves and as I said, their own wings were growing but not 

for the company but for themselves. 

Sounds intriguing! But maybe I won’t delve too much into that 

now since as you said, it’s all behind you now. Mrs DeWitt, it is 

in fact the first time you are actively involved in the company? 

VDW: Yes, in this company. 

How do you feel about this new role? Have you set new goals 

for the company? 

VDW: My only goal is to help my husband. He’s the founder 

of the company, and I’m here to support him and make the 

company run more smoothly around him. He loves creating 

watches, that’s his passion, but it’s another story to manage 70 

people and it’s not exactly the part he wants to do, whereas it’s 

easy for me because I’ve run businesses before; I have an auction 

company. 

Can we say that you’ll be involved in a more management 

level, while Mr DeWitt will focus more on the creative side? 

VDW: We are together; we’re a team! 

JDW: At the end of the day, instead of having 8 or 12 hours of 

work, we have 24 hours a day!

FACES 

DEWITT 


Is that a good or bad thing? 

VDW: It’s a good thing, and it’s fun. It really is! We see 

happiness again in the company as it became very tense, 

because if you have chiefs who want to prove themselves 

and satisfy their ego this is going to happen and this is not 

the philosophy my husband wanted for the company. It’s a 

family business, and we don’t see our people as numbers 

but as members of that large family. And when they’re considered 

numbers that ambience is lost; people want to feel 

they belong. The DeWitt company is not just an image, it’s 

a real touch. 

How was DeWitt before these presumably “dark days”? 

VDW: My husband ran it for years! Then it grew and he felt that 

someone else should manage the company. 

JDW: In fact I thought bringing someone in would mean that 

I could be freer. It’s very different creating and looking at 

figures and I thought having someone doing the latter would 

mean I could focus more on creating. When you polish something, 

you have to do so in one way. If you change the direction, 

it’s completely different. And this was in a way what 

happened with the company, the direction changed slightly so 

it wasn’t the same company. 

And since we’ve been married for 20 years, I know my wife 

so well and she knows me – she knows my strengths as well 

as my weaknesses, it’s just easier to work and create something 

together because we don’t have to speak, we just need 

to react; we know what each other is thinking. And when 

we’re back home, I don’t have to tell her about my day because 

she knows exactly what happened. So this move can 

only be positive! 

Do your children have any interest in getting into the business? 

VDW: All our children are already very busy! 

I understand that you have some experience in jewelry; will 

you be contributing this knowledge to DeWitt? 

VDW: Why not, but first we must really be strong on the watches, 

we must enlarge our markets and be stronger here – it’s 

market No. 1 in Hong Kong – so we have to be stronger, and 

of course in China. Asia is very important. My husband must 

spread out the product across the world. 

Speaking of which, you opened this store in Elements last 

year; how’s it doing? 

JDW: It’s a new mall and it’s picking up slowly but we have some 

good results. We have three stores in Beijing and one in Shanghai. 

We have points of sales in China, or actually “corners” because 

they are partly POS and own shops. 

VDW: Well that’s another thing, we were very far from the market 

because someone else was visiting, and now we want to do 

it ourselves and be closer to our friends and work together, improve 

together. We have to work together and to do that we have 

to be here; we can’t do that from Switzerland. You have to go to 

the markets to help with the sales.


 

FACES 

DEWITT 

So I guess we’ll be seeing a lot of you here in Asia? 

VDW: Yes, definitely! 

What are your plans/objectives for this Hong Kong trip? 

VDW: We plan to meet the Hong Kong retailers and discuss how we 

can enlarge the company further. It’s a beginning of a new story. 

JDW: But at the same time we want to maintain and strengthen 

the same philosophy. 

Can you talk a bit more about product development? What’s 

in store for DeWitt in that area? 

JDW: This year, we plan to focus on movements, new models 

and quality. We will continue work at our R&D department and 

reinforce their efforts. We are working with some complications 

as well as some basic movements. Next year we will be celebrating 

10 years and I hope to succeed in bringing in our own movement. 

We’re targeting to finish this movement next year, which 

is going to be our basic movement; this means we need to have 

something very strong that we can use in all our models. When 

we do this, all our watches will be using our own movement. 

This is an interesting project but also a big challenge in quality. 

Have you encountered any hurdles in this project so far? 

JDW: When you start from scratch you can’t pretend to know 

everything. I prefer to stick to the traditional ways, the methods 

I learned. When I choose to use a new method, technique, or 

I think we can have 

in-house movements in all 

our collections by 2015 or 2016 

DeWitt Twenty-8-Eight Skeleton Tourbillon 

decide to do something bold, I have to think how it will be in 25 

years. It has to be classic even decades from now. 

We have a collection of watches in the office, many of them are 200 

or 250 years old, all in working condition. Once in a while, we repair 

or maintain them, like changing the oil for instance. I like to go back 

to these old watches and see how they are made, and not be quick 

to adapt new technologies. I prefer to use old-fashioned materials. 

You also mentioned earlier about working towards getting the 

Geneva Seal, can you expound on that a bit? 

JDW: I stopped working with the Geneva Seal because I disapproved; 

I was not in favor of their way of controlling it. 

Some people were using the Geneva Seal incorrectly and now 

they decided to review the qualifications and now it’s becoming 

very strong. I am happy with the reviews they are doing; 

they – like DeWitt – for a while was in a curve, and like us, 

back in a straight line. 

Sounds like a very busy and exciting year… 

JDW: Yes. This year, we also plan to be more in touch with the 

markets; we have to be very near to them. I feel I have a duty. 

When someone is buying a DeWitt, that person is giving me his 

confidence, approval, and also a lot of money. We have mutual 

respect and confidence for one another and in exchange, I have 

to deliver this watch and respect for this confidence. It’s a relationship 

and you have to nurture it so it lasts.

CARS 

ART 

WATCHESS 

0 

CARTIER TANK CAPTURES ERAS, CONQUERS BORDERS 


EVENTS 

 


THE METAL’S 





CITY SLICKER 



#20 

CARTIER 


CONQUERS BORDERS 

Cut along the dotted line 

STYLE 

YES! Please start my 1-year (4 issues) subscription to REV LUTION for only HK$240. 

I will save 25% off the newsstand price (that’s 1 FREE ISSUE worth HK$80). 

Mr/Mrs/Ms/Dr: 

Address: 

Tel No: Fax No: 

Mobile No: 

E-mail: 

My cheque for HK$240 payable to Edipresse Hong Kong Limited is enclosed. 

Please charge HK$240 to my credit card Amex Master Card Visa 

Card No: 

Expiry Date: 

Cardholder Name: 

Cardholder Signature: 

(Must be signed if charged to a credit card) 

* Subscription offer for Hong Kong & Macau only. * Please allow 4-6 weeks for the delivery of your first issue. 

I do not wish to receive promotion materials 

FASHION 

GET 4 ISSUES OF 

FOR THE PRICE OF 3 

SAVE 

25% 

OOFF 

THE NEWSSTAND PRICE! 

FOR ENQUIRIES, PLEASE CALL OUR SUBSCRIPTION HOTLINE ON (852) 2859 4335 OR E-MAIL TO REVOLUTION@EDIPRESSE.COM.HK 

MAIL THIS CARD ALONG WITH YOUR PAYMENT TO: EDIPRESSE HONG KONG LIMITED, 6/F, GUARDIAN HOUSE, 32 OI KWAN ROAD, WANCHAI, HK 

HONG KONG 20 

HK$80 

 

 

REVO1210N

GRAND PRIX 

D’HORLOGERIE 

DE GENÈVE 

EXHIBITION 

More than 70 of the finest timepieces, all competing for 

Switzerland’s most prestigious watch accolades. 

HONG KONG 

2012 OCT 12 th - 13 th , Elegant Watch and Jewellery 

Shop No.1009, Podium Level One, ifc mall, 1 Harbour View Street, Central, Hong Kong 

SHANGHAI 

2012 OCT 20 th - 21 st , 18 Gallery 

18 Zhongshan East 1st Road Huangpu, Shanghai 

Hong Kong Official Sponsor 

Local Organisers 

Shanghai Official Sponsor 

 

 

For more information: www.worldtempus.cn / www.worldtempus.com

FACES 

ROGER DUBUIS 

POINT 

INTERVIEW BY SEAN LI 

BLANK 

JEAN-MARC PONTROUÉ, ROGER DUBUIS’ CEO, 

DOES NOT HOLD BACK TO ENSURE 

THE BRAND’S FUTURE AT ALL LEVELS 

 

 

REVOLUTION 243


 

FACES 

ROGER DUBUIS 

Jean-Marc Pontroué joined Roger Dubuis just a year ago, after 

spending more than ten years at Montblanc in product development 

and strategy, and was joined a few months ago by none 

other than Roger Dubuis himself, the famed watchmaker who 

founded the brand but had been exploring different pastures 

over the past few years. Together, they are rebuilding the brand 

that was famed for its spectacular movements, and its commitment 

to having every single watch certified with the Geneva 

Seal. In a recent visit to Hong Kong, he speaks very frankly 

about the challenges the brand faces behind the scenes, and 

why their focus on the Geneva Seal sets them apart. 

Tell us what it’s like to have Roger Dubuis back with 

the manufacture. 

Today, Roger Dubuis doesn’t need to work; he does it because 

he’s a gentleman who works to please himself. He doesn’t need 

it; he’s done many things in his life and had left the manufacture 

for several years. He comes back to be home, and there’s 

none of the animosity that may have been there. On top of that, 

he sees many of the same people he had hired himself, notably 

the watchmakers. These are people he takes great pleasure engaging 

in discussions with. There’s this attraction to a company 

that he had left but still bears his name; I think he’s having fun 

with it, and with the travels to meet journalists and collectors 

around the world. 

Now on the Roger Dubuis brand itself . There’s still a significant 

challenge given some previous issues on quality and after-sales 

service; what are you putting in place to correct this, and to 

communicate the improvements? 

On the issues on after-sales service, we have re-industrialized 

the 31 calibers that are part of the Roger Dubuis heritage, that 

is, the “hidden” part of the brand. Claude Vuillemez took up 

the reins in production about four years ago, and he re-vamped 

all existing movements, whilst creating two new ones: the 620, 

which is the automatic; and the 680, a chronograph. We find 

these two movements in a number of watches, and were developed 

from the start to avoid as much as possible any problems 

with quality; they have also benefited from all the capability 

Richemont has in this domain. Now, we have a return rate that’s 

aligned with the industry, which is around 10%; the average 

rate is between 8% and 15%. We are so convinced with the improvements 

that we will start offering a third year of warranty 

from the next SIHH; all the watches that we produce from then 

will have a three-year warranty. We’re more confident now as 

we have far fewer of these quality issues that have hounded us 

in the past, although I must admit that I’m not in the best position 

to talk about this since by the time I joined the company, 

much of the work has been done. 

Of course, but unfortunately, it’s part of the history of the brand, 

and there must be some effort made to address it. 

I worked at Montblanc where in a number of markets, people 

would tell me that the pens would leak. I’d ask them to bring me 

the pens and you’d see that there was no reason for them to leak. 

Much of it is in the mind; it’s like trains, we’re convinced that 

they’re often late when in fact only 1% of trains are late – at 

least in Switzerland, France and Germany. General misperceptions 

are those that can take an incredibly long time to change. 

In a manner of speaking, if you don’t want any problems with 

your watch, buy a quartz watch. With the re-industrialization 

of Roger Dubuis and all the criteria we have in place, such as 

the new Geneva Seal, the COSC, and an internal laboratory that 

verifies the precision of our watches, that’s triple certification 

right there even before launching a product. We take more time 

because we do have increased visibility in the business. Things 

get complicated when you try to skip necessary steps – look at 

the number of cars that are recalled. We need to respect the 

stages for certification, and this is the strength of Richemont. 

The group has clearly established procedures and steps that you 

can’t skip. So the quality issues that Roger Dubuis may have 

experienced in the past were linked to not following established 

and essential procedures in developing products. Now, we have 

development plans that span between three and five years on 

the movement, as well on the entire watch, which should be sufficient 

time to develop, test and re-engineer if necessary. 

Why is it that after-sales service – and I’m not referring to just 

Roger Dubuis – can be perceived as an afterthought? 

You don’t need to convince me! There’s a significant deficiency 

in the development of after-sales service and this will be one 

of the biggest challenges for this industry in the next 10 to 15 

years. Why? First of all, there’s a lower degree of acceptance 

of minor quality issues today. Secondly, watchmakers used to 

service only the 7750 movement for 50 to 100 brands, but tomorrow 

there will be as many different movements as there are 

brands, expecially with the Swatch group stopping deliveries 

of movements to a number of brands. There will be tremendous 

demand for watchmakers who are able to work on specific 

movements – whether it’s from Zenith, Roger Dubuis, Vacheron

FACES 

ROGER DUBUIS 

 

 


Excalibur Double Flying Tourbillon 

Skeleton in black titanium


 

FACES 

ROGER DUBUIS 

Constantin, etc. So that’s why at Richemont, among the top 

priorities is to train and school watchmakers; it’s a sensitive 

subject and one of the great challenges crucial to ensuring the 

future. We can’t allow ourselves – with the ambitions we have 

for our brand – not to have good after-sales service. For me, it’s 

more than that, and it’s not just to repair our products, but also 

to assure that we have good relations with our clients. Today, it’s 

a problem we need to manage but it can be done, just like servicing 

your watch. It has to be said, however, that watch oweners 

need to get their watches serviced regularly. Watches are, 

after all, the only products with which there is so little follow-up 

even if you use it every day, and it’s a mechanical device in every 

way. Even airplanes, which are used for 20 hours out of 24 

in a day, have their breaks when they stop at airports. We are in 

a true paradox; brands have not used communication channels 

effectively, while some clients are not aware of the importance 

of maintenance. 

I’d say that it’s also very much linked to communication, but 

also a question of time; a car is serviced in two to three days, 

while a watch can be gone for three months. 

Another problem we’ve had was that we sold 50% more watches 

in the last five years, so there will be the related issue of providing 

more after-sales service. It’s a tsunami that’s coming, and I 

don’t want to be pessimistic! Even if we now have a 10% return 

rate, multiply this by the number of additional pieces that we’ve 

sold and we will have real bottleneck in after-sales service. This 

brings me back to Richemont’s efforts – the impetus of building

FACES 

ROGER DUBUIS 

La Monégasque in pink gold 

effective and efficient service platforms, empowering them to 

do repairs locally, doing away with having to send them back 

to Switzerland where only a few watchmakers can do the work. 

The double tourbillon skeleton, for instance, might always be 

repaired in Switzerland, but we have also to reconsider doing 

so in certain countries where it’s complicated enough to bring 

them in and sending them back simply accumulates the potential 

issues. In short, we empower the servicing subsidiaries, the 

local platforms, and we have watchmakers who are constantly 

traveling to educate and train local watchmakers on new calibers. 

This is long-term work we’re putting in place. This is why 

we are stabilizing the Roger Dubuis collection; previously we 

followed a business model of limited editions with subsequent 

limited movements, which created tremendous complexities in 

the business. We are more levelheaded in the sense that our current 

movements are designed and built to be the workhorses for 

our watches. They are movements of Geneva Seal quality but 

don’t have the complexity of historical movements in that we 

might have made only two of them; you can imagine the importance 

of keeping additional parts in this case. 

From a different aspect, the Geneva Seal has always been a 

strong marketing message from Roger Dubuis; do you think that 

it’s a well-understood message, or is it perhaps a little obscure? 

It’s very misunderstood because it’s a topic that needs to be explained 

by the marketing people. While we have many topics 


We don’t brand ourselves 

“Swiss Made,” instead we 

have the Geneva Seal, which 

provides our clients with the 

guarantee on the origin of 

the product. We often insist 

that our clients visit the 

manufacture, because it’s 

really the cathedral of our 

organization and people can 

see, on site, what we tell them 

in our literature or verbally. 

that should be handled by the technicians and watchmakers, 

the Geneva Seal needs to be handled by the watchmakers in 

its implementation, but explained by marketing. If you start 

to explain these complexities to the client, the client wants to 

know why. What are, for instance, the advantages of the Geneva 

Seal without having the existing knowledge of having been a 

watchmaker for four generations? What are these advantages? 

We go from the certification of a movement, to a horological certification 

on a number of criteria that will guarantee the implementation 

– whether it’s the power reserve, the water resistance 

or shock resistance. So for us, the challenge is explaining in 

just a few words what the client benefits from the Geneva Seal. 

An additional advantage we have, once we can explain it, is to 

make them understand our origins. More and more brands play 

with the “Swiss Made” tag. Watches really are the only luxury 

product that takes such liberties with the definition. Today, for 

example, with leather – which for a long time ideally should be 

either “French” or “Italian” – some brands no longer hesitate 

to say they’re made in China. It’s been the same with ready-towear 

for a long time. Watchmaking, on the other hand, continues 

to be called “Swiss Made” even if some components aren’t 

made in Switzerland. The fact that we don’t brand ourselves 

“Swiss Made” and instead have the Geneva Seal, which provides 

our clients with the guarantee on the origin of the product. 

It’s one of the reasons we often insist that our clients visit 

the manufacture, because it’s really the cathedral of our organization 

and people can see, on site, what we tell them in our literature 

or verbally; they can see for themselves the authenticity 

of our working methods, as well as the actual people working 

on the pieces. Whether it’s a ladies’ or a men’s watch, a simple 

movement or a grande complication, we work on them with the 

same level of passion and accuracy.

INTERVIEW BY JACK FORSTER 

AN UNEXPECTED MATCH 

MANUEL EMCH BRINGS ALONG A FRESH SET OF EYES AS THE CEO OF RJ-ROMAIN JEROME

FACES 

RJ-ROMAIN JEROME 

With its provocative tagline, “DNA of Famous Legends” and 

its equally provocative use of steel from the wreck of the 

Titanic, RJ-Romain Jerome immediately became a lightning rod 

for both attention and controversy when it was launched in 2004. 

However, of all the moments in its history, perhaps none took the 

watch world more by surprise than when, in 2010, it was announced 

that the company’s new CEO would be none other than 

Manuel Emch, who had himself become famous for his work with 

a company whose values, on the face of it, could not seem more 

When did you first become aware of RJ-Romain Jerome 

watches, and what was your initial impression of the designs? 

I became aware of the brand pretty early. The brand was created 

in 2004 and started with golf watches. The concept “DNA of 

Famous Legends” was then launched in 2006. Although I found 

the concept very unique and strong, I was not convinced with 

the first designs, but felt that the brand had a lot of potential. 

When did you take charge of RJ-Romain Jerome, and under 

what circumstances? 

I took over the management of the brand at the beginning of 

2010. At that time, RJ-Romain Jerome had no organization 

and the production was outsourced to BNB [BNB Concept] 

that was filing for bankruptcy at the same time I took over 

my responsibilities. I only had a few hours to take over our 

components and finished watches, and then I had to build an 

in-house production unit in a few days. Besides this, we needed 

to develop a new collection for the upcoming Basel fair that 

was to be held three months later. Finally, I also had to hire 

a complete team of watchmakers, quality controllers and a 

technical designer. 

When you took over the company, what, in your view, were 

the biggest assets and biggest challenges you faced? 

My first mission was to completely restructure and rebuild 

the basics of the company: organization, processes, flows, 

new products, a whole new team, adapted headquarters and 

obviously a new booth for the upcoming Baselworld. I also 

had to develop a whole new brand identity, meaning a new 

advertising campaign, catalogs, website, as well as developing a 

social media presence. I also added a blog (rj-timeout.com) that 

talks about our sources of inspiration. 

Besides the massive and demanding workload, this period was 

highly stimulating and it was clear to me how to proceed in the 

most efficient way, as the DNA of the brand was very strong. My 

experience of building a brand almost from scratch with Jaquet 

Droz — a company that I started with two people and less 


diametrically opposed to RJ-Romain Jerome: Jaquet Droz, whose 

ultra-high-craft enamel dials, patrician restraint in design and 

high-touch sophistication seemed utterly at odds with RJ-Romain 

Jerome’s taste for modernity and even melodrama. 

We finally caught up with Manuel Emch to get some answers 

to questions we’ve long wanted to ask him — and, in between 

flights to Greenland, Iceland and Sweden, he generously took 

the time to give us in-depth answers. 

than CHF500,000 turnover before reaching more than CHF30 

million turnover with a very strong identity, a manufacturing 

unit and more than 80 people working for the company — 

my background as both a designer and a manager, as well as 

my experience as a business process reengineer helped me to 

quickly start the development of the brand. 

The design philosophies of RJ-Romain Jerome and that of 

your previous firm, Jaquet Droz, couldn’t be more different. 

Many of us were surprised, to say the least, when you took 

over at RJ-Romain Jerome. Are you directly involved in the 

conception and design process? 

I’m very strongly involved in conception and I do most of the 

designs myself. I do act as an artistic director for the company 

in regard of the brand identity and I’m therefore very proud 

that we not only won awards for the design of our new watches 

[Steampunk, Space Invaders, Moon Fighter], but also, twice 

in a row, the prize for the most innovative watchmaking 

advertising campaign. 

Do you feel that there is a connection between the work you 

did at Jaquet Droz and the work you are doing now at RJ- 

Romain Jerome? How has the sensibility necessary for the 

former made the transition to the latter? 

Although the two brands seem very different from each other, 

they have a lot of things in common. I work based on philosophy 

and identity, and my work scheme is the same independently 

of the brand. First, I extract the philosophical aspects in order 

to have a frame that helps me to build the brand, and then I 

adapt my designs accordingly. In terms of craftsmanship and 

mechanical know-how, the brands are very similar, which 

makes it even easier. 

RJ-Romain Jerome’s basic design philosophy has to do with 

drawing on historic legends associated with three worlds: sky, 

sea and land. Thus far, the company has created associations 

with these worlds through incorporating actual material — 

from the wreck of the Titanic, moon dust, and so on.


 

FACES 


Do you think that such direct, physical associations are 

essential, or will there be associations with legends of these 

worlds that are purely design in nature in the future? 

We do work on both axes: a materialized axis around the air, 

the earth and the sea by incorporating physical materials from 

important moments of the history of mankind — conquest of 

the moon, the Statue of Liberty, the Ejafjallajökull volcano 

or the Titanic — and a more immaterialized axis which pays 

tribute to cultural references of the X and Y generations. 

This latest axis enables us to target a younger and more 

hedonistic customer that has been left aside by most of the highend 

watchmaking companies. Through capsule associations, we 

collaborate with legends in the field of arts such as contemporary 

art — a first edition of 10 unique watches made by the most 

influential contemporary Swiss artist will soon be released but 

only sold in contemporary art galleries — video game art and 

tattoo art. We also cooperate with other icons of this generation, 

such as DeLorean or Colette. 

Can you discuss the source of moondust for the RJ-Romain 

Jerome Moon Dust-DNA collection, and which parts of the 

Apollo vehicles were available for incorporation into the 

watches? Such material must be difficult to source. 

We managed to source most of the materials through auctions in 

Houston that sold elements of this incredible moment of history 

— the Apollo 11 mission. We also got materials from the ASE, the 

association of space explorers that regroups most of the astronauts 

and cosmonauts that traveled into space. They were not the most 

difficult materials to source, but by far the most expensive. We had 

to spend several hundred thousands of dollars to buy elements of 

the spacecraft and a real piece of stone from the moon. 

The Titanic-DNA watches preceded your leadership of RJ- 

Romain Jerome. When they were first released, there was 

controversy concerning using material from a site that was 

the location of such enormous loss of life. Do you feel there 

are ethical issues in using such material for commercial 

purposes, and if so, how are those issues addressed in the 

design and presentation of the watches? 

It is definitively a polarizing legend, but one has to look at it 

with an open mindset as the reactions on using elements from 

the Titanic are completely different depending on the countries. 

It is indeed considered as a positive message in some cultures. 

This provocative legend also helped the brand to emerge in 

a highly dense environment where a very large number of 

watchmaking companies compete for the same customer mostly 

using one claim: heritage or history in existence. I do not believe 

that the success of a company can simply rely on what may have 

been done by its founders some 200 years ago. Is it more ethical 

to pretend to have an existence over several hundreds of years, 

which have been made up by investing heavily into marketing? 

It’s up to the client to judge whether or not this is something he 

feels comfortable with. 

One of your most successful new designs has been the Space 

Invaders watches. What was behind the inspiration to use 

design elements from this classic video game in a watch? 

Simply the fact that video games play a huge part in my 

generation’s cultural background and therefore it creates 

immediate emotional links that are essential in watchmaking. 

We do not only sell mechanical know-how, unique craftsmanship 

and beautiful designed objects, but also emotions; therefore 

the storytelling part is essential. The incredible success of this 

watch and all the new customers that it dragged to our brand 

are clear indications that we are on the right track! 

The world of video gaming represents an entire culture of 

design and narrative, which has remained, except for the 

Space Invaders watches, essentially totally unexplored by 

watch designers. Do you feel this world could be explored 

further as a source of inspiration and can you share with us 

any ideas or projects you might be working on for the future? 

As mentioned, tribute to video game art is one of our strategies 

and we will soon release our Pac-Man watch that will be a 

limited edition of four different series of 20 watches — 80 

pieces all together, as the game was released in 1980. We indeed 

wanted to have different executions as the game has different 

levels. Furthermore, we just released five series of eight Space 

Invaders watches in five new colors. Among these five editions, 

there is one only available at Colette, in Paris, and that has been 

presold. Interestingly, one of the watches has been bought by 

Maxim, the leader of [electronic music group] The Prodigy, 

another icon of my generation! 

We have already started to work on future associations, as this 

collection has become a real collectors’ line. 

RJ-Romain Jerome was founded in 2004. In an industry that 

places such a premium on heritage, what challenges, and 

what potential advantages, do you see in being a company 

with no burden of history to answer to? 

It gives us a lot of creative freedom; it helps us to think in an 

iconoclastic way and to push boundaries [not only] in terms 

of innovation and design, but also in terms of marketing and 

distribution. There is also a risk involved as we need to build 

a strong identity, and therefore cannot not lose ourselves in 

this creative freedom.

FACES 


OPENING PAGE 

Manuel Emch wears the Titanic-DNA 

Tourbillon Steampunk A La Grande 

CLOCKWISE FROM ABOVE 

RJ-Romain Jerome’s Moon Dust Red Mood 

Chrono, Steampunk Metal Octopus and 

Space Invaders watch 

REVOLUTION 251


 

FACES 

LINDE WERDELIN 

INTERVIEW BY SEAN LI 

BEST OF 

BOTH WORLDS 

JORN WERDELIN’S PASSION FOR SKI AND DIVING, AND A LIFELONG 

FRIENDSHIP WITH MORTEN LINDE, CREATED A UNIQUE BRAND 

THAT MERGES MECHANICS AND ELECTRONICS

FACES 


Linde Werdelin’s watches have gained a cult following in their ten short years. Their sports-oriented watches have always 

eschewed conventional wisdom, and rather than try to mechanically provide the functions that avid skiers or scuba divers 

seek, Morten Linde and Jorn Werdelin have instead developed dedicated instruments that attach to the front of the watch. Having 

recently launched in Hong Kong, Jorn Werdelin came through to explain the history of the brand and the ideas behind its devices. 

Can you tell me about the beginning of Linde Werdelin? 

26th of August 2002, we registered our website domain, lindewerdelin.com. 

In a sense that’s when we started work; that’s when 

Morten and I had the idea. In those days, the Internet was a 

hassle; we thought we’d better register the name. We first got 

going in 2003 really. It was a very organic thing; Morten and I 

have known each other for a long time. In 2002, I was building 

a house in Denmark, so I traveled often between Denmark and 

London. Every time I saw Morten, we talked about ideas, so 

it’s really difficult to say when we started because it sort of just 

developed – a watch, with an instrument, and its functionality. 

I guess at some point at the end of 2002 we decided, ok, let’s 

pursue this idea with mechanical timepieces with instruments 

for sports that you can attach. At the beginning, people said it’s 

impossible; you can’t do it, because first of all you can’t combine 

mechanical with the electronic sitting right on top. It would be 

too bulky, it would have an impact on the movement – you can’t 

attach it, you can’t combine the two, it’s not luxury to combine 

electronics and mechanics. And then you can’t build a brand, 

build respect or desire. And I think all those things are very 

true! But we pursued that idea anyway, and for the first two or 

three years, every summer and every winter, we sat down and 

said “Should we continue or not?” To take a little breather and 

say “Are we on the right track or is this just crazy?” 

At the end of 2006, we launched the first watch, which was 

the Biformeter, and the first instrument, which was the Land 

instrument that was the predecessor of The Rock. That came 

out in October 2006, and then we started selling, for almost six 

years now. Immediately after we had launched the Biformeter 

with the Land instrument, we realized that some people were 

thinking that we had a concept. The way we feel is that we 

make watches with attachable instruments. They’re two quite 

separate things, even if they go together, it’s sort of our raison 

d’être. What does Linde Werdelin do? Well, we make watches 

with instruments, and nobody else does that. We’ve been very 

keen, and put in a lot of work into making some really unique, 

particular timepieces. When you look at the watches, you don’t 

need the instruments, and vice versa; when you use the instruments, 

you don’t need the watches. So it’s almost incidental that 

they go together, but obviously it’s very important for us because 

it’s the original idea, it’s the reason that we are here, and 

it’s our uniqueness that we have those two things. 


Can you tell us about the watches that you are now producing? 

We have two families; one is the Spider family, which has two 

versions, the SpidoLite and the SpidoSpeed. That goes with The 

Rock, and that’s mountain or skiing inspired. The reason that 

the case is skeletonized is that we needed to do a light watch; 

the idea came because we had some team going to Everest, and 

when they came back they told us that they had taken the watch 

off at base camp because it was too heavy. Obviously, when you 

go up, you need as minimum weight as possible. Besides being 

a little disappointed, we were lucky they used the instrument, 

in particular the barometer, but Morten came up with the idea 

of why don’t we do it like a racecar, and take away everything 

in excess, and strip it away. We skeletonized the case and came 

up with a watch that we made in 20 pieces which was called the 

Trigon back in 2008 I think it was. From then on, we developed 

the SpidoLite, which became the SpidoSpeed. That’s the mountain 

and skiing angle. 

Our other family, or other universe is diving, which is The Reef, 

and then the Oktopus, which we launched in Basel this year. For 

the Oktopus II, we redefined what a dive watch is, because for 

us, and that’s unique in the watch world, when we go diving, 

it’s with our watch, and then the instrument on top of it. All the 

functionality for diving sits in the instrument; none of the functionality 

for diving sits in the watch. Traditional watch brands, 

for example, have a turning bezel. We completely discarded that 

because we have it in The Reef. Then obviously that brings a 

little bit of “Is that a dive watch that doesn’t do any diving?” 

Well, it is, because any dive watch that uses only mechanics is 

a compromise, because obviously you cannot get the functionality 

that you need for scuba diving today into a mechanical 

watch; it’s a calculator that tells you when you go down, how 

quickly you can go, safety stops, decompression, and so on. You 

can’t put that in otherwise it would be the size of a house! So in 

that sense, we think we make the only dive watch that’s capable 

for proper scuba diving today. What we wanted the Oktopus 

to do was to be able to take the movement into the water, and 

up again, which is not unusual, but to protect that is another 

story. We built the central part of the case for that, and then we 

have four case parts that attach to the strap, and then the two 

case parts that sit at 9 o’clock and 3 o’clock that we use to attach 

the instrument. That was the second thing that the watch 

needs to do. The third thing, we wanted it to be as anticorrosive


 

FACES 


as possible, because not only do people dive with it, they also 

swim with it in the sea, and they forget to rinse it. Salt water 

is incredibly corrosive over time, it’s not swimming once – that 

doesn’t do anything – but doing so over the years is destructive, 

so we decided to use titanium, ceramic, and gold. They are as 

anticorrosive as it comes. 

What started it originally? Was it a shared interest in watches? 

My father and grandfather had watch shops, so I grew up with 

that. I worked in my father’s shops until I was in my twenties. 

Then I moved to France, then to England where I still live. 

Then we started talking about this mutual interest for watches 

and functionality, because Morten is a product designer by education, 

and is quite Danish in functionality, materials, form 

and function – classic Danish design and production mentality. 

In 2002, Morten had made a couple of watches for Jorg 

Jensen and Links, some other watches companies, so he was 

onto that idea already about taking functionality and adding 

it or taking it out of the watches. That is what inspired it; at 

the same time, I had been skiing in Canada, I do as much skiing 

as I can, and I had my watch, but I needed to take it off 

because I had to take another instrument that had a certain 

functionality I needed. Why can’t I keep my watch on and just 

click on the functionality? That’s the basis of the idea. There’s 

something quite Danish in that, quite utilitarian, and what 

watches used to be. Watches used to be tools, and have gone 

from being tools to being lifestyle choices. In some sense, we 

approach some of that functionality back in the watch even 

though it’s separate. We agree with most of our colleagues that 

the beauty of a watch is also in the mechanics, the movement, 

the construction – all the work that goes into making a beautiful 

piece. By putting electronics into that compromises it. By 

keeping them separate, we can do the best of instruments, and 

the best of what we think the watch should be. Most of the 

time, I wear just the watch; I need to be happy and delighted 

with what I’m wearing, without the instrument.

FACES 




The Reef; 

Oktopus in titanium and rose gold


 

FACES 


SpidoSpeed Anthracite DLC 

What about the people who are buying your watches? Do most 

of them also buy an instrument? 

Everybody appreciates the story and the idea behind what we do, 

and the personality we have. There are very few brands where 

the people on the dial are actually owning, managing, and developing 

and doing everything. Most of our customers, they buy 

the watch only. I would be disappointed if it were only skiers and 

divers that would buy because then, we would be back to it being 

just a concept. Now, what we have, are customers who love 

our watches. The instrument is almost an accessory that you can 

choose or not, like when you buy a car, and you say, “I’d like to 

have the sat-nav system, I’d like the leather, and this or that.” But 

you still only buy the essence of a car, and that’s the same thing 

with our watch. You can choose a strap, and you can choose the 

instrument or not. Probably now, it’s about 8 out of 10 customers 

that buy the watch only, but we do have more and more instruments 

that are being sold, especially with the dive computer, because 

it’s a must. You just cannot dive without a dive computer, 

no matter what you say about a dive watch, you must have a dive 

computer. This is the best solution. 

Everybody appreciates the 

story and the idea behind what 

we do, and the personality 

we have. There are very few 

brands where the people on 

the dial are actually owning, 

managing, and developing and 

doing everything. 

The T brand as it is, is maturing. Now you’re available in 

Hong H Kong, how do you see that progression? You’re not 

approaching a 

the traditional watch retailers. 

No, N because we are small, and independent; when I say independent, 

p we are not financed by anyone. Morten and I own 

our o business, we manage it, we run it on a daily basis, so we 

have to be quite careful about how we expand, and how we 

grow production. This year, we make and sell 500 pieces; next 

year, it will probably be about 600, or 700 – a slow, consistent 

growth. That’s the production end of it. The distribution 

end of it, what we have learned over time is that we don’t work 

in supermarkets, we work in the delicatessen store. We’ve got 

certain watch retailers that sell big brands, and the customers 

there know what they’re going to buy; top five, top ten brands 

in the world. And then you’ve got the delicatessen store, where 

an interested customer comes in who is on the lookout for something 

new, something interesting, something with a story. He’s 

almost buying more products, more story than just buying a 

brand. When I met Anthony [of Gurus] about a month ago, we 

immediately connected. Hong Kong, for instance, is a market 

dominated by mainland China and big retail groups, but even 

if they like what we do, and we know some of them do because 

I’ve met with them, we are not for them and they are not for 

us. Their customer, and the way they transact business, doesn’t 

cater to what we do because people need to have the time to look 

at it, to understand it, and to get involved in it. Similarly, for 

the retailer, they need to be interested in what we do, to have 

a passion, to have an understanding. Gurus is like a curator of 

interesting, new, innovative, different products, from cameras, 

to watches, to stereos. They pick and choose. And in that sense, 

it works well for us in Hong Kong.

Revolution Hong Kong - Autumn 2012 - Parallels Plesk Panel

Create successful ePaper yourself

Delete template?

Save as template?