REVOLUTION_International_Vol 56

CELEBRATING THE MACHINE WITH A HEARTBEAT

INTERNATIONAL VOL. 56

PANERAI — THE YEAR OF THE LUMINOR MARINA

USA ISSUE 03 FALL 2020

AGUIDETOTHE

CARTIER PASHA

THE STORY OF

LAURENT FERRIER

A TUDOR BLACK

BAY STEEPED IN

HISTORY

SOCIAL

RESPONSIBILITY

IN A NEW AGE

PANERAI

The Year of the Luminor Marina

FALL 2020 $14.95US

USA 03

2020-08-17 11:16 AM

10.10am on a NYC rooftop.

N 40° 45’ 31’’ W 73° 58’ 43’’.

Starting at USD 44’000.

www.grand-seiko.com/us-en

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TIME INSTRUMENTS

FROM THE COCKPIT TO THE WRIST

The substance of the object is function. Utilitarian elements shape the product and make it strong.

Bell & Ross watches meet four basic design principles: legibility, functionality, precision and reliability.

DIVER FULL LUM

Automatic 42mm 300m water-resistant bellross.com

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72

PANERAI:

The style and

history of the

Luminor Marina

COVER STORY

SPLIT SECONDS

18 Spotlight - Patek Philippe

26 Debuts from Montblanc, Longines, and more

44 Openwork dials exposed; Re-focus on ladies

48 Trash day; Upscale salmon; Still/home life

60 Sustainability’s day of reckoning;

Q&A: Hublot’s Ricardo Guadalupe

66 Behind the scenes with Watchfinder

THE FEATURES

82 The Cartier Pasha lives on

90 Dior lifts the mask on Haute Couture watchmaking

96 GirardPerregauxfacesthefuture

104 The history behind Tudor’s latest release

112 The undeniable cool of the Rolex King Midas

142 Gentlemen drivers hit the road

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THE MAN, THE MYTH,

THE LEGEND

118

LAURENT FERRIER

From Le Mans to Plan-les-Ouates

CALIBER RM 037

COLLECTING

152 Mechanical marvel: Jaeger-LeCoultre Calibre 920

160 California dreaming with J.N. Shapiro

166 Watchfinder highlights

168 Introducing The Rake & Revolution Laurent Ferrier Classic Origin

172 The Bvlgari Octo Finissimo Chronograph GMT for The Rake & Revolution

176 Final Thoughts: Hublot x Italia Independent

RICHARD MILLE BOUTIQUES

ASPEN BAL HARBOUR BEVERLY HILLS BOSTON BUENOS AIRES

CHICAGO LAS VEGAS MIAMI NEW YORK ST. BARTH VANCOUVER

www.richardmille.com

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FOUNDER’S NOTE

’ve been thinking about how our tastes as watch collectors will

be shaped by the crazy roller-coaster ride of 2020, which,

as I write this, coincides with second and even third waves of

resurgences of the COVID-19 pandemic around the world.

And my takeaway is this. First, it is absolutely incredible to me

how so many people think that not wearing a mask, socializing

in groups, arms around each other at dinner venues like chorus girls,

gyrating en masse at nightclubs and beaches while hosing each other

down with an Old Testament deluge of vapor molecules directly into

each other’s eyes, mouths, noses and, yes, lungs is totally unrelated to the

staggering, skyrocketing increase in infections that’s happening around

the world. Sorry, that was just a bit of me venting. Because as someone

who is normally caught up a perennial peripatetic transcontinental

whirlwind of an existence, I’ve found myself unexpectedly but very clearly

grounded for the foreseeable future.

Which brings me to my second point, which is the following: What

is clear to me is that each time we purchase something, especially a

non-essential luxury object, we are making a declaration about the

world we want to live in. And, for me, there has never been a time when

the underlying ethics and core philosophy of the companies producing

the things I want to consume are more important. What is my primary

consideration? Well, it’s pretty simple and if it sounds facile, please

forgive me. But I want any company that I am buying something from

to affect the world around it and the people working for it in a positive

way. Which means, does it treat its employees with dignity? OK, great.

Is it pillaging natural resources and blasting a hole the size of Texas into

the ozone layer? Ah… you see, this is not so f**king great. Is it trying

to empower women and minorities that work for it? Very cool. Does it

leave its staff with severe depression and chronic anxiety issues due to

the constant gonad-cupping, hyperaggressive workplace environment,

because its leader models his managerial style on Jordan Belfort of The

Wolf of Wallstreet? Ah, not so good. Does that company try to over-deliver

in terms of value for its consumers, or does it try to spin some vacuous

marketing yarn to distract from its criminal profit margin? Really, it

just comes down to this — you can either be an asshole destroying the

world we live in and f**king up the lives of the people in it because of

your selfishness and greed, or you can try to improve the planet and the

lives of the people living in it. It’s a pretty clear choice: Meshugaas or

Menschlichkeit. Assholedom or non-assholedom. I want to buy my luxury

good from the perpetuators of Menschlichkeit.

You might think that the big businesses are led by people following

the 20th-century philosophy of maximizing profit no matter its impact

on the planet and its citizens. But that’s not necessarily true. OK, you

have a point that the fourth richest man on Earth, Mark Zuckerberg, is

a class A asshole that seemingly has no issue spreading misinformation

for profit on the various social-media channels that he has what is in

essence a monopoly on. And that sh*t he pulled in 2017 when he filed

lawsuits against native Hawaiians who had owned tiny parcels of land

for generations, so that he could buy them up to “enhance the privacy”

of his 100-million-dollar, dick-wagging estate of douchebaggery.

It’s interesting how, in a decade, Zuckerberg has gone from nebbish,

quirky genius to full-blown draconian despot asshole. But there are

some good rich people too, and many of them are in the luxury watch

business. Despite a projected 600-billion-dollar downturn in the luxury

sector, many of the biggest groups like LVMH and Kering were quick

and generous to donate significantly in the fight against the COVID-19

pandemic. Incredibly, the CEO of Bvlgari, Jean-Christophe Babin, even

set up a virus eradication fund to empower scholarships for key medical

researchers of the future, including helping to fund the COVID-19

vaccine being developed by Oxford University. Does that make me feel

even better about wearing the new Octo Finissimo Chronograph GMT

Limited Edition that we are launching with Bvlgari — with a tachymeter

on the bezel and a fully luminous dial? You bet it does. And even though

it is a significant departure from the normal version of this chronograph,

we wanted to price it almost the same as the regular production watch,

because we believe in giving value to our readers and customers. Are we

going to donate part of our proceeds to the fight against COVID-19?

Yes, of course, we should and we will. Because just like anyone else, we

need to do our part.

We will and should be measured by you, our readers and customers,

in terms of our contribution to making this planet a better place. As

you know, six weeks ago, we launched our Revolution × The Rake

COVID-19 Solidarity Auction to generate funds for countries that have

been badly affected and that are still combating the virus. Thanks to our

amazing brand partners, we raised a total of USD282,945.

We had to convert the US-dollar amount donated to pounds in order

for Givergy in the UK to help us manage the final amount, which was

£219,619.34 (at the time of conversion).

Part of our auction promise was that we would allocate the funds to

any COVID-related charity that the winners wanted. Of the 38 winners,

we had two winners that wanted to do this. For the winner of the Sinn

“Dark Star” prototype (Lot 14), we donated his £4,130 to the YMCA

and Social Kitchen’s Feeding Children during COVID-19 in Singapore.

The winner of the Huitcinq 1988 bespoke watch strap (Lot 32) wanted

his £358 to go to the Gates Foundation’s COVID-19 Research Project.

That left a remaining £215,131.34 that we had to donate. We divided this

amount into five donation tranches of £43,026.26.

So this is how we’ve broken down the allocation of funds. We wanted

to target five countries around the world. (Please note that the following

statistics are accurate as of August 6th, 2020.)

The first is India where you can see that the COVID-19 pandemic

is still very much at its peak with 1.96 million cases and 40,772 deaths.

South Sudan in Africa was selected because while the COVID-19

pandemic is on the rise, the country’s already fragile healthcare

system is under real threat of collapse. There is much that can be

done if we act now, according to this article: https://news.un.org/en/

story/2020/06/1066952. For both India and South Sudan, we have

chosen to work with Save the Children.

Next is Mexico, where Revolution is proud to have one of our editions.

Mexico has been hard hit with 456,000 cases and 49,698 deaths.

Together with our editor for Mexico and Latin America, Israel Ortega,

we have selected the Mexican Red Cross as a beneficiary.

Italy was one of the countries that was truly devastated early on by

COVID-19 with 249,000 cases and 35,181 deaths. Yet we were deeply

touched by this wonderful country’s spirit of resilience and humanity

during the darkest hours of the crisis. Forza Italia, we love you.

Because we have an Italian edition and because the majority of

brand partners for The Rake are Italian, we wanted to show our care and

affection for this amazing country. For Italy, we have also selected the

Red Cross as the beneficiary of our auction.

Finally, we wanted to do something for the UK which was one of the

worst affected and has one of the highest rates of mortality in the world

with 307,000 cases and 46,364 deaths with both Prime Minister Boris

Johnson and Prince Charles contracting the disease. And yet the United

Kingdom was one of the most inspiring nations in the way it rallied

together to fight the pandemic.

When the National Health Service (NHS) asked the British public

for 250,000 volunteers in April, one million people signed up to help.

On April 6th, 2020, the 99-year-old Captain Tom Moore started to

walk laps around his garden with the aim to raise £1,000 for the NHS.

By the end of the 24 days leading up to his 100th birthday, he had raised

£32.9 million, and on July 17th, he was knighted by Queen Elizabeth.

Because we have a Revolution UK edition and because England is

the home of The Rake, and because we love the British people and their

enduring capacity to show immense courage and grace under fire, we

have selected the NHS as the final beneficiary of our charity auction.

But this result would not have been possible without the amazing

brands and individuals that donated such extraordinary auction lots to

the cause. And so I would like to take this opportunity to thank them all.

It is really because of their generosity, kindness and spirit of unity that we

were able to organize this auction at all.

From Bamford Watch Department, we would like to thank George

Bamford for the lovely Bamford GMT pièce unique in pink and green,

which achieved USD4,000. From Breitling, we would like to thank

the incomparable Georges Kern, Tim Sayler and Romy Hebden, who

arranged for us to auction Kern’s personal Navitimer PAN AM on an Air

Racer bracelet, which achieved USD9,000.

From Chopard, we would like to thank the amazing Karl-Friedrich

Scheufele and Celine Wackie-Eysten, who donated the prototype of the

Chopard Mille Miglia GTS Power Control Grigio Speciale worn by Ryan

Reynolds in the film 6 Underground, which achieved USD11,500.

From Girard-Perregaux, we would like to thank Patrick Pruniaux

and Meera Anand, who donated a wonderful prototype Place Girardet

watch engraved with “E Pulribus Unum,” which achieved USD14,050.

From Hublot, we would like to thank the great Ricardo Guadalupe

and Annabelle Garcia for the prototype of the Hublot Aerofusion

Chronograph “Molon Labe” for The Rake, which achieved USD15,000.

From IWC, we would to thank our dear friends Chris Grainger,

Riccardo Soliani and Jessica Gasser for donating the prototype of the

Spitfire Timezoner “Longest Flight,” along with a flight suit from pilot

Matt Jones, which achieved USD22,222.

From Panerai, we would like to thank the dynamic Jean-Marc

Pontroué and lovely Carla Salicini for donating the prototype of the

PAM01661 Luminor Marina Carbotech, which achieved USD16,600.

From Reservoir Watches, we would like to thank the wonderful

François Moreau and François-Marie Neycensas for donating the

prototype of the bronze Hydrosphere “Fari Islands” edition, which

achieved USD4,500.

From Roger Dubuis, we would like to thank the excellent Nicola

Andreatta and Laurent Toinet for the creation of the epic Excalibur

Essential Blue that achieved USD16,012.

From Van Cleef & Arpels, we would like to give a huge merci to the

brilliant Nicolas Bos and Hugues de Pins for the transcendent Midnight

Palais de la Chance Trefles, which achieved USD53,100.

From TAG Heuer, we would like to thank the epic Frédéric Arnault,

Stéphane Bianchi and Catherine Eberlé-Devaux for the amazing pièce

unique Heuer 02T Tourbillon Chronograph and Monaco F1 experience,

which achieved USD17,500.

From Time+Tide and DOXA, we would like to thank our buddies Jan

Edöcs, DOXA’s CEO, and Andrew McUtchen, Time+Tide’s founder, for

the Sub 300 Carbon Aqualung US Divers, which achieved USD5,050.

From Zenith, we would like to thank the phenomenal Julien Tornare

and Romain Marietta for donating the prototype of the 2020 edition

“Cover Girl” A3818, which achieved USD20,000.

We would like to thank the very kind individuals with the following

Instagram profiles: @hands.faces.cases for the Baltic × Worn &

Wound time-only watch that achieved USD1,850; Richard Lee for the

chronograph version of the same watch that achieved USD3,000;

@timeandgrooves for the vintage Caravelle diving watch, which achieved

USD900; and @zeaccesorios (Jose Girona) for the vintage Omega

Constellation that achieved USD1,800.

From the non-watch side of things, we would love to thank the

following people: My dear friend Ahmed “Shary” Rahman for the two

Goyard cigar cases, which achieved USD1,700 and USD1,600; the

geniuses Lorenzo and Massimo Cifonelli, and Romain Le Dantec for the

Cifonelli bespoke suit, which achieved USD7,000; the lovely Caroline

Andrew for the bespoke suit, which achieved USD4,801; the great

George Glasgow Sr. and Jr. for the bespoke George Cleverley shoes that

achieved USD4,100; the dynamic Thom Whiddett and Luke Sweeney of

Thom Sweeney for the bespoke suit that achieved USD5,150.

The kind Fabien Fryns for the artwork by Jia Aili that achieved

USD3,200; Assouline for the book Rolex: The Impossible Collection, which

achieved USD1,000; Ettinger for the Overnight Bag and Double Watch

Roll, which achieved USD800; the wonderful Vicente Castellano and

Globe-Trotter for the aluminum travel case, which achieved USD4,500;

Jemma Freeman and Hunters & Frankau for the El Rey del Mundo “La

Reina” Regional Edition cigars, which achieved USD 1,050.

Our friend Federico De Peppo and Huitcinq 1988 for the bespoke

watch strap that achieved USD450; Linley for the Azure Vermillion

Jewelry Box, which achieved USD1,350; New & Lingwood and Fratelli

Piacenza for the vicuña gown that achieved USD4,800; Purdey for

the titanium sunglasses that achieved USD1,000; the Royal Berkshire

Shooting School experience that achieved USD650; our friends James

Fayed and Jonathan Baker, and Turnbull & Asser for the bespoke shirting

experience, which achieved USD900; and the inimitable Alexander

Kraft for the stay and cocktails with him at his Provençal hotel La Maison

Bleue, which achieved USD3,750.

Lastly, I would like to personally thank all bidders and winners for

their amazing generosity!!! Because, like everyone in this wonderful

industry we love, we are trying to do our small part to contribute and,

most importantly, avoid being assholes.

Wei Koh, Founder

wei_koh_revolution

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EDITOR’S

NOTE

’ll be honest: Working from home has made writing

this editor’s note difficult. In the past, my time was

spent at trade fairs and fashion shows, traveling the

world and running around New York, always more

brand appointments and more new collections and

more inspiration, easily providing enough material for a year’s

worth of columns. These days, I hardly venture more than a few

blocks from home.

It’s funny, the things we took for granted. One auspicious

morning, in the Before Time, I was rushing from my Brooklyn

home to the office, carrying bags of props for a photo shoot. I

jumped into an Uber, then realized on the Manhattan side of

the Battery Tunnel that I’d left my wallet at home. I was wearing

my watch (I could never forget my watch) and I imagined my day

of coping, wrist adorned and pockets empty. My first thought:

Excellent fodder for a future editor’s letter!

This trivial experience has become oddly important to me. I

think about it all the time. As the situation continues to improve

in New York City, news from the rest of the United States seems

to be getting worse. Updated travel restrictions are in place, and

attending the upcoming Geneva Watch Days and Watches &

Wonders Shanghai seems all but impossible.

But time hasn’t stopped. In some ways, my new way of work

(and life) feels normal. I catch up with friends and colleagues

over Zoom; collections of fresh-faced watches continue to

arrive, even without my brand appointments. When I’m writing

my column — or workshopping ideas, writing articles, reviewing

pages — I’m also adapting. It’s still a process, just a different one.

The issue you’re holding reflects this balance — years

of editorial experience informing the present realities of

storytelling. Our Prime Time section highlights my favorite

recent debuts, including surprises from Geneva in the form

of not one, but three(!) Patek Philippe Grand Complications.

Openworked and skeletonized dials are transcending their

genre, so they get some attention, too. Also on my radar is a

small wearable tech company, which is repurposing trash (yes,

literal garbage) to create a witty and inventive timepiece.

On to our cover story. We’re diving into Panerai, examining

how the Italian watchmaker is sharpening its point of view

while simultaneously broadening its horizons. An impressive

collection of new timepieces — including the fabulous whitedial

PAM01314 — celebrates the anniversary of the Luminor,

an enduring design icon 70 years after its debut. Meanwhile,

the fascinating PAMCAST initiative is looking ahead further,

creating an immersive digital space that feels especially relevant

in our socially distant moment. How can a brand evolve so

effortlessly? Panerai’s military history initially draws me in, but

I stick around for the sprezzatura.

Elsewhere in this issue: contributor Victoria Gomelsky

investigates sustainable business practices; Hublot CEO

Ricardo Guadalupe explains why upsetting the status quo

leads to success; and J.N. Shapiro reveals how he mastered the

delicate art of engine-turning watch dials inside his California

home workshop. Dior brings a touch of glamor, showing us

the influence of haute couture on bespoke watchmaking. On

the technical side, we study Jaeger-LeCoultre’s caliber 920, a

true mechanical marvel. We also have a profile of the brilliant

Laurent Ferrier — and the reveal of a very special Revolution

timepiece collaboration. Like Guadalupe and Shapiro and

Ferrier, we’re continuing to adapt. When pressed, watchmakers

(and editors) can get pretty resourceful.

As I arrived at my office on that fateful day, I pressed on,

successfully talking my way past security without an I.D. At

lunchtime, the Amazon Go store at Brookfield Place allowed

me to grab a bite, charging items to my account without even

stopping at a register. Later, I downloaded the MTA app, then

used my phone to ride the subway with a quick e-swipe through

the turnstile.

For a full day, I was able to handle business without

borrowing money (or pawning my watch). It may seem silly, but

the experience was oddly exhilarating. I would give anything to

be that carefree and mobile again, and while I’ll always be able

to give you the time of day, I’ll never walk out of my apartment

without my mask, and I swear I’ll never forget my wallet again.

Stephen Watson, Editor-in-Chief

stephen@revolutionmagazines.com

Ludwig neomatik 41 date—175 Years Watchmaking Glashütte. Since 1845 the finest timepieces have been produced in Glashütte—and the tradition continues

today: with three limited edition versions of the classic NOMOS model Ludwig. The hallmarks of the watchmaking company are also evident in the new

releases, namely quality of the highest order, clear and confident design, and traditional handcraft together with cutting-edge technology. There are 175 of

these special edition models worldwide—find yours here: Bhindi, Blakeman’s, Borsheims, Brinker’s, Brown & Co., Chatel, Classic Creations, Diamond Cellar,

Hamilton, Henne, Hyde Park Jewelers, JB Hudson, L. Majors, Lewis, London Jewelers, Long’s Jewelers, Reis-Nichols, Schwarzschild, Shreve & Co., Shreve,

Crump & Low, Swiss Fine Timing, Timeless Luxury Watches, Tiny Jewel Box, Tourneau, Wempe, and Windsor Jewelers. As well as online at nomos-glashuette.com

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EDITORIAL

FOUNDER & EDITORIAL DIRECTOR

Wei Koh @wei_koh_revolution

EDITOR-IN-CHIEF

Stephen Watson stephen@revolutionmagazines.com

GLOBAL CONTENT COORDINATOR

Stephanie Ip stephanie@revolutionmagazines.com

EDITOR, REVOLUTION ONLINE

Sumit Nag sumit@revolutionmagazines.com

HEAD, SPECIAL PROJECTS & MANAGING EDITOR, ONLINE

Kevin Cureau kevin@revolutionmagazines.com

SUB-EDITORS

Catherine Koh & Eileen Sim

LIFESTYLE EDITOR

Yong Wei Jian weijian@revolutionmagazines.com

EDITORIAL COORDINATOR

Punam Nikki Rai nikki@revolutionmagazines.com

INTERNATIONAL EDITIONS

ASIA Wei Koh

AUSTRALIA Felix Scholz

CHINA Taitan Chen

HONG KONG Stephanie Ip

ITALY Maurizio Favot

MEXICO Israel Ortega

LATIN AMERICA Israel Ortega

RUSSIA DenisPeshkov

UAE JolaChudy

UK RossPovey

VISUAL

CREATIVE DIRECTOR

Darius Lee darius@revolutionmagazines.com

PHOTOGRAPHER-AT-LARGE

Munster munster@revolutionmagazines.com

DIGITAL IMAGING ARTIST

KH Koh

PHOTOGRAPHER

Toh Si Jia

VIDEOGRAPHER

Don Torres

ON THE COVER

Panerai

Luminor Marina Edition PAM01312, PAM01313

and PAM 01314

in 44mm stainless steel with a black dial (1312), a

blue satin dial (1313) and a white dial (1314).

Photography Toh Si Jia

Styling Yong Wei Jian

CONTRIBUTING EDITORS

Adam Craniotes

CONTRIBUTORS

Adrian Hailwood

Amelia Hudson

Andrew Hildreth

Alan Seymour

Arabella Boardman

Arno Haslinger

Atom Moore

Auro Montanari

Cesare Maria Manucci

Felicity McCabe

George Cramer

James Dowling

Jason Singer

Jeff Stein

Josh Shapiro

Lucia Svecova

Michael Tay

Nick Foulkes

Nick Gould

Nick Scott

Orland Punzalan

Rikesh Chauhan

Robert Hoffmann

Silas Walton

Simon Alexander

Simon De Burton

Tom Chng

Tom Craig

Victoria Gomelsky

MANAGEMENT

CHIEF EXECUTIVE OFFICER

Walter Tommasino walter@revolutionmagazines.com

MANAGING DIRECTOR

Maria Lim maria@revolutionmagazines.com

SENIOR PUBLISHER

Nathalie Naintre nathalie@revolutionmagazines.com

LEAD, OPERATIONS

Shazlina Shukor lina@revolutionmagazines.com

INTERNATIONAL TRAFFIC COORDINATOR

Christina Koh christina@revolutionmagazines.com

HUMAN RESOURCE MANAGER

Yvonne Koh yvonne@revolutionmagazines.com

FINANCE MANAGER

Jay Wong jaywong@revolutionmagazines.com

ACCOUNTANT

Sandy Tan finance@revolutionmagazines.com

SENIOR ACCOUNT EXECUTIVE

Low Sze Wei szewei@revolutionmagazines.com

REVHLUTION is published quarterly by

Revolution Media Pte Ltd.

All rights reserved. © 2020 by Revolution Media

Pte Ltd. Reproduction in whole or in part without

permission is prohibited.

Opinions expressed in REVHLUTION are solely

those of the writers and are not necessarily endorsed

by the publisher and its editors.

Editorial enquiries should be directed to the Editor.

While every reasonable care will be undertaken by

the Editor, unsolicited materials will not be returned

unless accompanied by a self-addressed envelope

and sufficient return postage.

For other enquiries, contact:

info@revolutionmagazines.com

For circulation and distribution, contact:

circulation@revolutionmagazines.com

PPS 1609/06/2013 (025530) MCI (P) 037/12/2018 ISSN 1793-463x

USA circulation, marketing and operations: Frank Ruiz and Carlos

Garcia, CircSense Marketing & Publishing Solutions

REVHLUTION USA Pte Ltd South Miami FL 33143 USA, Tel: 305 608

1460. REVOLUTION (ISSN # 1793-463x) Fall 2020, USA issue 103.

REVOLUTION is published quarterly by Revolution Media Private

Limited, The Mill, 5 Jalan Kilang #04-01 Singapore 159405. Agent for

this publication is CircSense Publishing Solutions, LLC, 16245 SW 81st

Terr., Miami, FL 33193. Periodicals postage paid at Miami, FL and at

additional mailing offices. SUBSCRIPTION PRICES: US$79.95 per year

in the US; US$74.95 per year in Canada.

CALIBER RM 07-01

RICHARD MILLE BOUTIQUES

ASPEN BAL HARBOUR BEVERLY HILLS BOSTON BUENOS AIRES

CHICAGO LAS VEGAS MIAMI NEW YORK ST. BARTH VANCOUVER

www.richardmille.com

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CONTRIBUTOR’S PAGE

Hanhart x The Rake & Revolution Limited Edition

Bronze 417 Chronograph

ATOM MOORE

is an internationally

renowned, New York Citybased

photographer who

fell into the watch world

by virtue of his love for the

subject plus a keen eye for

macro photography. He has

three acclaimed photography

exhibitions under his belt.

Atom describes himself as a

cycling, digital technology and

beard enthusiasts. He also

really loves desserts.

CESARE MARIA MANNUCCI

Celebrated automotive

journalist and co-author of

Time to Race, Cesare Maria

Mannucci has covered more

than 320 F1 Grand Prix, 28

editions of the 24 Hours of Le

Mans and 25 editions of the

500 Miles of Indianapolis.

Cesare has been in the

business for over 35 years.

In addition to his passion for

racing and watches, he loves

Lhasa Apso dogs.

JOHN GOLDBERGER

Growing up in a family of art

collectors, Auro Montanari

(nom de plume John

Goldberger) has collected and

studied vintage watches for

40 years, writing some of the

most trusted reference books

of today, like 100 Superlative

Rolex Watches and Patek

Philippe Steel Watches.Heis

also a member of Counseil

Cultural Fondation de la

Haute Horlogerie.

MUNSTER

A fashion and commercial

photographer based in

Singapore, Munster has 13

years of experience in the

industry and has worked

with brands and titles both

locally and internationally.

His love for creating

beautiful visuals began

while he was in film school

and he translates the same

richness in motion pictures

to his photography today.

NICK FOULKES

has penned over 20 works

of non-fiction on subjects

as diverse as cigars and

porcelain, but to us, he

is one of the best-known

English language writers on

timepieces. His most recent

book was Patek Philippe: The

Authorized Biography.Heisa

contributing editor to Vanity

Fair and How to Spend It.

NICK SCOTT

is currently the editor-inchief

of Robb Report UK and

was formerly the editor-inchief

of The Rake. Describing

himself as a passionate

storyteller, Nick specializes

in celebrity interviews,

menswear and watches. His

writing has also appeared in

The Observer, Radio Times, How

to Spend It and Sky Magazine.

RIKESH CHAUHAN

Also known by his stage name

RKZ, Rikesh Chauhan is

a man of many talents. He

is photographer and social

media manager to The Rake,

as well as a menswear writer

and a recording artist based

in London. Rikesh has a

penchant for coffee (only the

really good kind) and prefers

to shoot on 35mm.

VICTORIA GOMELSKY

is the editor-in-chief of JCK,

a 148-year-old jewelry trade

publication. Her work has

also appeared in The New York

Times, International Herald

Tribune, Philadelphia Inquirer,

Hollywood Reporter, and The

Sun. Obsessed with travel (55

countries and counting), she

splits her time between New

York and Los Angeles.

The Hanhart 417 Flieger Chronograph is one of the most

iconic pilots chronograph in history. We are proud to re-issue this faithful

homage rendered in quick-patinating bronze CuSn8, inspired by the vintage

brass watches as their chrome coating wore away.

The watch is priced at USD 1,900, measure 42 mm in diameter like the original

and will be made in just 150 examples.

For enquiries, please email: shop@revolutionmagazines.com

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P R I M E

T I M E

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NEW

I

t’s no mystery that I worship at the altar of the Patek Philippe

perpetual calendar chronograph. That when it comes to this

magnificent combination of my two favorite complications,

there is none better than Patek who was the first to produce

this type of watches in series. Indeed I have always admired

that each time the world has faced any form of inclemency,

the Stern family who took the reins of Patek Philippe in 1932

has responded with the creation of sublime acts of horological

magic. And this was certainly the case with the reference 1518

that was launched in 1941 amid the full maelstrom of the Second

World War. This watch driven by the Valjoux caliber 13 base

(also featured in the reference 130 launched in 1936) forged

the aesthetic blueprint of the modern perpetual calendar. Two

windows at 12 o’clock just above the Patek signature provided

day and month. Date was told from a subdial at six o’clock

which also provided a reading for phase of the moon. In both

the 1518 and its iconic successor, the 2499, there is no leapyear

indicator — that would only emerge in 1985 with the 3970.

Patek Philippe gives an aesthetic update to the Holy Grail-worthy 5270 and 5370 chronographs.

Words Wei Koh

LOOK

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The legendary Ref.

1518 (Image: John

Goldberger).

WHY IS THE CH 29 SO AWESOME?

The caliber

CH 29 which

forms the base

caliber of the

Ref. 5270.

1. Optimized Tooth Profile

The first patent relates to an all-new tooth profile for both the

central chronograph wheel and the drive wheel. In previous

movements, these wheels meshed in such a way that the teeth

might not mate precisely which caused chronograph backlash

or the seconds hand to jump forward or backwards in an

unsightly way. Patek eliminated that with its all-new profile

which allows the teeth to slip easily into place even if they

contact point to point.

3. Optimized synchronization of the clutch lever and brake lever

The third patent relates to the eccentric cap on the column

wheel. OK, so to meet Geneva Seal requirements, your column

wheel needs to wear a decorative cap. But leave it to Patek

Philippe’s engineers to transform this into an eccentric element

that actually controls the depth to which the drive wheel and

the chronograph wheel mesh. This is absolute genius as it takes

what was previously a purely decorative element and gives it a

vital function. Bravo, Patek!

5. Hammers pivoted between jewel bearings

The fifth patent has to do with self-adjusting hammers. On

the Lemania 2310, the reset hammers for the minute counter

and the chronograph seconds wheel are one piece. Getting

them to strike their respective heart cams at the same time

is challenging. In the CH 29, the minute reset hammer is

individually sprung and pivots on the seconds hammer. Again,

why no one ever thought about this before is incredible but

leave it to Patek to achieve it.

The unbroken chain of Patek perpetual chronograph

majesty goes as follows: the 1518 (1941–1954), the 2499

(1950–1985), the 3970 (1985–2004), the 5970 (2004-2010)

and then the fantastic 5270 (2004–present day). While the

1518 and the 2499 used the Valjoux base, the 3970 and the 5970

used the Lemania 2310 caliber as their base. But when the 5270

was launched, it had the honor of being the first Patek Philippe

that featured a completely in-house movement. And what a

movement it was! The CH 29 which formed the base caliber

of the 5270 was one of the most advanced and technically

innovative chronograph calibers in existence. It is to my mind

the best thought-out laterally coupled chronograph movement

ever designed, and it featured six patents.

2. Precision adjustment of engagement depth at the column wheel

The second patent relates to the synchronization of the brake

and clutch lever. Basically the brake needs to be off precisely

as the clutch engages and needs to be back on as soon as it

disengages from the chronograph wheel. Previously these

two levers were operated by the column wheel and had to be

adjusted individually, so getting the timing right was extremely

labor-intensive and challenging. In the CH 29 the brake lever

is operated by the arm of the clutch lever. An eccentric screw on

the clutch lever allows Patek’s watchmakers to adjust the depth

of engagement and the timing to perfection.

4. Slotted minute-counter cam

The fourth patent relates to the system for the precise jumping

minute counter. The first watch to feature this type of chrono

counter was the Lange Datograph. However, this watch uses

a system with a snail cam on the chronograph wheel and a

feeler that drops off the end of the cam each time the seconds

hand passes the one-minute mark and drags the minute

counter forward. This can create some amount of friction and

can potentially be a drag on the movement especially when

the torque of the mainspring weakens as it unwinds. Patek

came up with a system with a pierced cam and a much gentler

slope; a system that appears to be aided by a spiral all its own.

A sort of remontoir d’egalité just for the minute counter.

6. Self-setting hammers

Patent six is that these reset hammers are pivoted between

jewels to eliminate friction and bring an ever greater aura of

horological finery to this amazing movement.

Finally, the CH 29 oscillated at the much more stable rate

of 28,800 vibrations per hour versus the CH 27’s 18,000

vibrations per hour.

THE HISTORY OF THE REF. 5270

OK, so now that we understand how amazing the CH 29 is, let’s

look at the history of the ref. 5270. The watch was launched in

2011. And instantly you could see several key differences. First,

the leap-year indicator was no longer coaxial to the minute

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Between 2011 and 2013 the 5270

was released in white gold with no

tachymeter scale (Image: Sothebys).

counter (as in the 3970/5970) but in the form of two apertures. The one at 4:30

showed the four-year sequence of the leap-year cycle. The aperture at 7:30 turned

blue during evening hours — a pragmatic indication while traveling, but that was

also important for setting your watch without damaging the date mechanism.

Subdials were placed slightly lower on the dial and were enlarged to aid in visibility.

Says Patek Philippe’s CEO Thierry Stern, “I love perpetual calendars but the irony

is when you get to the stage in life when you can own one, sometimes your eyesight

is not the best. As such I wanted to create a design that was as clear and visible as

possible.” And looking at the dial of the 5270, you can immediately see that every

single indicator has been subtly optimized for better visibility. The case of the

watch received flared lugs similar to those of the 5970, but with just a touch greater

exaggeration which made for a wonderfully exciting timepiece.

The different series of the 5270 break down as follows. The first-series

watches have no tachymeter. The second series has a tachymeter and what is

referred to by collectors as the “chin” where the tachymeter wraps around the

date indicator. The third series has a tachymeter but no chin and the integration

of the date into the tachymeter is beautifully done and reminiscent of the way it is

incorporated in the 5970. The fourth-series watches featured a pink-gold, black

dial watch on an integrated brick bracelet as well as an amazing salmon dial watch

with Arabic Indexes in a platinum case.

The moonphase and

date sub-dial dips into

the tachymeter scale in

a more subtle manner

minus the chin.

2013 marked the 2nd generation 5270

now with a tachymeter scale that

features a chin at 6 o’clock when the

track juts out to follow the edge of the

sub-dial.

2015 saw the release of the rose gold version with a redesigned dial to remove the chin.

The two previous white gold versions are also re-released with the redesigned dial.

New for 2020 is a wonderful watch now executed in a yellow-gold

case combined with a silver opaline dial. The immediate effect is a feeling

of wonderful nostalgia as this color combination immediately brings

to mind the 1518 and the 2499 as well as the first-series 3970 watches.

The hue of the dial in particular is perfectly selected to exude the same

warmth as vintage grand feu enamel dials do. This version of the watch

“enriches” the current collection, according to Patek. However, to some

extent, it seems to also signal a possible end of series for the now iconic

5270, which is 10 years old as of this year. This is important to collectors

as with each phasing out of the older model of a Patek Philippe perpetual

calendar chronograph, the model increases in value, collectability and

desirability. I’m not saying it is definitely going to be discontinued but

if you think about it, Patek has now completed every possible color

combination for this timepiece. Finally, as this is the first and only

yellow-gold 5270 even though the model has been in existence for a

decade, it is probably the rarest execution of this model.

PATEK PHILIPPE

REF. 5270J

2014 version came with a blue sunburst

dial, also with a tachymeter chin.

A new platinum 5270 was introduced

with a salmon dial in 2018.

The rose gold 5270 was also introduced in

2018 with an integrated full gold bracelet.

Yellow gold is used

for the first time in the

ref. 5270, a very much

welcome addition to

the prestigious family.

MOVEMENT Manual-winding caliber CH 29-535 PS Q; hours and minutes;

subsidiary seconds; chronograph; perpetual calendar with leap-year

indicator; 65-hour power reserve (with chronograph disengaged)

CASE 41mm; 18K yellow gold with opaline dial; water-resistant to 30m

STRAP Hand-stitched matte chocolate brown alligator leather with

fold-over clasp

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Predecessors of the

current ref. 5370 include

the ref. 1436 (left) and

the ref. 1563 (right) splitseconds

chronographs.

The manual-wind

caliber CHR 29-535 PS

in the new ref. 5370.

PATEK PHILIPPE

REF. 5370P

MOVEMENT Manual-winding caliber CHR 29-535 PS; hours and

minutes; subsidiary seconds; split-seconds chronograph; 65-hour

power reserve (with chronograph disengaged)

CASE 41mm; platinum with blue grand feu enamel dial;

water-resistant to 30m

STRAP Hand-stitched shiny dusk blue alligator leather with

fold-over clasp

THE REF. 5370 IN PLATINUM WITH

BLUE GRAND FEU ENAMEL DIAL

OK, I’m just going to say it. The Patek Philippe ref. 5370

split-seconds chronograph is potentially one of the best Patek

chronographs of all time. Why? To me it’s the combination of

aesthetics and technical innovation. From the aesthetics side,

it reminds me of my two favorite Patek Philippe split-seconds

chronographs: the 1436 which is the split-seconds version of the

hallowed reference 130, and the 1563 which is the split-seconds

version of the transcendent 1463 or “Tasti Tondi.” From the

perspective of the square pushers, it is more in alignment with

the 1436, but from the viewpoint of the case, its robustness and

especially its size at 41mm in diameter, it borrows spiritually

from the 1563 which was considered large for its time.

But then there is the dial which is an absolute masterpiece.

First, it is an applied Breguet numeral dial which, from

the perspective of all the dial variations for vintage Patek

chronographs, is by far the most collectable. Second, the

dial is crafted from grand feu enamel which produces the

most beautiful hand-fired dials in Christendom. And third,

the dials are a dark background in the case of the whitegold

watch with a black dial, and here with a blue dial,

which means the subdials, chemin de fer and tachymeter

are all printed in white. This color combination is not only

extremely rare from a Patek perspective, it is also much more

legible than a light dial with these same elements printed

in black. Finally, the leaf-shaped hands are luminous,

something that many people overlook because it is so subtly

executed. But I can tell you for a fact that any Patek Philippe

chronograph with luminous hands and Breguet numerals

belongs to the Holy Grail of collectability. Add to this the

split-seconds function and this is without a doubt the most

sought-after triumvirate of Patek features in the world.

But that is just on the dial side. The other reason I love the

5370 so much is that its movement, the CHR 29-535 PS, is

the single best and brilliantly designed manual-wind, laterally

coupled rattrapante in existence. It is really the only modern

rattrapante around, with the movements in other similar

watches rooted in the 1940s or earlier. I will exclude the

vertical-clutch split-seconds movements from this because

they are to me a totally different category of caliber.

Why is the CHR 29-535 PS so reliable and brilliantly

conceived? Well, to begin with, it was designed from the ground

up to accommodate a split-seconds function. Says Thierry

Stern, “The Lemania movement was never really created to

have a split-seconds function, so to get the movement to work

in the context of the 5004 split-seconds perpetual calendar, it

was really very challenging.” One of the solutions Patek came

up with for the 5004 was to add an isolator to the split-seconds

function. An isolator is essentially a wheel with a finger that lifts

the spring-loaded return lever off the reset heart cam on the

chronograph wheel. This helps to eliminate rattrapante drag.

But in the CH 27, the device operating this wheel — a

beautifully shaped element dubbed the “Octopus” — could

only turn in one direction, as such its isolator wheel spring had

to overcome the force of the spring exerting pressure on the

split-seconds brake. In the case of the CH 29, the isolator is able

to move back and forth in both directions so it no longer has to

overcome this spring force, which is much better for long-term

reliability. Second, in the CH 27, you had a spring integrated into

the isolator wheel to get it to return to its original position (this is

the aforementioned isolator wheel spring) when released. In the

new movement, a long, incredibly designed and engineered

spring that is integrated into the cap of the split-seconds

column wheel does this with far less force, also helping with

long-term reliability. Finally, the CH 29’s frequency of

28,800vph also helps it to have greater stability.

Note that throughout the lifespan of the CH 27, there

was never a split-seconds, chronograph-only version of

this watch. There were of course references such as the

5959 but that watch was based on an ancient Victorin Piguet

ébauche. The CH 29-based 5370 is unique in that it is the

only modern split-seconds chronograph, designed from

the ground up with this feature with a fully contemporary

movement and excellent reliability in existence. Add to this

the host of aesthetic flourishes and it is definitely the one

current collection Patek I don’t own that I would love to

have. Finally, this new watch marks the very first time that

platinum has been used in the 5370, which pairs beautifully

with the stunning blue grand feu enamel dial.

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is fully deserving of your consideration. The increased size

underscores the four “claws” on the side of the case — arguably

the collection’s most celebrated design feature, introduced by

the Constellation Manhattan in 1982.

These refreshed 41mm pieces keep other aesthetic

signatures alive, too — namely the mono-link bracelet and

bezel indexes. But the case (available in 18K yellow gold,

proprietary 18K Sedna gold, stainless steel, or a combination

thereof) is both reshaped and slimmed down. Redesigned

hands and hour markers draw inspiration from New York City,

their angular shapes based on the graceful slope of One World

Trade Center. With the exception of the entry-level model, all

the new 41mm models feature slick-looking polished ceramic

bezels, a reference to the sapphire-glass bezel used on the

original 1982 Constellation Manhattan.

Clearly, the collection’s downtown looks are adaptable,

not only across time but also across the model’s range. To

emphasize this, the strap system on the 41mm model has a

quick-release function, allowing the wearer to easily switch

out the standard-issue leather or rubber strap for any metal

bracelet from the 39mm collection. It’s a neat detail, as is the

ATIMEFOR

OMEGA

The 41mm Constellation arrives in stores this

September, enhancing 2020’s collection even further.

Words Stephen Watson

The global marketing division of Omega, one of the watch

industry’s most consistent and powerful machines, has

had a wrench thrown into its spokes. The release date

for the next James Bond film No Time to Die, in which the spy

wears a new Seamaster 300m, looks uncertain once again. The

2020 Olympic Games, for which the Swiss brand creates a line

of special-edition pieces, will now be held in 2021. Maybe.

By comparison, promoting the Omega Constellation Gents’

collection should be a cinch.

Pedigree will only make it easier. The Constellation

launched in 1952, but came into its own during the 1980s, when

a cosmopolitan redesign laid the groundwork for the current

collection. Those new fifth-generation watches arrived earlier

this year, sized at 39mm, available in various configurations

to offer a diverse selection of 26 total models. Omega quietly

added a 41mm version in mid-July, but this stealth update

optional silk embossed dial, a particularly attractive face with a

rippled surface that produces a beautiful, wavy, textured effect

to catch the light — and, in turn, the eye.

There’s plenty to see when you flip the watch over, too.

The domed scratch-resistant sapphire-crystal caseback

reveals Omega’s self-winding Master Co-Axial 8900/8901

movement, a certified master chronometer. Inside, a freesprung

balance with silicon balance spring, two mounted in

series, provides automatic winding in both directions, allowing

a 60-hour power reserve. The movement is finished with a

rhodium-plated rotor and bridges with swirling Geneva waves

in arabesque. The watch is also approved by Switzerland’s

federal metrology agency, METAS, and resistant to magnetic

fields reaching 15,000 gauss.

Serious credentials. Omega has signed on Eddie Redmayne

as the collection’s ambassador, but since James Bond has

some unexpected downtime, perhaps they should consider

swapping? The spy might wear a Seamaster, but Bond loves

making it look easy. The Constellation Gents’ collection would

suit him just fine.

OMEGA

CONSTELLATION CO-AXIAL MASTER CHRONOMETER 41MM

MOVEMENT Self-winding Master Chronometer-certified Master

Co-Axial caliber 8900/8901; hours, minutes and seconds; date;

60-hour power reserve

CASE 41mm; stainless steel, 18K yellow gold, 18K Sedna gold,

or two-tone steel and 18K Sedna gold; water-resistant to 50m

STRAP Rubber, leather or integrated metallic bracelet

PRICE USD 5,850 to USD 20,400

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VALLEY OF TIME

A special-edition NOMOS Ludwig celebrates 175 years of Glashütte watchmaking.


What does it take for an

industry to flourish?

Infrastructure and capital,

certainly, but don’t discount the value

of local resources. In eastern Germany,

in a valley where the rivers Müglitz

and Priessnitz merge, the unique

geography and resident ingenuity

of Glashütte has provided the right

elements for watchmaking to thrive for

more than 175 years. Traditions have

been revered and upheld, fostering

a unique environment, creating

something singular: a town of less than

10,000 that’s home to nearly a dozen

makers of mechanical fine watches.

To celebrate this fascinating

anniversary, one of those watchmakers,

NOMOS Glashütte, is paying tribute

with a limited-edition series of

its classic model, the Ludwig.

So it goes without saying that

NOMOS takes immense pride in its

Saxon heritage. Inside, the brand’s

movements are decorated in the

Glashütte tradition, and assembled with

a level of care befitting the town’s legacy.

But NOMOS isn’t afraid to mix those

longstanding German watchmaking

codes with updated (and award-winning)

contemporary styling. And it’s with these

cool, Bauhaus-inspired designs — like

those of the Ludwig — where NOMOS

differentiates itself from its neighbors.

For this new Ludwig Glashütte

limited edition, though, NOMOS has

taken a surprising turn. Instead of

its usual sophisticated modernism,

the brand has borrowed motifs from

vintage pocket watches, incorporating

old-school elements into the Ludwig’s

super-clean lines. The result is a

series of timepieces that appear

more refined, at least by traditional

NOMOS GLASHÜTTE

LUDWIG NEOMATIK 39 – 175 YEARS OF

WATCHMAKING GLASHÜTTE

MOVEMENT Self-winding chronometer-standard

caliber DUW 3001; hours and minutes; subsidiary

seconds; 43-hour power reserve

CASE 38.5mm; stainless steel; water-resistant to 50m

STRAP Horween Genuine Shell Cordovan

black leather

PRICE USD 3,800

hand-wound model; all three pieces

are engraved with “Limited Edition

Ludwig – 175 Years Watchmaking

Glashütte” on the caseback. And,

as a special feature, all three models

are also regulated chronometers.

Callbacks to vintage German pocket

watches abound, but do not overwhelm.

Distinctive Roman numerals combine

with simple indexes to denote the hours,

alongside railroad minute markers

to enhance the readability. Roman

numerals appear in the date window of

the Ludwig neomatik 41 Date, standing in

for the usual Arabic numerals, a first for

the NOMOS brand. Leaf-shaped hands

replace the typical straight indicators and

are blued, nodding to a local Glashütte

detail. (While the lacquer dial is referred

to as “enamel-white,” this remarks on

the crisp white color of the dial, rather

than the technique of manufacturing.)

These cues are an unexpected twist

for NOMOS, which was founded in

1990, making it a relative youngster

compared to some of its Glashütte

siblings. But it speaks to the mentality

of the brand as a whole: Proud of its

remarkable achievements, yet humbled

by each success, and ultimately

aware that it’s one part of a larger

watchmaking tradition. A high tide raises

all boats, and by acknowledging the

accomplishments of the entire Glashütte

region, NOMOS finds its stepping

one foot closer to the spotlight.

NOMOS GLASHÜTTE

LUDWIG NEOMATIK 41 DATE –

175 YEARS OF WATCHMAKING

GLASHÜTTE

MOVEMENT Self-winding

chronometer-standard caliber

DUW 6101; hours and minutes;

subsidiary seconds; date;


CASE 40.5mm; stainless steel;


STRAP Horween Genuine Shell

Cordovan black leather

PRICE USD 4,200

standards, adapted seamlessly to the

forward-looking NOMOS aesthetic.

Each of these special watches

reimagines the Ludwig in very subtle

ways, each elevating its smart details

with careful thought and nuance. There

are three models in total, and all of them

feature in-house crafted movements.

The flagship piece, called Ludwig – 175

Years Watchmaking Glashütte, uses

the acclaimed NOMOS Alpha handwound

caliber. Meanwhile, the other

two versions, the Ludwig neomatik 39

and the Ludwig neomatik 41 Date, are

offered with automatic movements.

Power reserve is 43 hours for the former

watch, and 42 hours for the latter. Water

resistance is rated at 50 meters for the

automatic models and 30 meters for the

NOMOS GLASHÜTTE

LUDWIG – 175 YEARS OF WATCHMAKING GLASHÜTTE

MOVEMENT Manual-winding chronometer-standard Alpha caliber; hours and minutes;

subsidiary seconds; 43-hour power reserve

CASE 35mm; stainless steel; water-resistant to 30m

STRAP Horween Genuine Shell Cordovan black leather

PRICE USD 2,260

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COCO CLOCK

The 20th-anniversary celebration of Chanel’s J12

unwinds in glorious black and white.


According to Luke Sullivan, the revered copywriter, to

succeed in branding is to represent a single, simple

adjective. Mercedes-Benz means luxurious, Nike

equals athletic, Apple means innovative. These connections

take time to establish; clever advertising helps, but real brand

equity is built, not bought. So what do we make of Chanel,

which, over the course of 111 years, has given us the classic

tweed suit, the 2.55 quilted handbag, and No. 5 perfume?

What adjective does the French fashion house embody?

Inaword:Iconic.

So it’s only natural that Chanel’s flagship timepiece,

the J12, should make an indelible mark on the horological

landscape. Now 20 years old, the watch remains revered for

its groundbreaking use of ceramic

materials, as well as its cool nauticalinspired

look. This dichotomy has

always been central to the J12’s appeal:

a lighthearted appearance that belies

an extremely serious timepiece.

And while Chanel’s seasonal fashion

offerings debut rapid-fire worldwide,

behind the scenes, the company’s

watch division has been playing the long

game. Early in 2019, Chanel Horlogerie

laid the technical groundwork for its

future by investing in Kenissi, the Swiss

manufacture that creates movements

in partnership with another iconic

brand: Rolex Group. An updated J12

emerged soon after, housing the new

caliber 12.1 in-house movement — no

small achievement, and the technical

specifications speak for themselves.

CHANEL

J12·20

MOVEMENT Self-winding caliber 12.1; hours, minutes and

seconds; 70-hour power reserve

CASE 38mm; white or black highly resistant ceramic and steel;

white or black lacquer dial set with 12 brilliant-cut diamonds;

steel unidirectional rotating bezel and dial feature 20 rhodiumplated

motifs; screw-down crown with white or black ceramic

cabochon; sapphire caseback with “20 YEARS. LIMITED TO

2020” metallization; water-resistant to 200m

STRAP White or black ceramic bracelet with steel triple

folding buckle

PRICE USD7,750

A true Swiss Official Chronometer Testing Institute

(COSC) certified chronometer, this self-winding mechanical

heart offers 70 hours of power reserve and water resistance of

200 meters. It also shares traits and components with some of

the best tool watches on the market. Still, there were only subtle

tweaks to the exterior of last year’s J12, rendering it nearly

indecipherable from previous versions; many clients wouldn’t

notice the difference, or would think of unseen changes as

frivolous. But the increase in quality was essential to the Chanel

Horlogerie brand. This speaks volumes about everything the

company does and its overall approach.

Now, with its first in-house movement established, Chanel

has started to play with the J12’s aesthetic, and to fantastic

results. Earlier this year, the new Paradoxe model offered a

brilliant riff on the watch’s traditional monochromatic finish.

The case is split vertically: two-thirds is white, while the other

third is black. It’s an inventive twist on the typical two-tone

watch, and the Paradoxe Diamond takes it even further: twothirds

black, one-third gem-set white gold.

Then there’s the dazzling sapphire crystal X-Ray version.

The first non-ceramic J12, this watch is completely seethrough,

including the transparent sapphire links of the

bracelet. Developed and assembled by the Chanel manufacture,

the sapphire mounting bridge, and gear bridge adds to the

clarity. The baguette diamond bezel provides sparkle, like the

idea of a watch imaginatively constructed out of thin air.

But icons aren’t always so serious. Hence the J12·20, a

wonderfully manic celebration of the watch’s 20th anniversary.

Here, all the symbolic markers of the house are combined

into a graphic illustration, incorporating camellias, pearls,

thimbles, comets, lions — and 15 additional motifs. Composed

erratically, these rhodium-plated details take over the dial

of the J12, like the distracted scribbles of the designer’s

imagination run wild. In a neat homage to Coco Chanel’s love

of numerology, only 2,020 ceramic editions of the J12·20 will

be available. A pair of (even more) exclusive limited-edition

pieces — five each in black and white, with champlevé enamel

motifs, set with randomly scattered brilliant-cut diamonds —

are also to be made.

It’s a reminder that Chanel understands the intrinsic value

of irreverence. Because while the J12·20 uses the caliber 12.1,

with its Swiss pedigree and manufacture bona-fides, the

watch’s playfulness removes all pretension — an important

concept Karl Lagerfeld brought back at Chanel during his

long-lasting career. The first two decades of the J12 established

an icon; these new anniversary pieces suggest the house isn’t

content to rest on its laurels. It seems we’re only getting started.

One can only imagine what the next 20 years will bring.

CHANEL

J12-20 ENAMEL

MOVEMENT Self-winding caliber 12.1; hours, minutes and

seconds; black or white oscillating weight set with 34-brilliant cut

diamonds; 70-hour power reserve

CASE 38mm; white or black highly resistant ceramic and

18K white gold; 18K white-gold bezel and dial adorned with

champlevé enamel motifs set with 20 brilliant-cut diamonds; 18K

white-gold crown set with one brilliant-cut diamond; numbered

limited edition of five pieces; water-resistant to 50m

STRAP White or black ceramic bracelet with 18K white-gold

triple folding buckle

PRICE USD75,100

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ALL AROUND

THE WORLD

Montblanc presents its accessible and attractive world-timer

complication in the Star Legacy collection.

Words Israel Ortega

When it comes to the world-time wristwatch, there

are a number of truly illustrious examples in history:

the epic, contemporary and very artistic Patek

Philippe 5131, the Breguet Classique “Hora Mundi” 5717 and

the Greubel Forsey GMT. Some other watches that deserve

affectionate mentions include Jaeger-LeCoultre’s Geophysic

Tourbillon Universal Time, Vacheron Constantin’s Overseas

World Time, Bovet’s Récital 22 Grand Récital, Franck Muller’s

Vanguard World Timer GMT, and Omega’s Seamaster Aqua

Terra Worldtimer. Because they too illustrate how much the

world-time watch is well-regarded today, despite its relatively

low media profile.

Some of the above examples cost a small fortune, for they

belong to the pinnacle of multi-timezone haute horlogerie.

Fortunately, for the rest of us, there exists examples of graphic

“multi-timezoners” that are much more affordable. And if

there is a brand that has put the world-timers front and center,

it is Montblanc.

At the 2015 Salon International de la Haute Horlogerie

(SIHH) in Geneva, Montblanc presented the Heritage Spirit

Orbis Terrarum, featuring multiple timezones inside a 41mm

stainless-steel case carrying the self-winding caliber MB

29.20 — a Sellita-based workhorse to which a complication

module was added. Since then, the function has remained in

one or another collection within the firm and has established

itself as the most accessible world-timer on the market at just

over US$5,000. And this year, the success of Montblanc’s

aesthetically pleasing world-timer takes another upward step in

the form of the new Star Legacy Orbis Terrarum.

The Orbis Terrarum has always been one of the most

attractive multi-timezone watches on the market, by virtue of

its meticulous design and self-explanatory dial. In this new

iteration, in addition to the new case, the projection of the

Northern Hemisphere, seen from a high location above the

North Pole, is added to the new and delicate engraving work,

and the clear graphics complete the usefulness of this timepiece.

It all starts with the design of the 43mm-diameter case,

which adds a touch of artistic complexity to its lines. For

example, we have the new stepped lugs that echo the beveling on

the rounded-edge case, which is kind of pebble-like. An equally

prominent new “onion” crown adds a more classic look and

nicely juxtaposes the rectangular push-button on the left side.

The dial has been refreshed with a much more modernlooking

texture. The projection of the transverse Mercator map

is enhanced by the relief, which replaces the more conventional

print of the previous iterations — a really nice touch from

Montblanc. The indicators are built in two layers that rotate

with the mechanism. The upper rotating disc is made of

sapphire and is partially transparent. This disc has a metallic

coating of rhodium or rose gold — depending on whether the

case is steel or rose gold — applied directly to it so that the

continents and meridians stand out against the seas, providing

a striking aesthetic. Around it, a ring is printed with the names

of 24 cities.

On the second “layer,” the day-and-night disc rotates. In

the steel version of the new watch, it changes from light blue

for the day to dark blue for the night, and from light brown

to dark brown in the 18K rose-gold version. The center of

the day-and-night disc is now decorated with waves using

the “flinqué-froissé” guilloché technique. In addition, a red

triangle was added at 12 o’clock pointing to the user’s timezone

of residence. Crowning the set are also new leaf-like hands that

have been generously filled with Super-LumiNova.

The complication of this Orbis Terrarum is wonderfully

simple to use, which adds even more to this valuable

proposition from Montblanc. To explain the operation, let’s

start with the crown. In its original position, the large crown can

be used to manually wind the barrel of the 42-hour-powerreserve

MB 29.20 caliber (the same as in the original Orbis

Terrarum). In the first pulled-out position, the hour hand can

be adjusted in one-hour increments to determine the local

time. A further pull out to the next position enables the regular,

precise hour and minute settings. Using the pusher on the left

side of the case, the user turns the numeric dial with the 24

timezones to set the reference time, signaled by the red arrow,

while at the same time the hour hand jumps by one hour to set

the local time. The Star Legacy Orbis Terrarum is as attractive

as it is effective.

MONTBLANC

STAR LEGACY ORBIS TERRARUM

MOVEMENT Self-winding caliber MB 29.20;

hours and minutes; day/night indicator; world-timer;


CASE 43mm; stainless steel or 18K rose gold;


STRAP Matching blue or brown Sfumato alligator leather with

triple-fold clasp

PRICE USD 6,800 (Stainless steel);

USD 20,800 (18K rose gold); limited to 500 pieces

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PARMIGIANI’S SPORTING FORAY

Parmigiani Fleurier releases its first ever integrated-bracelet

sports watch model.

Words Stephanie Ip

Parmigiani Fleurier has launched, for the first time ever,

its first luxury sports watch model with an integrated

bracelet — the Tonda GT.

For some time now, there has been a surge in brands

making integrated bracelet sport watches, but Parmigiani

Fleurier, who made its name in complicated dress watches with

high craftsmanship and finishing (and prices to match), never

succumbed to the demands of the market. Until now that is. But

it’s not a bad thing. The new Tonda GT marks a new direction

for the brand in terms of both form and price, opening up a new

category the brand had not explored, and at a price point that is

much easier to swallow for collectors both old and new.

The Tonda GT line debuts in three designs; the Tonda GT is

a time-and-date model, available in steel or rose gold, and the

Tondagraph GT is a chronograph and annual calendar model,

available in steel. The collection is brand-new, but the design

codes are inspired by Parmigiani’s past creations. The case

shape comes from the Tonda Chronor watch, which was awarded

the Chronograph Watch Prize from the Grand Prix d’Horlogerie

de Genève in 2017. For the new line, Parmigiani worked with

watch designer Dino Modolo to reimagine the case with updated

lugs and an integrated bracelet that prioritizes comfort. The

fluted bezel is recognizably a design from the Toric collection,

and the dial, finished with the traditional “clou triangulaire”

guilloché pattern, is a signature of Parmigiani Fleurier.

THE TONDAGRAPH GT

The Tondagraph GT is powered by the PF043 automatic

caliber, and features an annual calendar and a chronograph,

two of watchmaking’s most desirable complications. It is a

rather unusual combo compared to the perpetual calendar but

at a much lesser price, it’s an appealing one, and the annual

calendar only requires one adjustment

per year in February.

There is a lot of information

displayed on the dial, including two

subdials for the chronograph function

at six and nine o’clock, and a bigdate

aperture at 12 o’clock. The

subdial at three o’clock displays

the running seconds in two

tracks where the shorter end

of the hand counts from 0 to

30 seconds and the longer end

counts from 30 to 60 seconds.

This is also rather unusual,

but makes space for the month

display, in a vibrant orange for

added legibility. The 42mm watch is

water-resistant to 100 meters, and

comes with a screw-down crown. The power reserve is at 45

hours. Through the open caseback, the fine Côtes de Genève

stripes can be found, as well as the 22K gold rotor. In steel with

a sleek black dial on a rubber strap or integrated bracelet, the

Tondagraph GT is limited to 200 pieces.

THE TONDA GT

The Tonda GT comes in steel with a black dial or rose gold with

a blue dial. This watch is the simpler three-hander version

that also features big-date at 12 o’clock. Like the Tondagraph

GT, the small seconds (at six o’clock) also displays the running

seconds with a twist. Instead of running in a full circle, the

seconds are indicated through two tracks in a half-arc shape.

The automatic caliber PF044 powers the Tonda GT, which

is also finely finished, with a power reserve of 45 hours, water

resistance to 100 meters via a screw-down crown. On the

integrated bracelet, the Tonda GT is almost dress-watch-like,

but fit it on a rubber strap and you’ve fully transitioned to the

territory of casual sporty elegance.

Both the Tonda GT models are also limited editions, with

250 pieces in steel and 150 pieces in rose gold.

Says Davide Traxler, CEO of Parmigiani Fleurier, “This is

yet another step forward for Parmigiani Fleurier as it continues

to evolve and innovate. The new Tonda GT line, with its more

casual shape and attractive price point, reflects current market

needs and is, at the same time, distinctively Parmigiani.”

PARMIGIANI

TONDAGRAPH GT

MOVEMENT Self-winding caliber PF043; hours and minutes;

subsidiary seconds; annual calendar; chronograph; 45-hour

power reserve

CASE 42mm; stainless steel; water-resistant to 100m

STRAP Black rubber or stainless-steel bracelet with folding clasp

PRICE USD 19,500 (bracelet) or USD 18,500 (rubber strap);

limited to 200 pieces

PARMIGIANI

TONDA GT

MOVEMENT Self-winding caliber PF044; hours and minutes;

subsidiary seconds; big date; 45-hour power reserve

CASE 42mm; stainless steel or 18K rose gold;


STRAP Black or blue rubber, or matching metal bracelet with

folding clasp

PRICE USD 49,500 (bracelet) or USD 24,900 (rubber strap);

limited to 150 pieces

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New Colour Code

AUDEMARS PIGUET’S NEW

COLOR CODE

The new Audemars Piguet CODE 11.59 takes the technical

innovation and case styling from the launch models and adds a colorful

twist and finish as a firm response to mixed initial feedback last year.

Words Ross Povey

The CODE 11.59

now comes in five

colorways with a

beautiful smoked

lacquer finish.

AUDEMARS PIGUET

CODE 11.59 SELFWINDING 41MM

MOVEMENT Selfwinding AP

manufacture 4302 caliber; hours,

minutes, seconds; date; 70-hour

power reserve

CASE White gold, rose gold, rose

gold case middle with white gold

top and bottom; 41mm; gradient

lacquer dials in five colorways;


STRAP Leather in colors matching

the dial

PRICE USD26,800

It’s a commonly accepted fact amongst fans of the

Star Wars saga that The Empire Strikes Back was

superior to the original Star Wars: A New Hope.So

too is the second act of CODE 11.59, as the range

finally steps out of the long shadows cast by its iconic

big brother, the Royal Oak. We take a look at the

newest iterations that have more than just good looks.

But then, it has to be said, these watches are indeed

very good-looking!

IN THE BEGINNING

It would be difficult to write about the launch of the

CODE 11.59 without making some comment on the

fact that it received an initial welcome that, on a good

day, might be seen as lukewarm. One of the biggest

criticisms of the launch collection was aimed at the

dials that were in the original models. Being the

giant of the industry that it is, instead of retreating

into its cave, fingers in ears and pretending it never

happened, Audemars Piguet has done the sensible

thing in the face of such a backlash. AP has taken the

feedback on the chin and given the watches a facelift.

And what a facelift it is, with beautiful new dials and

the addition of two-tone gold cases to add another

dimension to the freshly rejuvenated range.

With the 2019 launch, one element that could not

be argued with were the incredible new movements.

The CODE 11.59 housed newly developed calibers that

took a huge amount of time, effort and perseverance to

ensure they met the lofty expectations of the maison.

The chronographs are driven by the in-house caliber

4401 with column clutch and flyback chronograph

feature. AP worked hard to make as much of this new

caliber’s workings as visible as possible, including the

usually obscured column wheel and the ‘dance’ of the

hammers when the mechanism is reset. The 22K gold

rotor has been made in openworked form to extend

the viewing opportunities of AP’s latest mechanical

marvel. The vertical clutch is important to stop any hand

jumping when the chronograph is stopped and started,

and there is even a patented zero-setting mechanism

that ensures the perfect reset to zero. Fully integrated

and fully in-house, this is certainly an achievement

that all at AP are quite rightfully proud of. Audemars

Piguet has an illustrious history of producing highend

complications and so fans of the brand had been

waiting for a new in-house complication, and they were

certainly not disappointed with the proffered engine.

REIMAGINED FUTURE

When Audemars Piguet decided to create an entirely

new concept in the CODE, the octagonal bezel of

the Royal Oak and the Offshore is a design cue it felt

strongly about referencing in the collection. Just as

Tudor tips its hat to its vintage Submariner line with the

‘snowflake’ hands on the Black Bay, so too AP is paying

its eight-sided respects to its greatest achievement to

date. The mid-case is octagonal in construction and

yet they’ve hidden this nod partially from plain sight by

obscuring it with the round bezel and caseback. Literally

a mark of the brand, depending on what angle you look at

it! The ‘house shape’ is also referenced in the lug screws,

which echo the bezel screws on the Royal Oak.

One of the most innovative and interesting aspects

to the CODE case are the lugs, which are attached

to the bezel and then sit against the caseback. These

suspended lugs are actually unattached to the caseback,

as doing so would have made it impossible to remove

the back to access the movement for regulating and

servicing. The lugs are, like the movement rotor,

openworked, which, to this writer’s eyes, gives the watch

a very contemporary look that screams 21st century.

DIALS TO DYE FOR

The new dials are refined and about as elegant as you

could hope for, so I believe the CODE has shown its

hand. These dials are beautiful…really beautiful. A

smoked lacquer finish emboldens sunburst effects in

blue, burgundy and purple, and two shades of grey —

light and dark. The ‘Refined Intensity’ is a sunburst

burgundy and is paired with a white-gold case. I like

white gold for its under-the-radar look that to the

untrained eye could be a simple steel watch, yet the

heft on the wrist is reassuringly gold. ‘Ocean Deep’

does what it says on the tin with a stunning run through

every possible shade of blue from the blackest navy

through to vibrant royal blue. Paired with pink gold, this

a serious-looking watch and not so politely demands

your attention. ‘Uncompromisingly Purple’ is the third

color and is sultry and smoky and works particularly

well against the pink-gold case. The refinement also

continues in the cases.

According to Audemars Piguet, the house has

seldom produced two-tone gold cases. In fact, only

eight models have been produced in this combination

since the genesis of the brand in 1882 and less than eight

in pink- and white-gold livery. The watches are set up

with pink-gold mid-cases sandwiched between whitegold

casebacks and bezels. The signature attached lugs

are also in white gold. The octagonal mid-cases are even

more noticeable in the bi-color cases and, as you would

expect, the finishing is first rate.

The beautiful two-tone,

with the pink-gold

mid-case sandwiched

between the white-gold

caseback and bezel.

AUDEMARS PIGUET

CODE 11.59 Selfwinding

Chronograph

MOVEMENT Selfwinding AP

manufacture 4401 caliber;

hours, minutes, seconds; date;

chronograph; 70-hour power

reserve

CASE White gold, rose gold, rose

gold case middle with white gold

top and bottom; 41mm; gradient

lacquer dials in five colorways;


STRAP Leather in colors matching

the dial

PRICE USD42,400

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MID-CENTURY CHARM

Longines adds two 1940s-inspired models to its

Heritage collection that tug at heartstrings with their

mid-century charm.

Words Stephanie Ip

The Longines Heritage collection is one of our favorite

collections to write about and well within reason. With

a historical archive that dates back to 1832, the Heritage

collection has so much to draw from: the military and diving

watches of old, and beautiful, original mid-century classics that

carry an echo of decades past.

For 2020, Longines adds two new Heritage models to the

family: the Longines Heritage Classic Chronograph Tuxedo and

the Longines Heritage Classic Tuxedo. Tuxedo was a nickname

coined by collectors due to the contrast of black and white on

their dials. The three-hand model dates back to 1945 while the

chronograph dates back to 1943.

A31.501. The movement beats at 25,200vph and is equipped

with a silicon balance spring. Keeping to the ‘40s aesthetic,

Longines intentionally left out the “Automatic” label it typically

includes on its self-winding timepieces, and kept the crown

on the larger side in tribute to its historical watches that were

hand-wound and featured larger crowns for winding. For

its modern iterations in the Heritage line though, Longines

has equipped its watches with a self-winding movement for

convenience’s sake. On the closed caseback, the old-school

Longines logo with the winged hourglass can be found. The

drilled lugs are also a period detail that doesn’t go unnoticed.

LONGINES HERITAGE CLASSIC CHRONOGRAPH TUXEDO

While Longines has yet to revive the hugely desired 13ZN

chronograph (we tried to ask vice-president Charles Villoz but

he very cleverly evaded our questions), this has not stopped the

brand from coming up with vintage-inspired chronographs that

continue to make us dream.

The new Heritage Classic Chronograph Tuxedo takes

design cues from a 1943 chronograph, a bi-compax

chronograph with the same matte black hour track with Art

Deco-like numerals, an opaline dial and blued tachymeter

scale and chronograph hands. At 40mm in diameter, the watch

is also equipped with a large crown and pushers as befitting a

watch from this period. Inside, the movement is sadly not the

hand-wound 13ZN but the caliber L895. The ETA-based selfwinding

movement is still a robust one, beating at 28,800vph

with a power reserve of 54 hours.

Both additions are beautifully executed and at their price

points, they really are a steal. We might all have opinions on

how Longines could do even better — give people what they

want, like a manual-wind version — but we cannot deny, when

it comes to vintage-inspired pieces, Longines really knows

its stuff.

The vintage

models that

inspired the

new Tuxedo

watches.

The Longines

Heritage Classic

Chronograph

Tuxedo

LONGINES

HERITAGE CLASSIC TUXEDO

MOVEMENT Self-winding caliber L893;

hours and minutes; subsidiary seconds;


CASE 38.5mm; stainless steel; water

resistant to 30m

STRAP Black leather

PRICE USD 2,000

LONGINES HERITAGE CLASSIC TUXEDO

Simple three-hand watches like these were a popular design in

the 1940s and this one was special because it came with a matte

black hour tracks with raised luminous Arabic numerals and a

small seconds counter at six o’clock with snailing detail. The

black and white gives the watch an almost Art Deco vibe and a

dressy feel — with a nickname like Tuxedo, you might even be

convinced that the watch was made for jazz club and partygoers.

But noting the year — 1945 — and the legible dial layout

and application of lume, the original watch was probably meant

for the field.

The 2020 version pays pretty faithful homage to the

original, but is now 38.5mm in diameter and fitted with the

caliber L893 automatic movement, Longines’ take on the ETA

The Longines Heritage Classic

Tuxedo

LONGINES

HERITAGE CLASSIC CHRONOGRAPH TUXEDO

MOVEMENT Self-winding caliber L895;

hours and minutes; subsidiary seconds;

chronograph; 54-hour power reserve

CASE 40mm; stainless steel; water-resistant

to 30m

STRAP Black leather

PRICE USD 3,000

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A NEW FACE

FOR THE RM 011

Richard Mille adds a fifth chapter to their widely

beloved family of chronographs with the RM 11-05

Automatic Flyback Chronograph GMT that has its

bezel made of Cermet.

Words Sumit Nag

Richard Mille adds to their most beloved line of

timepieces, the RM 011. This family of chronographs

was first launched in 2007 as the RM 011 Automatic

Chronograph Felipe Massa, establishing for the brand a legacy

and several lifetimes’ worth of admirers.

For 2020, the RM 011 welcomes its fifth chapter, the RM

11-05 Automatic Flyback Chronograph GMT. The first thing

that should strike you about the watch is that as opposed to the

more aggressive take on the Richard Mille tonneau case that

we see now on the RM 11-03 and 04, the RM 11-05 has the

prior sleek case styling that we last saw on the RM 11-02. And

probably for good reason (we’ll come back to this).

The movement powering the watch is the caliber RMAC3

that we’ve seen previously in the RM 11-03. As it is the Richard

Mille religion, the baseplate and bridges of the RMAC3 are

all forged in grade 5 titanium with extensive skeletonization.

However, what makes the movement different from those

used in previous instances is the inclusion of the GMT hand,

seen here with the orange arrow-tipped fourth hand on the

central pinion. The GMT hand can be independently adjusted

using a pusher integrated into the watch at nine o’clock.

Beyond that the movement includes hours, minutes

and running seconds at three o’clock; 60-minute and

24-hour chronograph totalizers at nine and six o’clock

respectively; lastly, the annual calendar comprising the large

date display at 12 o’clock with the month aperture between

four and five o’clock.

Now the hardcore follower of Richard Mille watches will

note that the material we see on the bezel of the RM 11-05

is not one we’ve seen previously. After their last foray into a

brand-new material utilized in case construction — graphene,

used in the RM 50-03 — the brand has now plunged into

using Cermet. Cermet is a compounded material formed using

a metal element and ceramic. The metal element provides a

lattice structure which is then filled with ceramic forming the

Cermet (cer-met, i.e. ceramic + metal).

In the case of the RM 11-05, Richard Mille has utilized a

zirconium-based Cermet for the bezel, also formally known as

zirconium carbide (ZrC). The brand has stated that the Cermet

they are using “combines the lightness of titanium with the

hardness of a ceramic.”

The production of ZrC requires starting off with zirconium

dioxide, where the compound is reduced using a carbon source

giving us ZrC in powered form. ZrC is a gray substance, which

explains the color of the bezel on the RM 11-05. From there the

solid form of the material is obtained by flash sintering, where

the material is subjected to temperatures of up to 2,000ºC

all while a direct electric field is applied using specialized

electrodes. Sintering is what helps form the solid; the flash

aspect of it helps to dramatically reduce the time it takes for the

sintering process to be completed.

According to Richard Mille, the resulting solid has a, “…

density of 4.1g/cm3 — less than that of titanium — and its

hardness of 2,360 Vickers — almost the same as diamond’s

2,400 Vickers — makes Cermet a judicious choice for use in

bezels that are very exposed to scratches, while maintaining

overall lightness.” The tripartite case of the RM 11-05,

therefore, has a Cermet bezel, a Carbon TPT® mid-case and a

titanium back all held together by Richard Mille’s spline screws

in grade 5 titanium.

The RM 11-05 Automatic Flyback Chronograph GMT will

be available as of July 2020, in a limited run of 140 pieces.

RICHARD MILLE

RM 11-05 AUTOMATIC FLYBACK CHRONOGRAPH GMT

MOVEMENT Self-winding caliber RMAC3; hours, minutes and

small running seconds; chronograph with 60-minute and 24-hour

totalizers; annual calendar with date and month display; 50-hour

power reserve

CASE 50mm × 42.70mm; front bezel in gray Cermet, caseband

in Carbon TPT® and caseback in grade 5 titanium; waterresistant

to 50m

STRAP Baby blue rubber

PRICE CHF 204,000 (excl. VAT)

AVAILABILITY July 2020, in a limited run of 140 pieces

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S P L I T

S E C O N D S

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Bell & Ross

BR 05 Skeleton Blue

Ref. BR05A-BLU-SKST/SST

USD 6,900

bellross.com

Roger Dubuis

Excalibur Diabolus

in Machina

Pièce Unique

Ref. RDDBEX0842

Price upon request

rogerdubuis.com

Cartier

Pasha de Cartier

Skeleton in Steel

Ref. WHPA0007

USD 25,300

cartier.com

RADO

TrueSquareOpenHeart

Ref. 27083202

USD 2,550

rado.com

Louis Vuitton

Tambour Curve

Flying Tourbillon

Poinçon de Genève

in Titanium and

CarboStratum

Price upon request

louisvuitton.com

OPEN HEART

Gaze into the soul of a watch, where less is most certainly more.

Piaget

Altiplano Ultimate

Concept Watch

Ref. GOA45502

Price upon request

piaget.com

Reservoir

GT Tour Skeleton

Ref. RSV01.GT/430-02

USD 6,300

reservoir-watch.com

Skeletonized timepieces first appeared during the 18th

century, and were once exclusive to the highest levels

of watchmaking. Today, numerous interpretations of

openworked dial can be found at all levels, and in nearly every

collection. On the bleeding edge, Piaget has exposed the inner

workings of a groundbreaking ultra-slim movement, wherein the

mainplate and case are integrated, machined from a single piece

of cobalt alloy. Meanwhile, Louis Vuitton leaves only tourbillon

mechanicals and the house’s famed monogram rendered in

beveled edges, a monument to all-out precision. Roger Dubuis

uses twisted shards to keep 558 components in place, as if by

magic, and Breguet introduces a new Tradition Automatique

Seconde Rétrograde 7097 with a blue guilloché dial in gold.

Reservoir famously took away the hour hand; now it’s effectively

removed the rest of the dial, too. The Bell & Ross movement can

be seen through a blue-tinted lens, while Rado’s circle-withina-square

and Cartier’s square-within-a-circle is an optical

masterclass in negative space. The common thread? These

pieces reveal everything we love about mechanical watchmaking,

stripping away the unnecessary, in the pursuit of something

greater. Somehow, even hundreds of years later, an openworked

design can still feel like a glimpse into the future.

Breguet

Tradition Automatique

Seconde Retrograde

Ref. 7907

USD 36,100

breguet.com

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PICK YOUR POISON

Anewdecadeinwomen’swatchmakingstartshere.

Words Stephanie Ip

How many watches does it take to make a trend?

Looking at this year’s selection of watches for

women, we’re instantly struck with the thought:

there really wasn’t one discernible trend, although

many exciting offerings. You have maisons like Cartier

and Piaget returning to their roots in jewelry. You have

manufactures like Audemars Piguet and Breitling

downsizing and returning to classical sizes that suit both

genders. And then of course, there are new creations

designed from the ground up with women in mind;

from beloved brands like MB&F, Bvlgari, Vacheron

Constantin and Zenith.

So back to the question, what is trending now? Maybe

it’s that women are finally being seen and heard. Maybe

what we’re trying to say is, women have been left out of

the equation for too long and it’s about time we got our

prime pickings. In 2020, with the new releases we’ve

seen so far, it looks like we’re off to a good start.

JEWELRY-FOCUSED

DESIGNED FROM THE GROUND UP FOR LADIES

DOWNSIZING

Breitling

Navitimer

35mm

Cartier

Revelation

d’Une Panthère

MB&F Legacy

Machine FlyingT

Vacheron

Constantin

Égérie

Audemars Piguet

Royal Oak Selfwinding

34mm

Piaget

Limelight Gala

Bvlgari Serpenti

Seduttori Tourbillon

Zenith

Defy Midnight

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THIS WATCH IS

GARBAGE

How one man’s trash became another man’s wristwatch.


Each year, more than 55 million tons of electronic waste

— computers, TVs, cell phones, and other devices —

gets sent to landfills. Along with potentially harmful

materials, like beryllium and lead, this waste also contains some

$60M in precious metals. In fact, as much as seven percent

of the world’s gold can be found in e-waste, according to the

World Economic Forum.

Vollebak, a London-based tech startup, thinks it’s time we

did something about it.

“To avoid trashing our own planet, we need to start figuring

out how to reuse stuff we already have,” says Steve Tidball, who

co-founded the company with his twin brother, Nick.

Together, they’ve been rethinking the future of clothing,

developing fabrics and manufacturing techniques that might lead

us into the next age of sustainability. On the Vollebak website,

you’ll find the “Full Metal Jacket,” made from 11 kilometers of

copper, which conducts heat while killing bacteria and viruses.

(Disease-resistant clothing? Sounds like a growth market…)

The jacket is waterproof, windproof, and surprisingly soft.

Now, Vollebak is working on a new project: a wristwatch.

“Our ‘Garbage Watch’ started with a very simple idea:

What if electronic waste isn’t garbage? What if it’s simply preassembled

raw materials that we can use to make new things?”

says Steve Tidball. “That’s why everything you can see on the

Garbage Watch used to be something else — a motherboard

from your computer, a microchip in your smartphone, or wiring

from your TV.”

The project is a collaboration with the Wallpaper* Re-

Made Project, an initiative to promote sustainable product

research and creation. Vollebak has already greenlighted an

early prototype of the timepiece; the brothers are aiming to

launch and begin production next year. In the meantime, they’ll

be sourcing components from sustainable e-waste recycling

efforts, sharing updates about the process online, and, yes,

taking early pre-orders.

The Garbage Watch’s unique design should drive real

demand. To that end, Vollebak was inspired by the “insideout”

approach of Centre Pompidou in Paris, whose distinctive

architectural style leaves the building’s structural elements,

mechanical systems, and circulation exposed on the exterior.

Says Nick Tidball: “Our aim was to reframe an often invisible

end of the supply chain, and make people think deeply about the

impact of treating their wearables in a disposable manner.”

It’s a clever idea. And maybe proof that the smartwatch isn’t

so smart after all.

Get on the waiting list: vollebak.com/product/garbage-watch.

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Prada + A. Lange & Söhne

A. Lange & Söhne

Datograph Perpetual

Tourbillon, Ref. 740.056;

18K white-gold case

with alligator strap;

USD 287,800;

alange-soehne.com

Officine Générale + Montblanc

Montblanc Heritage Manufacture Pulsograph

Limited Edition 100, Ref. 126095; 18K rosegold

case with alligator strap; USD 33,000;

montblanc.com

Gucci + Bvlgari

Bvlgari Octo Finissimo, Ref. 102912;

18K rose-gold case with rose-gold

bracelet; USD 45,700;

bulgari.com

Ami +

Patek Philippe

Patek Philippe

Perpetual Calendar

Chronograph, Ref.

5270P; Platinum

case with alligator

strap; USD 192,780;

patek.com

BACK IN THE GAME

A relaxed attitude gives tailoring a fresh new look. The suit is dead,

long live the suit!

What does the future of work attire look like? Certainly, the

Brooks Brothers’ bankruptcy has shoppers questioning the

relevance of a tailored suit. And months of dressing for the

home office has surely loosened a few ties, figurative and literal. But if the

fall-winter 2020 menswear shows are any indication, fashion designers

aren’t ready to give up on traditional suiting just yet. Turn an eye to the

runways of Milan and Paris for an innovative take: These aren’t the

usual dreary salaryman-style jackets and pants. Relaxed fits with casual

proportions look as cool and effortless as comfy T-shirts and sweats. When

the time comes, pair with your favorite shoe and a sophisticated salmondial

watch. Then reemerge from video conference limbo, stepping back into

the real world (and revealing your lower half) with confidence and style.

Tod's + Breitling

Breitling Navitimer Automatic 35, Ref.

A17395201K1A1; Stainless-steel case

with steel bracelet; USD 4,860;

breitling.com

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“A man should look as if he has

bought his clothes with intelligence,

put them on with care, and

forgotten about them.”

– Hardy Amies –

Balenciaga + Audemars Piguet

Audemars Piguet Royal Oak Tourbillon

Extra-Thin, Ref. 26515OR.OO.1220OR.01;

18K rose-gold case with rose-gold

bracelet; Price upon request;

audemarspiguet.com

Valentino + Breguet

Breguet Marine, Ref.

5517; 18K rose-gold

case with rose-gold


breguet.com

Hermès + Rolex

Rolex Cosmograph

Daytona, Ref. 116505;

18K Everose gold case

with Everose gold


rolex.com

Tom Ford + Bucherer

Carl F. Bucherer Heritage Bicompax Annual, Ref.

00.10803.07.42.01; Stainless-steel and 18K rosegold

case with calfskin strap; USD 10,500;

carl-f-bucherer.com

Christophe Lemaire + Grönefeld

Grönefeld 1941 Principia Automatic

Salmon Dial, Ref. 1941; Stainless-steel

case with blue buffalo leather strap;

USD 35,940;

gronefeld.com

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STILL LIFE

As the leaves outside turn into shades of crimson,

gold and silver, we’re reminded that time is

fleeting, but there is permanence in these objects

of time.

PHOTOGRAPHER FELICITY MCCABE

CONCEPT BY ARABELLA BOARDMAN & ROSS POVEY

PHOTOGRAPHER’S ASSISTANT LUCIA SVECOVA

FASHION ASSISTANT AMELIA HUDSON

Omega

Speedmaster 38 Co-Axial

Chronograph 38 mm. Yellow

Gold on Leather Strap.

Patek Philippe

Men’s Annual Calendar

Chronograph Ref. 5905P-001

in platinum. Blue sunburst

dial with gold applied hour

markers and numerals.

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This page

Vacheron Constantin

Overseas Perpetual

Calendar Ultra-thin.

Opposite page

Chopard

L.U.C XPS Spirit of Nature,

40 MM Automatic, Certified

Fairmined Ethical Rose Gold.

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IWC

Portugieser Automatic 40 Blue

Alligator leather strap with

Silver plaited dial.

A.Lange & Sohne

LITTLE LANGE 1, Pink gold

with guilloched dial in brown.

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Great Expectations

The events of 2020 have put corporate social responsibility programs

in the luxury watch industry to the test.

Words Victoria Gomelsky

At Cartier, Black Lives Matter.

“As a Maison, our creativity is nurtured

and inspired by the diverse cultures of

the world,” reads a statement from the brand

accompanying a black square posted to its Instagram

feed on June 2nd. “We find our own richness in this

diversity, and we stand firmly against all forms of

racism directed toward the Black Community. At

this moment we are examining our own company to

identify actions we can take that will result in real

change. #BlackoutTuesday.”

Protests supporting

the Black Lives

Matter movement,

like this one in

Washington D.C.,

have spread around

the globe.

CREDIT: GETTY IMAGES

The French luxury brand was not the only

watchmaker to express solidarity with the Black Lives

Matter movement on June 2nd (others included IWC

Schaffhausen and the luxury group Kering, owner

of Ulysse Nardin and Girard-Perregaux), but it was

certainly among the few. It’s unclear how to interpret

the watch industry’s overwhelming silence on the

matter — except to say that navigating the churning

waters of corporate social responsibility (CSR) in

2020 is trickier than ever.

Twenty years ago, making a public statement on a

hot-button social issue may have been enough to land

a luxury brand a news mention and applause at the

annual banquet. Today, unless a brand is prepared to

publicly detail its accountability, “it’s probably better

to say nothing,” says Fabrice Paget, a former Cartier

executive and founder of the London-based Luxury

Brand Agency. That’s because social media-savvy

consumers are quick to punish companies that fail to

back up their platitudes with consequential actions.

“So, what exactly are your plans to change?”

commenter @aggie_dreams_a_bit wrote in response

to Cartier’s #BlackoutTuesday post. “Because if you

have no plan in place or haven’t give it much thought,

you’re just pandering to POC, like so many other

companies are doing now.”

To hear Mercedes Abramo, president and

CEO of Cartier North America, tell it, the work

is just getting started. “We recently held a series

of listening sessions with our employees to hear

directly about their personal and professional

concerns, experiences and feedback regarding

racism, discrimination, and diversity and inclusion

at Cartier,” she wrote in an e-mail. “We are also

partnering with a leading diversity and inclusion

consulting firm, to help us develop a thoughtful and

strategic plan to make lasting and meaningful change

at Cartier.”

That so much soul-searching is going on at the

highest levels of luxury speaks to the ways in which

CSR programs are evolving. Ever since American

economist Howard Bowen coined the phrase

“corporate social responsibility” in 1953, the concept

has been in flux. Popularized as a business model

in the 1970s when the idea of a “social contract”

between companies and society gained favor, CSR

was still in its infancy in 1984, when Cartier created

the Fondation Cartier to promote contemporary art,

becoming one of the first luxury brands to establish

a corporate philanthropy initiative (not counting

the charitable yet ultra-secretive Hans Wilsdorf

Foundation, the private family trust established by

Rolex founder Hans Wilsdorf in 1945).

Social media-savvy consumers are quick to

punish companies that fail to back up their

platitudes with consequential actions.

It wasn’t until the 1990s, however, that most

luxury firms recognized CSR as an essential business

strategy. In 1996, for example, Kering, then known

as Pinault-Printemps-Redoute or PPR, created its

first code of ethics.

To appreciate how the luxury industry’s approach

to CSR has evolved in the quarter-century since,

peruse the Kering Instagram feed, which is less a

paean to the group’s deluxe products, from Gucci

handbags to Boucheron jewels, than a platform to

promote its creeds, such as its stands against racism

and gender-based violence. You’d be forgiven for

thinking the posts were the work of a posh, wellfunded

artist-activist invested in issues including,

but not limited to, sustainability, the environment,

LGBTQIA rights, systemic racism and the myriad

challenges wrought by the COVID-19 pandemic.

The group’s magnanimous positioning reflects

the multifaceted approach to CSR required of

luxury goods companies today. Because even

though current clients may not feel strongly

about today’s wide-ranging set of issues, future

luxury clients — the purpose-driven members of

Generation Z — will judge brands for how well,

or poorly, they handle them.

Cartier’s official

statement was also

announced on its

Instagram account.

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“When we say ‘corporate social responsibility,’

we are talking about three things: The first one is

ethics, the second is being charitable and the third

is sustainability,” says Milton Pedraza, CEO of the

Luxury Institute. “Across all three fronts you have to

now deliver beyond your product or service.”

Swiss watchmakers have a rich track record

of supporting issues related to environmental

causes, women’s programs and arts initiatives

(see Blancpain’s eight-year-old involvement with

the World Ocean Summit, Cartier’s longstanding

support of female entrepreneurs and Rolex’s Mentor

and Protégé Arts Initiative) — though cynics might

insist that’s because these causes lack controversy,

and are near and dear to many of their clients’ hearts.

As of this year, many watch brands can add

pandemic relief and coronavirus research to their

philanthropic resumes. Kering donated $1 million to

the Centers for Disease Control Foundation to

support healthcare workers in America. Rolex has

been supporting the Red Cross, the World Health

Organization’s COVID-19 Solidarity Response

Fund, as well as the City Harvest food program and

Mount Sinai Hospital, both in New York City.

Bvlgari tackled the crisis with a combination of

monetary and in-kind contributions. In addition to

transforming its fragrance factory in Lodi, Italy, to

produce sanitizing gel for hospitals in Italy and

Switzerland, the LVMH-owned brand created a

multimillion-euro Virus Free Fund in June to support

vaccine research at Oxford University’s Jenner

Institute and Rome’s Lazzaro Spallanzani National

Institute for Infectious Diseases.

“The path to CSR started for Bvlgari a long time

ago,” says CEO Jean-Christophe Babin, referring

to the brand’s 11-year involvement with Save the

Children, for whom it’s raised almost $100 million

benefitting more than two million disadvantaged kids

around the world. “The COVID-19 crisis was just an

accelerator in realizing that this is absolutely the

right way.”

Clockwise from top:

The launch of the

BVLGARI Virus Free

Fund; shifting its

perfume factories

to produce hand

santizier; Oxford

University’s

Jenner Lab.

Meanwhile, Breitling did its part for COVID-19

frontline workers in May, when it unveiled a

second limited edition of its 2020 breakout hit, the

Superocean Heritage ’57 “Rainbow,” with a blue

dial — to match the color of the UK’s National Health

Services logo — and donated proceeds from its sale

(around $700,000) to six nonprofits, one for each

of the brand’s hardest hit markets, including Direct

Relief in the USA, NHS Charities Together in the UK

and the Humanitas Hospital Group in Italy.

At press time, the brand was also preparing to

formally unveil a new eco-friendly approach to

packaging in the fall that would give customers the

option to forgo boxes and paperwork in favor of soft

pouches and digital documentation.

“We are a small company, but we have very

influential customers,” says Breitling CEO Georges

Kern. “And we’ll give them a choice to be part of that

new thinking.”

When it comes to issues of social justice, however,

Breitling, as with most luxury brands, would prefer

to stay out of the fray. “We don’t want to be part of a

problem, we want to be part of a solution,” Kern says.

Plenty of watchmakers, from Audemars Piguet

to Zenith, seem to agree. “You don’t see Rolex

blustering around on any of these social issues yet

and they’re still the no. 1 brand in the world,” Paget

says. “It takes time to get policies and actions in

place. The key thing would be recognizing the truth:

A brand, a company or an industry is not going to

change overnight but it has to start on the path.”

Indeed, if the consumer response to the crises of

2020 is any indication, even an industry as traditional

and slow-moving as Swiss watchmaking will have to

confront these issues sooner than later.

“There is a growing activism on the part of

both brands and consumers and that’s new,” says

Pedraza. “Disney just announced a partnership with

Colin Kaepernick — what? He was a pariah. Now

America’s brand is embracing him because he stood

for something. You can’t afford to not contribute and

add value.”

From top:

Breitling CEO

Georges Kern;

the Superocean

Heritage ‘57

“Rainbow.”

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Magical Thinking

After a decade of unprecedented growth, Hublot is at the top of its game.

Interview by Stephen Watson

Since becoming CEO of Hublot

in 2012, Ricardo Guadalupe has

focused his energy on combining

traditional watchmaking expertise with

a cutting-edge point of view. Always

at the forefront of new technology and

innovative materials, the brand now has

over 750 points of sale and 80 exclusive

boutiques worldwide. There is no denying

it: Hublot is one of the most fascinating

success stories of the 20th century.

How would you define Hublot’s core

customer demographic?

Hublot’s customers are women and men

who are young, who know success, follow

an entrepreneur philosophy, and who

[are] trendy and like fashion and lifestyle.

Recent special editions have been

especially fun and appealing. How

important have these watches, which

are often made for specific markets,

become to Hublot? Is the intention to

become collector’s items in the future?

We don’t have 200 years of history,

which is why we have developed our

own particular concept with the “Art of

Fusion.” I think brands repeating the past

and re-issuing models from 50 years ago

is an issue. We need some evolution in

the industry, so why not use ceramic and

sapphire to make watch cases? This is the

technology that we have today but didn’t

exist 50 years ago. For us, it was evident to

use this, but for brands with over a century

of history maybe it’s not as obvious.

And we go where our clients are! We

continuously focus on our customers,

we elaborate our partnerships in

accordance with the interests of our

clients, to better suit their needs and

expectations. Football, cars, art, music

are areas where our customers are. So

we are partners with FIFA and UEFA,

the two most important organizations in

the football universe, and with Ferrari,

certainly the most famous car brand in

the world. We do things differently than

other traditional watchmakers [and in

accordance with] our motto: “First,

Unique, Different.”

Therefore yes, I believe some of our

limited editions immediately become

collector’s items. For example, the

limited edition we created in partnership

with Depeche Mode, or the newly

launched Big Bang Millennial Pink that

sold out within three days. Creativity and

innovation are key for us at every level.

How has developing these watches

influenced the primary collection?

The limited editions are products that

arouse interest, and they are talking

pieces. These collections sell super

rapidly as they represent the universe

of Hublot and our partners. It’s a

real fusion. Of course, they help us to

[sell] the core range, as people enter

our boutiques and discover the whole

collection of our brand.

The past few months have been

particularly challenging, impacting how

we work and our personal lives. Has

there been a silver lining for Hublot?

Any positive takeaways?

By way of precaution, and to protect

our personnel, on March 17th, we

decided to go beyond our Swiss

government’s recommendations and

close our manufacture’s production

site for the necessary time. This was

a temporary measure, and in May

we started the production again, but

working in two shifts. The goal of this

decision still is to slow/stop the spread

of the coronavirus and protect our

employees as well as all of our citizens.

The confinement has definitely

changed timing in everybody’s life.

Since the beginning of this sanitary

crisis, I’ve taken time to read, time

to walk in the forest, time to think,

time to cook, et cetera. It is too early

to already say what we will learn from

the COVID-19 situation, but for sure

there will be a before and an after!

Hublot has always been ahead of the

competition in terms of presenting our

products. We were the first to create a TV

[channel]. We started on social media

right at the beginning and now are leaders

in terms of followers. We were ready

when the digital transformation started

a few years ago. We, now, more than

usual, are really active on social-media

channels, like Instagram, but also with

other digital actions — for example our

digital boutique or with our e-commerce.

This allows us to keep in touch with our

clients and friends without having them

obliged to come to our boutiques.

Environmental concerns and

sustainability are also top of mind in

2020. How will these concerns impact

Hublot in the future?

Hublot shows a strong commitment to

charitable and humanitarian institutions.

We have supported [the nonprofit

organization] charity: water, on three

other occasions since 2013. The funds,

raised in collaboration with Depeche

Mode, have given life to 229 projects in

Nepal and Ethiopia, with 220 standpipes

and 19 wells drilled and dug by hand,

which now bring safe, clean water to

over 30,000 people. For the second

campaign, we have set the goal, again

together with Depeche Mode, to beat

this previous achievement and bring

clean water to 50,000 men, women, and

children around the world. Everyone

has the right to water, everyone has the

right to life. We have the chance to have

a strong brand image, and therefore we

need to give back!

Evolution comes slow to the watch

industry, but the past few months

have forced radical changes. What

should we look forward to in the post-

Baselworld era?

I strongly believe brands need to

reconsider their global strategies in order

to overcome the crisis. Social distancing

will remain a concern and people will

need to be cautious. Local customers

must have direct access to the brands,

because it will take time to come back to

“normal.” At Hublot, we continue to be

different and to dare. The good examples

are the products we launched during this

period. It is our role to continue to make

people dream. And therefore we create

stunning pieces of art to wear on the wrist.

Last question. Do you have a particular

favorite Hublot style? Which one do you

reach for most personally?

My favorite watch is, without any

discussion, the Big Bang All Black.

The most iconic product!

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What is your role at Watchfinder?

Describe a day at the office.

I’m the CEO. My day is currently spent

battling with Skype, and Zoom, and

Teams, and wishing I had a better Internet

connection.

What do you like about watches? How did

it all start for you?

I like that mechanical watches appear

simple on the surface but the dial hides an

incredibly complex and miniature power

plant that beats around 30,000 times an

hour. My professional interest started

20 years ago when a couple of old school

friends told me they intended to test the

commercial potential of the Internet by

selling watches online and [asked] did I

fancy joining them?

What was your first watch?

A navy-blue TAG Heuer F1 sports watch.

What is your daily beater? And why?

Jaeger-LeCoultre’s Memovox Tribute to

Polaris. It’s a great-looking watch.

What does a watch say about the person

wearing it?

Everything and nothing. I try not to judge a

book by its cover.

Who is Watchfinder & Co.?

They’re known to the watch world as one of the most trusted pre-owned watch

specialists, but beyond the hands and the voice behind their hugely popular

YouTube channel, who are the people behind Watchfinder & Co.? How did they

get into the business, what do they wear, and what do they like? We chat with a

fewofthekeypeopleontheteamtofindoutwhatmakesthemtick.

Interviews Stephanie Ip

MATT BOWLING, CO-FOUNDER AND CEO

If you can put together your own threewatch

collection, what would it be?

Jaeger-LeCoultre Memovox Tribute

to Polaris, Patek Nautilus, Rolex Sea-

Dweller.

Vintage or current?

Discontinued.

Gold or steel?

Steel.

Time-only or complication?

It depends if I’m wearing my glasses.

Daytona or Submariner?

Sea-Dweller.

Who is one watchmaker, dead or alive,

you want to meet the most?

Edmond Capt, who designed the Valjoux

7750.

Which is one watch that has passed

through your office that you got really

excited about?

There were three of them. All Vacheron

Constantin, and all featured in a video

we published in February this year: the

James Ward Packard Pocket Watch, the

Ultra-Thin Pocket Watch and the Grand

Complication Ref. 6526 Pocket Watch.

What are you currently reading?

Commander in Cheat by Rick Reilly.

What do you do to unwind?

Light the barbecue, walk the dog, ride my

bike, or enjoy a round of golf.

ANDREW MORGAN, CONTENT DIRECTOR, AKA THE HANDS,

THE VOICE AND THE KNOWLEDGE BEHIND WATCHFINDER’S YOUTUBE CHANNEL



I am Watchfinder’s content director,

overseeing the content production at

Watchfinder. We have developed the

ability to produce our content exclusively

in-house, so most days will involve the

planning and production of audio/visual

media for use throughout the company.

What do you like about watches? How

did it all start for you?

I can’t say there was any specific moment

where I became aware of watches, but

as I grew through my teens and into my

20s, I slowly became aware of the obvious

brands like Rolex and Patek Philippe,

and then became more fascinated with

lesser known entities like MB&F and De

Bethune. Being a former engineer and

a fan of exceptional engineering, the

mechanical craftsmanship has a deeprooted

interest for me.


I had a Casio F-91W in school, long since

gone.


I have a Grand Seiko SBGV245. It’s

relatively affordable, exceptionally well

made, doesn’t need winding and the

finish of the dial rivals watches some 10

times the price.

What does a watch say about the person

wearing it?

Any number of things. It entirely depends

on the person’s motivation for buying

it. It can be a social symbol, a source of

passion, a timekeeper, a hit of nostalgia,

a memory of a loved one. In any case,

I try to judge people by the things that

come out of their mouths rather than the

watches they choose to wear.



An F.P. Journe Chronomètre Bleu, an A.

Lange & Söhne 1815 Chronograph, and

the [Omega] Speedmaster Buzz Aldrin

wore on the Moon — although I’d have to

find it first.

Vintage or current?

I like the romantic appeal of vintage but

the steadfastness of contemporary.

Gold or steel?

I’m not sure I could pull off gold,

so steel for me.


A nice hand-wound

chronograph is the sweet spot

for me.


The Submariner.



I hope one day to meet François-Paul

Journe himself.


The Plague by Albert Camus — that’s not

a joke. I started it in mid-December (I’m

a slow reader) and I must admit it’s lost a

bit of its appeal since.

What books would you recommend to

any watch lover?

Rather than a book, I’d recommend

buying a cheap movement on eBay, a set

of screwdrivers and having a go yourself.

But if it’s a book you want, I’d suggest

Watchmaking by George Daniels.


Currently playing The Last of Us Part II.

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JOSHUA PENI, HEAD WATCHMAKER



I am the head watchmaker here at

Watchfinder. We are Europe’s largest

independent service center and I am

proud to say we are accredited by 19 of the

world’s leading watch manufacturers. I

am responsible for the smooth running of

the workshop and maintaining the highest

standards in our servicing department.

As for a typical day — I like to arrive at the

office very early in the morning, when it’s

nice and quiet, so I can get a head start on

servicing watches right away.

What do you like about watches? How did

it all start for you?

I liked watches from a young age; I found

myself drawn to them as a kid and would

always stand and stare at them through

shopfront windows and wonder what

was going on inside. I started my career

as a watchmaker at The British School of

Watchmaking in 2006 with the WOSTEP

3,000 Hour program.


My first decent Swiss watch was a TAG

Heuer Formula 1. I was around 17 years old

when I bought it and remember having to

save for a long time to get it.


The watch I wear day-to-day is a Rolex

Submariner [Date] Ref. 16610. I bought

it when I first arrived in London back in

1998. It’s a classic design that I still

love today.



If I could choose three watches for my

personal collection, I would go with a

Richard Mille RM 011 in titanium, a

Vacheron Constantin Traditionnelle

Perpetual Calendar Chronograph and a

vintage Rolex Daytona.

Vintage or current?

I’d have to say modern watches, due

to them being more reliable and easier

to maintain. Vintage watches have the

sense of history that comes with them,

but servicing costs are high, and parts

availability can also be a problem.

Gold or steel?

Although I love the look of gold, I would

go with steel as it is more durable when

wearing as an everyday watch.


As a watchmaker, I love a watch with

complications. The movement looks so

much more impressive.


I already own a Submariner so I would go

with a Daytona. It’s a beautiful watch and I

have never owned one.



I would have loved to meet Antoine Le

Coultre. He was responsible for inventing

the Millionomètre back in 1884, a tool

capable of measuring the micron. This

was revolutionary for the time and allowed

the company to refine the manufacture of

watch parts.



excited about?

It’s so hard to pick just one watch that

has come through the office. I do love

seeing A. Lange & Söhne watches as their

movements are finished to the highest

standards.


The last book I have read was Scar Tissue.

It’s an autobiography of Red Hot Chili

Peppers’ frontman, Anthony Kiedis — a

memoir of his life spent in the fast lane.

What books would you recommend to any

watch lover?

An interesting book about horology is

Longitude. It centers around the master

clockmaker John Harrison, who solved

“the longitude problem” with his invention

of the maritime chronometer.


I’m a dad, and spending quality time with

my two boys trumps everything else for me.

ANTOINE BERARDI, HEAD OF HONG KONG & MACAU



I am the head of Hong Kong and Macau

for Watchfinder & Co. My day starts with

a quick morning briefing with the team

to discuss priorities for the day. After

that, each day is different. But the goal is

always the same: make Watchfinder shine

in the city!

What do you like about watches? How

did it all start for you?

I like that there is a story behind

each watch. It starts with its own

characteristics when it was born in the

manufacture, and then [is] shaped by its

— sometimes multiple — owners. Take

the Rolex Daytona 6239, for example;

without Paul Newman, this watch would

certainly not be the icon it is today. I have

always been a fan of watches, but more

particularly so when I started to work for

Cartier seven years ago.


My first watch was a Baume & Mercier

Classima — classic, elegant, and

affordable for a fresh graduate.


Cartier Ballon Bleu with steel bracelet.

One of my first watches that can really be

worn any time, for any occasion: at work

or during big events, thanks to its elegant

style and shape, but also during the

weekend for a more relaxed occasion as

the steel and bracelet looks quite sportive.



Jaeger-LeCoultre Reverso, Rolex

Daytona 116500LN, IWC Pilot’s Watch

Edition “Le Petit Prince.”

Vintage or current?

Both, depending on the mood and style.

Gold or steel?

Steel for me, more discreet.


Time only. I’m easily seduced by the look

of the watch rather than its complications

or its watchmaking prowess.


Daytona!



Roger Dubuis. As [he was] a modern

watchmaker who came up with a very

eccentric, unique and recognizable

brand that met success in just a few years.

Impressive.



excited about?

Patek Philippe Grand Complications

5270G-001, purchased recently by

the HK team. The quintessence of

watchmaking!

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F E A T U R E

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THE PANERAI LUMINOR MARINA:

Enduring Classics

How a watch from the annals of military history — and

a brand that embodies Italian swagger — redefined

“cool” for a new generation of collectors.


“I have discovered a universal rule which seems to apply more

than any other in all human actions or words; namely, to

steer away from affectation at all costs, as if it were a rough

and dangerous reef, and to practise in all things a certain

nonchalance (sprezzatura) which conceals all artistry and

makes whatever one says or does seem uncontrived and effortless.”

The above comment is from Baldassare

Castiglione, the Renaissance-era author, in his

famed Book of the Courtier. He is expounding on

the fashionable concept of sprezzatura, the Italian art of

understatement. Castiglione proposed that everything

one does should appear relaxed and confident, and that

this ideal can best be achieved avoiding the superficial,

while practicing a studied type of elegant detachment.

He is, essentially, describing the very essence of

inner cool.

It should come as no surprise that Castiglione

was Italian. Nearly five centuries after he espoused

the virtues of sprezzatura, the concept remains deeply

ingrained in his nation’s sense of style; so much so

that men (and women) there still strive to emulate

its ineffable magic, carefully curating details — an

unfastened strap, an unbuttoned sleeve, an uneven tie

blade — as to appear carefree.

This same elusive trait explains the appeal of

Panerai. The beloved watchmaker — founded in Italy,

of course — makes everything about the craft seem easy,

look simple, and feel special. Its design hallmarks, like

the pairing of an oversized case to a minimalist dial, or

a utilitarian crown guard next to a supple leather strap,

capture an unforgettable incongruity of beauty and

toughness without fuss. Signore Castiglione

would approve.

This page: The PAM775

features the throwback

“OP” logo from

Panerai’s first publicly

sold collection of

watches.

Opposite: The Luminor

Marina - 44mm

PAM01312, the

definitive modern-day

classic.

At the same time, careful work behind the scenes

has enabled Panerai to evolve into a fully-fledged

lifestyle phenomenon. A look back at the brand’s

distinguished military ties reveals its core DNA,

workmanship in the service of durable and deliberate

timepieces, while today it continues to push the

boundaries of possibility in design and materials.

Macho celebrity envoys like Sylvester Stallone and

Arnold Schwarzenegger initially helped put Panerai’s

modern offerings on the map. Still, it’s the hardcore fan

base, the Paneristi, that gives the business a not-soquiet

enthusiasm, inviting collectors of all stripes, all

around the world, into the fold.

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“Everything about the look and design of our

watches, both in their first iteration back in 1930,

but also today, speaks of boldness and innovation.

For many, the name has also come to represent a

community,” says Jean-Marc Pontroué, the affable

55-year-old Frenchman who was named CEO of

Officine Panerai in 2018. “Panerai is a brand that has

always inspired adventure, daring, and an important

historical connection to Italy and the sea.”

This history provides a unique halo effect. But the

story begins long before those first watches, in the city

of Florence, the birthplace of the Renaissance, where

Guido Panerai founded his workshop in the latter part

of the 1860s. His studio’s expertise in high-precision

mechanicals caught the attention of the Ministry of

Defence and Royal Italian Navy, which requested

production for a range of instruments. During WWI,

working under the banners “Guido Panerai & Figlio”

and “Officine Panerai”, the company began producing

military equipment and automatic machine tools, often

incorporating luminous elements.

The shop’s Radiomir coating immediately set itself

apart. This special material, a radium-based mixture,

made Panerai devices readable in complete darkness:

crucial for the military’s covert nighttime maneuvers.

Soon, the company would be supplying frogmen and

divers with lines of luminescent wrist-worn gear for

underwater use —torches, compasses, and depth

gauges. While much has been lost to history, it’s

believed the first Radiomir wristwatches were made for

the Italian Navy around 1935. Panerai timepieces were,

quite literally, battle-tested.

This page: PAM372

(top), an homage to

the original, down to

the Plexiglass crystal

instead of sapphire.

PAM 1351, an example

of Panerai’s most iconic

dial size 44mm, in

titanium with a vintage

look brown dial.

Opposite: Joining the

black PAM01312 is

the PAM01313 with

a stunning new sunbrushed

blue dial.

Not that ruggedness came at the expense of

appearances. During the interwar period, Guido’s

children, Giuseppe and Maria, opened a stylish

watch and clock shop called L’Orologeria Svizzera

in Florence, further aligning the family with both

horlogerie and Italian design. The shop still exists today

as a Panerai boutique, reimagined by Milan-based

architect Patricia Urquiola. She added numerous

nautical references, brushed bronze-like fixtures, and

warm walnut panelling throughout, a graphical contrast

to the subtle striping of grey and white marble floors,

which create unexpected geometric patterns. This old

family flagship sits directly across the street from the

Duomo, whose soaring structure is bathed in dedicated

exterior lighting at night. Radiance, always.

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The Luminor Marina

PAM01314 with

a stunning white

sandwich-style

dial with new grey

SuperLuminova and grey

strap. The PAM1359

with “dirty dial” as

it is affectionately

known, features all

Arabic numerals with a

beige-brown lume color

for a unique vintage

appearance.

As decades passed, collector interest in vintage

Italian luminescent service equipment only increased,

commanding extraordinary prices at auction.

Eventually, Officine Panerai responded to the market.

In 1993, it reissued the legendary Luminor — along with

the Luminor Marina and Mare Nostrum chronograph

— in limited runs available to the public. The buzz

surrounding these pieces dovetailed into an instantclassic

cameo on Stallone’s wrist in the action-thriller

Daylight. The momentum helped Panerai score an

investment from the Vendome Luxury Group, now

known as Richemont, in 1997.

A careful rollout began in Italy the following year,

with a global launch planned for 1999. Two models

made worldwide debuts, the Luminor and Luminor

Marina, in three different variations. The Mare

Nostrum also got a rerelease, after being updated

slightly to improve non-tactical wearability. The case

sizes of these pieces, all measuring 44 mm or larger,

made them unlike any other luxury watch available,

lending an unusual appeal that proved self-evident.

Other current-day Panerai signatures, most of them

highly-stylised nods to the brand’s military roots, were

established here as well: the unmistakable cushionshaped

case, the unique crown-locking system, the

superior water resistance.

The Luminor Marina

44mm PAM01313,

features the P.9010

calibre, entirely

developed and

created in the

Panerai Manufacture

in Neuchâtel. The

PAM1058 (below), the

latest iteration of the

first Panerai bracelet

design, a detail beloved

by serious collectors.

Panerai’s relaunch was something of a perfect

storm, offering products whose historical narrative

appealed to horology buffs and whose striking design

language initiated a new generation of collectors.

Market demand for big, bold luxury timepieces

exploded; Officine Panerai rode the lighting. All the

while, the core Paneristi eagerly snatched up each

new watch added to the core collection. Wearing one,

they could immediately imagine themselves taking on

a daring underwater adventure or military operation,

piloting the Luna Rossa in America’s Cup or sailing the

Amalfi coast, or simply lifting a glass of rosé at the

local trattoria.

At the same time, internal leadership resolved to

further elevate the company’s technical expertise.

Hence, the development of a manufacture operation

in Switzerland, beginning in 2002. The first in-house

Panerai movement, a hand-wound calibre with a GMT

function and an eight-day power reserve, arrived in

2005, dubbed P.2002 to commemorate the inaugural

year of the production facility project. Three more

exceptional in-house calibres followed in short order:

P.2003, whose tourbillon completed a single rotation

in 30 seconds; P.2004, a chronograph; and P.2005, a

GMT with tourbillon.

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For the modern-day

sailor, the PAM1020

commemorates the

Panerai Classic Yacht

Challenge “PCYC,” and

PAM0525 is a classic

Luminor that houses

Panerai’s in-house

movement with a

regatta timer, the only

function in watchmaking

madeexclusivelyfor

sailing.

Before the end of the decade, the P.9000 family of

movements arrived, providing a strong foundation to

bolster and expand the core collections. Panerai slowly

started replacing base calibres with its own in-house

creations, which soon included automatic movements

with chronograph flyback functions and fascinating

regatta countdown timers. Finally, in 2014, a new

manufacturer was inaugurated at Pierre-à-Bot, on the

hills of Neuchâtel. It allowed for further research and

development, manufacturing, assembly, and quality

control — all under one roof. The final union between

Italian design and Swiss watchmaking. Today, Panerai’s

Laboratorio di Idee takes this concept and goes one

step beyond.

“The core competencies of materials innovation,

customer experience, and sustainability have evolved

from the Laboratorio di idee over the years and

have fundamentally changed the Panerai

brand as a whole,” says Pontroué, the

CEO. “The lab constantly pushes the

boundaries of industry-first materials,

like this year’s Prima Assoluta release of

Fibratech — a volcanic basalt treated into

a [special] polymer, which, prior to

its introduction as a material used

for Panerai, was only used in the

aeronautical industry.”

There is plenty to be said about the artistry of

Laboratorio di Idee. But Panerai’s forward-looking

mindset extends beyond the physical space. Aiming

even higher, the brand is looking to expand its universe

with the launch of the PAMCAST this summer. This

multimedia platform will provide in-house editorial

content, offering one-of-a-kind experiences and

storytelling journeys, like exploring the best diving

sites in Italy, from Porto Santo Stefano to Portofino.

Through web content, podcasts and Spotify playlists,

the company can paint a fuller picture of its identity. La

dolce vita, Panerai-style. No doubt, the Paneristi will

come in droves.

“This project took inspiration from the huge

streaming media industry and targets new levels of

expectation, strengthening brand advocacy,” Pontroué

says. “We believe this impactful content will allow our

community members to feel closer and let them

have a deep dive into the Panerai world.”

What draws them to that world is cohesion

and balance — Italian design and Swiss

mechanics, complex and effortless, all in

concert with history. And as any brand

devotee will tell you, this year is of

particular reverence, as it marks the 70th

anniversary of the original Luminor.

The watch was named for yet another

Afavoriteamong

collectors, the

PAM233 houses

Panerai’s first

in-house P.2002

movement.

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groundbreaking luminous material, this one made

using tritium, which Panerai engineered to replace the

radioactive Radiomir compound after WWII. Today,

the Luminor is considered a technical landmark.

Fittingly, Panerai has chosen this moment to

announce its latest technological breakthrough: a

new generation of high-performance “X1” Super-

Luminova. Not only is this said to be brighter and

more durable, but the stealth detail looks different in

daylight depending on application: white lume for a

blue dial, grey on a white dial, and neon green for a

black dial — a distinctive colourway that recalls the

original Luminor. Pontroué calls it “an important

aspect of the functionality of the design”, ensuring

the next generation of Panerai watches “glow in the

greatest depths of the ocean and at night”.

But the arrival of upgraded X1 Super-Luminova is

just one facet of the “Year of Luminor” celebrations.

Panerai is also releasing three anniversary-edition

versions of existing pieces, an arresting trio whose

specialised treatment demands new reference

numbers: Luminor Marina (PAM1117), Luminor

Marina Carbotech (PAM1118), and Luminor Marina

Fibratech (PAM1119). According to Pontroué, these

pieces feature “a heavy focus on luminescent details”,

which can be seen on the dial, flange, crown, bezel

ring, and on the straps, where lumed accent stitching

is sewn. Only 270 examples of each of these models

will be made. And, in a neat acknowledgment of the

occasion, they all carry a 70-year warranty.

Meanwhile, another new Luminor Marina

(PAM01313) joins the collection this year. Its

satiné soleil sunray-finish blue dial is paired with a

corresponding blue alligator strap, or the optional

rubber alternate. It’s accompanied by a sibling piece,

the PAM01314, which is the real knockout of the group.

Here, a white dial appears in a sandwich configuration,

a layered style that intensifies luminescence, for the

This page: Housing

the P.2002E in-house

movement, the PAM670

Luminor GMT Equation

of Time features an AM/

PM indicator, power

reserve, date, and

month.

Opposite: The

PAM01313 and

PAM01312, perfect for

underwater adventures,

piloting a craft in the

America’s Cup, sailing

the Amalfi coast, or

simply lifting a glass

of rosé at the local

trattoria.

first time in any Panerai collection. Underpinning both

watches is calibre P.9010, a svelte automatic movement

designed and built in Neuchâtel, offering a full threeday

power reserve. The hour hand can be set in steps,

one hour forwards or back, while simultaneously

adjusting the date, adding more real-world practicality.

“The Luminor design has become an iconic

shape over time … [the watch] continues to be sleek,

functional, and significant to the core characteristics of

the brand with every new reference added,” Pontroué

says. “It has become a look that is immediately

recognisable by those in the know.”

The man understands his clientele. They will always

buy into the Italian status and commando pedigree, the

ingenious and straightforward design of that distinctive

crown guard, and the durable materials that tie it all

together. They want the glowing lumed Arabic and

Roman numerals, the clarity and legibility of those

dials, whose large hands and small seconds indicators

have barely changed in size or appearance for decades.

Because without bending to trends or gimmicks —

avoiding the superficial, as it were — Panerai has been

able to evolve by celebrating its strengths, adapting

gradually over time, rarely — if ever — misstepping.

Sprezzatura, indeed.

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35 Years of The Cartier Pasha

We trace the history of the sporty round watch with a crown cap and

assured sense of style that is Cartier’s Pasha de Cartier.

Words Felix Scholz

Cartier’s hero collection du

jour for 2020 is one of its

more youthful creations — the

sporty Pasha. At first glance, its simple

round case stands out from the diverse

geometry of Cartier’s broader catalog.

Still, on closer inspection, the tensions

of a shape-within-a-shape that defines

the maison’s watch design is very much

in evidence, thanks to the angular square

layout of the dial, contained within the

perfect circle of the case. These key

design codes, along with the Vendôme

lugs and screw-down crown protector,

are still very much in evidence.

But where did the Pasha come from?

Well, there are two sides to that tale.

The Pasha of Marrakesh,

Thami El Glaoui.

APOCRYPHA

One version of the Pasha’s origin story,

and the inspiration for its name, is full

of everything one could want or dream

of from a Cartier collection: one full

of exotic locales, aristocracy and just a

hint of mystery.

This story, so it goes, begins in 1931

or ‘32, when the Pasha of Marrakesh,

Thami El Glaoui, ordered a one-of-akind

watch from Louis Cartier. A gold

watch, resilient enough to keep pace with

the Pasha’s active lifestyle, and one that

could boast a level of water resistance that

was uncommon for the time. The solution

was a watch with a (comparatively) large

diameter, a crown cover and metal grid

to protect the dial. The only fly in this

ointment is that there is no substantive

proof that this watch was actually made

for the Pasha of Marrakesh.

The closest we can get is a photograph

from 1943 of a watch that bears all these

features and that does look quite a lot like

the modern Pasha. And while this unique

piece may surface at some point (and

it’s likely someone at Cartier is keeping

an active eye out for it), it’s telling that

Cartier themselves don’t draw any direct

links. The official line is that “its name

pays tribute to the Pasha of Marrakesh, a

The latest

Pasha de

Cartier

41mm in

yellow gold.

lover of fine watchmaking and a lifelong

customer of Louis Cartier.” Until we’re

treated to some spectacular horological

sleuthing, the story of the Pasha and his

watch is just that — a story.

1985: THE BIRTH OF THE

PASHA DE CARTIER

It would be hard to talk about Cartier

without mentioning a legend in the

watch industry named Alain-Dominique

Perrin, Cartier’s CEO from 1975 to

1998. Understanding that he was at

the helm of Cartier during a turbulent

era beset by both the Quartz Crisis as

well as the OPEC Oil Embargo and the

global economic recession of 1973 to

1975, he knew he had to think out of

the box. It was also a turbulent time

for luxury watches; not just because of

Alain-Dominique Perrin,

CEO of Cartier from 1975 to 1998.

quartz, but also the emergence of the

luxury steel sports watch. The Patek

Philippe Nautilus and the Audemars

Piguet Royal Oak had been released in

the previous decade and were making

waves with their innovative designs.

Riding on the massive hit represented

by the Le Must de Cartier watches —

the brand’s lower-priced diffusion

line — launched the year before in

1977, he introduced a revolutionary

new wristwatch named the Santos in

1978 with the objective to connect the

design language of Cartier to a whole

new generation. In the 1980s, when

Alain-Dominique Perrin was at the

full height of his creativity, it was clear

that there was a market for waterproof

luxury watches, with timepieces such

as the Ebel 1911 Classic Wave rising

The one

photographic

proof of the 1943

watch that bears

resemblance to

the modern day

Pasha de Cartier.

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Swiss watch designer

and artist, Gerald

Genta, photographed

inthe1980s.

in popularity and the solid-gold Rolex

Submariner taking a dominant stance.

And in 1985 it was time for something

sporty and new. A large, masculine

watch intended to make a statement,

but still hold dear to Cartier’s inherent

elegance. And to assist with the design,

they enlisted the help of a designer with

experience in the space, Gérald Genta.

The design that was finally released

definitively delivered on the brief to

make a statement. The round watch

stood out from Cartier’s crop of ovals

and rectangles. The Pasha also featured

a large (for the time) 38mm case, with

a broad bezel, the very era-appropriate

Vendôme lugs and the screw-down

crown cap, complete with cabochon

and dainty retaining chain. Throughout

its history, details have remained at the

core of the Pasha silhouette. The dial

also claimed its fair share of identifying

marks. Namely, the square minutes

chapter ring placed front and center

of the circular dial. And then there was

the 12-3-6-9 dial layout, which along

with the oversized crown cap that, if

you use your imagination a little bit, was

reminiscent of some of the more iconic

military watch designs out there.

For George Cramer, noted Cartier

expert and authority, it’s the distinctive

design of the Pasha that ensured its

initial success and enduring appeal:

“The different case that looks a bit like

a porthole and the winding crown that is

covered with a cap — for the ‘80s, this

was a change in men’s watches. Not to

mention the grille [more on that shortly]

that covered the dial, that was released in

the ‘80s and often a point of discussion.”

The initial production of the Pasha

was small, and limited to boutiques. This

initial series of watches cased in yellow

gold is identifiable thanks to the lack of a

date-magnifying cyclops that appeared

on later variants. And while this 38mm

time-and-date reference was the first, it

was far from the last. Cartier quickly built

on the Pasha platform, offering a range

of complications and variants throughout

the ‘80s. Some models replaced the

smooth bezel with an elegant diving bezel

(the original time-only Pasha offered 100

meters of water resistance), and some

added a distinctive and protective grille

to the equation. The addition of this grille

not only harkened back to that photograph

of the 1943 watch that serves as a design

inspiration, but also demonstrates the

interplay between the angular and circular

geometry of the dial layout in a very

pleasing manner — highlighting the gridbased

design of the Pasha dial.

THE MANY FACES OF PASHA

The first generation of Pasha watches

received more than just minor

design additions, as Cartier released

chronographs, GMT models, a

moonphase and even a perpetual calendar.

And while all these models demonstrated

Cartier Pasha GMT Power Reserve

(Image: George Cramer)

The Pasha

de Cartier

from 1985.

varying degrees of Pasha — take, for

example, the chronograph with its spinelset

pushers very much in keeping with

the prominent crown guard that defines

the Pasha — already we’re starting to see

the evolution and diversity of the line, as

the dial design of the Pasha Chronograph

doesn’t feature the same square-in-acircle

motif as other models.

Another model that adds complication

to the equation is the Pasha Perpetual

Calendar, a Genta-designed model

that featured a classical iteration of the

perpetual calendar, with the brand-mark

and moonphase inset in an elegant night

sky ovoid at the top of the dial. And while

this version of the Pasha shows just how

traditionally chic the collection can be, it

also highlights another interesting fact: for

some Pasha models, quartz was an option.

After all, this is the 1980s we’re talking

about — the Swiss watch industry was still

reeling, and the overwhelming importance

of “in-house” was decades away.

This era also gave birth to the model

that Cramer asserts is the most unusual

Pasha ever, the Pasha de Cartier Golf.

It’s certainly distinctive, thanks to a

grand total of six crowns that balloon

the 38mm case to a substantial 50mm.

The purpose of this proliferation of

protrusions is as unexpected as the watch

itself — this remarkable watch allows the

wearer to keep track of the score of a golf

game, not just for the wearer, but also for

three of their friends. Four of the pushers

(distinguished with different colored

cabochons) were, in fact, pushers that

served to manually operate a counter

for each player and were easy to read,

thanks to the four date magnifiers on the

crystal. Much like the perpetual calendar,

this model was offered in quartz and

mechanical versions and was produced

through to the ‘90s. Earlier versions saw

the center of the dial in dark blue, while

later ones went for a full silver dial with

larger Roman numerals that, for many,

will look much more “Cartier.”

FIGARO, FIGARO

Now we come to one of the most iconic

iterations of the Pasha de Cartier — the

yellow-gold Pasha, replete with protective

grille and the distinctive “Figaro”

bracelet. “That Figaro bracelet is the best

bracelet Cartier ever created for their

larger watches,” Cramer explains, “and

it was only available during the first few

years, after the release of the Pasha line.”

For Cramer, it was the combination of

gold, grille and bracelet that made this

model such a hot property, at least until

some limited editions arrived on the scene

in the late ‘90s. The Figaro — presumably

Believed to be

the most unusual

Pasha created that

resembles Genta’s

own Golf Watch.

Automatic

Cartier Pasha

Perpetual

Calendar from

1989 (Image:

Christie’s)

inspired by the titular character from

Pierre Beaumarchais’ plays — is a lovely

bracelet, offering precisely the sort

of heavy elegance you would hope for

from a solid gold dress bracelet. The

combination of the Pasha’s lugs and

the five, smooth-shouldered links of

the Figaro, along with its hidden clasp,

exudes the opulence of the era. Sadly, the

life of Pasha’s Figaro was short-lived, as

it disappeared from the catalog shortly

after it arrived, to be replaced by a much

more conventional bracelet, meaning

the original Figaro is a hot commodity

amongst Cartier collectors.

Pasha with

grill on Figaro

bracelet (Image:

George Cramer)

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1990: THE STEEL PASHA

As 1990 ushered in a new decade,

Cartier’s Pasha ended five years of

precious metal exclusivity and ushered

a new case material — steel — into the

collection. And while other details, such as

the 38mm case size, screw-down crown

cover and various bezel options remained

the same, the stainless-steel case

reinvigorated the once-precious Pasha’s

sporty promise. This model is, according

to Cramer, “a great Pasha to start with. It

is a good-looking watch that can be worn

on any occasion and it has a no-nonsense

and easy-to-service ETA caliber.”

The fact that the 38mm case dimension

remained meant that the Pasha was still

primarily marketed as a men’s watch.

1995: THE PASHA C

The Pasha’s reign of steel continued

in 1995, with the introduction of the

Pasha C. Smaller at 35mm and with a

sporty “H” link bracelet, the Pasha C

represented a new entry-point into the

world of Pasha. It also saw several new

dial designs emerge, including a coppery

or salmon toned offering, overlaid with

a delicate grid that offered yet another

interpretation of the ever-evolving

square-in-a-circle motif.

As should be expected, the Pasha C

was not limited to time-only releases,

with offerings like a gentlemen’s traveler

GMT with a steel 24-hour bezel and a

black dial that sees the straight grid-like

dial distorted to evoke the meridians of

the globe.

Not only does the Pasha C

continue to appeal to a new, younger

demographic, the smaller size is also

a nod to the fact that

more and more women

are wearing the Pasha.

This was something

formalized a few years

later, in 1998, with the

release of a 32mm

Pasha, offered in a

range of gem-set

options and with

softer hues of strap.

1997: CELEBRATING 150

YEARS IN STYLE

As the millennium drew to a close,

Cartier was in fine form, celebrating

its 150th anniversary across the globe.

In London, for example, the party was

held in the Egyptian Room of the British

Museum, with a guest list of the rich and

the royal. It’s also the year that Cartier

released what Cramer thinks is the most

underrated Pasha: “The steel Pasha with

the grille and the ruby [spinel] in the

Cartier Pasha Steel


crown that was launched for Cartier’s

150th anniversary is always available

in the market, and for very reasonable

prices. The movement was very nicely

decorated, and it was limited to 1,847

pieces.” Indeed, it was only one of the

many celebratory creations Cartier

released that year, offered in editions of

three, 150 or 1,847 pieces. Don’t mistake

this limited edition (with the red spinel)

for the regular production (with a blue

spinel) released shortly afterwards.

Left: Pasha C

Right: Limited edition

Cartier Pasha 150th

Anniversary in steel


Clockwise from left The

first ref. 2406 in white

gold with pink gold dial,

numbered and limited

to20examples;Theref.

2406 in white gold with a

decorated blue enamel

logo, numbered and

limited to 20 examples;

Ref. 2542 released in

the 2000s, limited to 20

examples and Ref. 2578

in 18K pink gold, limited

to25examples.

1998–2008: THE CPCP ERA

Now, we enter one of the most hallowed

eras for collectors of modern Cartier,

the so-called CPCP releases. CPCP

stands for Collection Privée, Cartier

Paris and represents a collection of

limited releases, typically of 100 pieces

or less. The Pasha saw numerous editions

released under the CPCP umbrella,

typically complicated offerings such as

a perpetual calendar. But for Cramer,

this long-running collection-withina-collection

produced two of the most

desirable Pasha models ever made, the

tourbillon and the day-and-night.

Cartier made several tourbillon

models of the Pasha; each was a limited

edition powered by a Girard-Perregaux

three bridges movement, dubbed the

caliber 492 MC, with a semi-skeletonized

tourbillon. The first of these, the Ref.

2406, was released in 1998 in ultralimited

editions, featured blued hands,

an intricate hand-engraved dial and the

iconic Cartier “double C” logo occupying

most of the dial in pink gold. The 2000

edition was particularly striking thanks

to the intertwined logo being inset with

blue enamel. The 2001 release, while

still being made to the highest standards,

offered a more conventional dial design,

applying a bridge shaped like the Pasha’s

distinctive square minute track over the

tourbillon movement.

The Pasha de Cartier Day & Night

is equally refined, yet an altogether

different offering. Presented in 1999

as a limited edition of 20 pieces, the

Day & Night model took the by-now

familiar form of the Pasha case (in yellow

gold) and added to it a design inspired

by another iconic Cartier creation —

the “mystery clock.” The Day & Night

evokes the floating arcs of the maison’s

historic clocks by utilizing a reworked

Fréderique Piguet caliber which showed

24-hour time, allowing for a single

central hand, one end marked with a

sun and matching the 6 a.m. to 6 p.m.

arc, while the other moon-tipped hand

was read against the track displaying

the night time hours of 6 pm. to 6 am.

There’s a running seconds at the bottom

of the dial, and the dial design is kept

visually engaging thanks to a beautifully

executed clous de Paris pattern. The

designer behind this striking and

contemporary concept was none other

than the acclaimed Svend Andersen.

The Pasha de Cartier

Day & Night, designed by

Svend Andersen in 1999.

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The Pasha 42mm, marking 20

years of the collection.

The Pasha gains a sportier look

in the Pasha Seatimer.

The chronograph version of the Pasha de

Cartier, released circa 2007.

The Cartier Miss Pasha, released for

the younger female market.

Cartier has managed to, once again,

balance the impetus of the original with

the tastes of the now. There are two main

sizes on offer; a 35mm case (in stainless

steel or pink gold) with no date, or a

larger 41mm model with date (in yellow

gold or stainless steel). All the dial details

of the original are still there but realized

in a much more textural, subtle and

sophisticated manner this time around.

The movement is the caliber 1847

MC. The lugs and bracelet appear the

same as ever, though now wearers have

the added benefit of Cartier’s excellent

“QuickSwitch” system, to allow on-thefly

strap changes, and the “SmartLink”

system to enable pain (and tool) free

bracelet link adjustments. Also present

is that most Pasha of details, the screwdown

crown cap, which helps with

the 100 meters of water resistance

(unchanged from the 1985 original,

funnily enough). A nice touch is the fact

that, hidden on the case profile, only

visible when the cap is removed, is just

enough space for a small engraving.

Very classy, very Cartier.

Of course, for 2020, we only see

the most straightforward time and date

options. Without a doubt, there are more

Pashas in the pipeline. When asked

what the future of the Pasha looks like,

Cramer was clear: “The Pasha has always

been available with complications from

third parties. Tourbillons, perpetual

calendars, chronographs and the

like. But, since Cartier has developed

so many of their own complicated

calibers in the past 12 years, I expect

to see releases of the new 41mm model

equipped with a manufacture tourbillon,

minute repeater and the like.”

The Pasha of Marrakesh, Thami

El Glaoui, may never have ordered

or worn the prototypical waterproof

Cartier. At the end of the day, that

doesn’t matter. What does is that Gérald

Genta’s iconic 1985 Pasha de Cartier

is a sporty design that has given birth

to its own distinguished dynasty.

2005: 20 YEARS OF PASHA

The 2000s onwards marked the time

of a significant shift for Cartier’s

watchmaking, as the brand consolidated

its watchmaking facilities “in-house”

and the maison developed its own Fine

Watchmaking collection under the

management of Carole Forestier-Kasapi,

leading to an explosion in Cartier’s

high-end complications. And of course

2005 marked the 20th anniversary of

the original Pasha, so a celebratory

update was in order. That watch was the

Pasha 42, which added 4mm to the case

diameter, in keeping with that decade’s

expansive taste in watch size (for those

of you who need some context, 2005

also saw the unveiling of Hublot’s Big

Bang, so a 42mm dress watch would have

raised very few eyebrows indeed). In

addition to the upgrade in size, the Pasha

42 also received a movement upgrade,

the caliber 8000 MC, made exclusively

for Cartier by Richemont stablemate

Jaeger-LeCoultre (who had, by the by,

been supplying Cartier with movements

since 1900). Aside from these two

changes, not too much had changed when

it came to the visuals — there was a little

guilloché on the dial, but that circlearound-a-square

intersected with

Arabic numerals was still very much front

and center. The Pasha 42 again saw that,

with incremental upgrades, the core of

Genta’s design remained unchanged and

as relevant as it ever was.

2006: THE PASHA SEATIMER

The mid-aughts’ preoccupation with

masculine designs continued to be felt

at Cartier, and the catalog reflected

this. Naturally, the sporty design of the

Pasha was a fertile field for this sort

of experimentation, so 2006 saw the

release of the Pasha Seatimer. It was a

watch that took many of the dive watch

attributes of the Pasha (the waterresistant

crown cap, the rotating bezel,

etc.) to their natural conclusion: a

40.5mm case with black luminous dial

(a white version was also available). The

most striking feature, however, was the

addition of a rubber strap, or rather a

rubber bracelet with a steel core. Two

years later, Cartier doubled down on the

sporty style with a chronograph version.

2009: MISS PASHA

While the trend for the Pasha throughout

the 2000s was for it to get larger and

increasingly complex, in 2009 Cartier

went the other way, releasing the smaller,

and quite colourful Miss Pasha. Aimed

(as you may have surmised by the name)

at a younger female customer, the Miss

Pasha added some colourful dials (think

pink and blue) and a smaller 27mm case.

This fun, fashionable take on the Pasha

was also, like some of the original 80s

models, powered by a quartz movement.

2020: THE PASHA OF TODAY

So we come to the current version of

the Pasha, launched earlier this year.

The Pasha is now 35 years old, and it’s

telling that this “new” Pasha enters the

market shortly after a “new” Santos de

Cartier (initially released in its bracelet

form in 1978) and the revived Panthère

de Cartier (originally 1983). Now, as to

whether it’s more telling of the times in

which we live in or the far-sightedness

of Cartier’s product development teams,

I’m not sure. But what I am confident

of is that with this generation of Pasha,

The screw-down crown cap hides a space for a

small personaly engraving.

The “SmartLink” system.

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A

Wonderful

Time

How the “Party of the Century” inspired

Maison Dior’s latest timepiece.


PHOTO CREDIT: ASSOCIATION WILLY MAYWALD ADAGP. COURTESY DIOR.

Opposite A primary

source of inspiration,

an archival image from

Dior’s illustrious fashion

history. Top Examples

of the Dior Grand Bal

Masqué collection, a

new series of one-of-akind

timepieces inspired

by the masked ball.

he story behind Dior’s opulent Grand Bal Masqué timepieces begins,

appropriately enough, with an opulent party.

The year was 1951, and the world was finally reemerging from

wartime austerity. Don Carlos “Charlie” de Beistegui, heir to an

enormous Mexican silver fortune, planned a remarkable celebration — a

masked costume ball at his magnificently restored palazzo, just off the

canals of Venice. Invitations went out six months in advance, leaving

more than 1,000 prospective guests with ample time to arrange travel

plans and prepare their elaborate attire. The party was officially called

Le Bal Oriental, but has since been given another name: The Ball of the Century.

One of the most extraordinary and lavish social events of the 20th century, this

was a singular coming together of European aristocrats and Hollywood stars, royalty

and socialites, artists and politicians. Orson Welles, Barbara Hutton, Daisy Fellowes,

Princess del Drago, Hélène Rochas, Prince Mathieu de Brancovan, and Aga Khan III

were all in attendance. So was Cecil Beaton, who documented the surreal grandeur

with his camera. The mythology of Le Bal only grew after his photo essay from the

party appeared in Vogue magazine the following month.

Christian Dior’s work was front and center. He created the costumes for several

guests, including Salvador Dalí, who in turn designed an outfit for Monsieur Dior to

wear that night. But for the famed French couturier, Le Bal was more than merely a

wonderful time. In his memoirs, he didn’t mince words: “It was the most beautiful

evening ball I have seen or will ever see.”

It also had a profound impact on his creative vision. Elegant masks soon became

an essential code for Dior, inspiring his later collections and those of his successors.

The motif continued into the modern era with Maria Grazia Chiuri, appointed

creative director in 2016, who paid homage to the tradition with her debut haute

couture presentation in Spring 2017.

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Which brings us to the Grand Bal Masqué, the latest addition to Dior’s acclaimed

Grand Bal watch series. This new design takes the founder’s mask fascination even

further, using it as an aesthetic and thematic framework for a line of extravagant

horological creations. There are 12 model variants, but each is made bespoke for the

client, ensuring it looks and feels as exceptional as a handmade gown from Dior’s

Autumn-Winter 2020/21 Haute Couture collection.

For that runway show, Chiuri wanted to explore “mystery and magic,” which she

sees as “a way of exorcising uncertainty about the future.” She also took inspiration

from surrealist images, focusing on how they “manage to make visible what is

invisible.” Seeing the hours and minutes of a Grand Bal Masqué perpetually unravel,

it’s apparent how those sentiments have translated to the new line of timepieces. Here,

the dials are transformed into golden-faced women, extravagantly concealing their

secret identity; mysterious masks adorn the visible rotor, with colorful feathers applied

to accentuate the delicate nature, extending outward from the center of the watch face.

Below The Dior Grand

Bal Masqué, powered

by the automatic Dior

Inversé 11 calibre,

exclusive to Maison Dior

featuring the oscillating

weight on the top side

of the dial. Opposite

Masked costume balls

have provided design

inspiration to Maison

Dior ever since Monsieur

Dior attended the Venice

“Ball of the Century”

held by Charles de

Beistegui in 1951.

THE MAGIC OF DIOR

Rarely do haute couture and haute horlogerie merge so perfectly, both in terms of

concept and execution. Just as fabric comes to life in a flowing garment, the Grand

Bal Masqué offers magic in movement as it dances on the wrist. The oscillating weight

on the dial (offered in gold and platinum) not only turns smoothly while worn, lending

a subtle motion reminiscent of a ballroom twirl, but it also provides an animated

element that’s perfect for customization. The latter is crucial to the Grand Bal

Masqué’s luxury proposition.

PHOTO CREDIT: ASSOCIATION WILLY MAYWALD ADAGP. DETAILS: LAZIZ HAMANI. COURTESY DIOR.


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Because, as with reserving haute couture, each watch can be entirely reimagined

to a client’s specifications. And as with Dior’s legendary bespoke gowns, whose

prices can rise to stratospheric levels, the artistry and quality found in the Grand Bal

collection are unsurpassed, put proudly on display. Indeed, a truly dazzling array

of materials — diamonds, pink quartz, emeralds, sapphires, garnets, lapis lazuli,

amethysts, garnets, opals, malachite, aventurine, mother-of-pearl, and more — can

be specified inside the Grand Bal Masqué’s 36mm gem-set case.

Mechanical components are similarly inspired. The Grand Bal Masqué

makes use of Dior’s Inversé 11 ½ caliber, exclusive to the brand, allowing that

decorated mask-and-rotor assembly to power the automatic movement in the most

enchanting way possible. When fully wound, the watch boasts a 42-hour power

reserve. Remarkably, it’s also water-resistant to 50 meters, but the embossed

satin strap (replete with snow-set-diamond prong buckle) might not be amenable

to swimming — at least not without a few glasses of champagne beforehand.

To that end, the Grand Bal Masqué is something of a toast to Monsieur Dior,

his imagination and approach, and the inspiration he found in Venice on that night

nearly 70 years ago. It’s a totem of his vision, as shaped by the Ball of the Century,

where no two guests would dare arrive wearing the same costume. Accordingly,

these individual watches are truly unique pieces, unlike any other. And each stands

as a reminder that if you can dream it, as always, Dior will be there to create it.

DIOR

GRAND BAL MASQUÉ

MOVEMENT Self-winding Dior Inversé 11 caliber; hours and minutes; functional

oscillating weight on the dial in gold and platinum, set with precious and semi-precious

stones; 42-hour power reserve

CASE 36mm; 18K white gold with diamonds; white-gold crown set with diamonds, with

semi-precious materials used for the caseback; water-resistant to 50m

STRAP Embossed satin with a white-gold buckle set with diamonds

PRICE Upon Request

PHOTO CREDIT: DETAILS: LAZIZ HAMANI. COURTESY DIOR.

Opposite, clockwise

Golden faces adorned

with hand applied

precious metal, stones,

even colorful feathers;

Masks making an

appearance in Dior’s

2017 spring haute

couture show; Animated

watch dials closely

share similar DNA

with details from past

seasons collections.

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To Infinity and Beyond

Girard-Perregaux 2020 Infinity editions:

Cosmos, Free Bridge, Vintage 1945, 1966 and Laureato

Words Wei Koh

What I’ve always liked and

admired about Patrick

Pruniaux the CEO of

Girard-Perregaux and Ulysse Nardin

is his honesty and openness. Helming

not one but two significant watch

manufactures, and ably guiding them

both through the precarious shoals of

2020, means understanding where

the consumer mindset is.

“Mechanical watchmaking will

survive this challenging period. It has

already survived the Great Depression, two World

Wars and the Quartz Crisis in the 20th century.

But I think the COVID pandemic will change our

patterns as consumers,” says Pruniaux. “You already

see that the underlying ethics and authenticity of

companies are more important than ever. Collectors

will still want beautiful executions of mechanical

timekeeping; perhaps now more than ever, we want

objects that inspire us and make us dream, but

at the same time, I think there will be a return to

discretion, understatement and internal content.

Because in the context of society today, where many

people are experiencing economic challenges,

the message related to wearing something very

Above: CEO

Patrick Pruniaux

Opposite page,

clockwise from left:

The Infinity editions

of the Cosmos, the

Laureato, the Free

Bridges and the

1966

extravagant or overtly opulent

might not be the right one.”

That having been said, in many

ways, Girard-Perregaux’s latest

Infinity collection of watches —

comprising the spectacular Cosmos

in a limited edition of eight pieces,

a new model named the Free Bridge

that capitalises on the merger of

form and function that is the Three

Bridges movement, a Vintage 1945 a

1966, and a Laureato in both 38mm

and 42mm, all in onyx dials — brings an added layer

of significance and emotional resonance.

“Of course we didn’t know what the world

would be like today when we planned it, but there is

something very relevant about the use of the stone

onyx,” says Pruniaux. “In mythology, it has always

been linked to the casting away of negative energy

and thought. It is a stone that is believed to have a

powerful ability to heal. And while it is a material

that is wonderfully refined and extremely elegant, it

is the paradigm of discretion. You might mistake it

for a simple black lacquer dial unless you examine it

closely and see that there is a depth there than cannot

be replicated by any manmade material.”

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COSMOS

When the Girard-Perregaux

Cosmos was launched last year, I

already found it highly appealing.

This year, in a new execution with

an onyx dial as well as miniature

globes crafted in onyx, I find it

even more so. Let’s look at the

underlying mechanism for the

Cosmos and the powerful artistic

representation of time it achieves.

On the dial side of the watch,

you’ll find the hour and minute

indicator in a sub-dial at 12

o’clock. Occupying the main real

estate of the dial are two miniature

globes. These were crafted in titanium in the regular

production model introduced last year, and in onyx for

this year’s Infinity collection.

The globe on the right represents terrestrial time,

while the globe on the left represents celestial or

sidereal time. Each of these globes relates to the most

ancient ways in which human beings have told time.

Terrestrial time relates to how the Earth completes a

rotation every day. In fact, the Earth completes a full

rotation every 23 hours 56 minutes and four seconds.

But at the same time that it rotates on its own axis, it

is orbiting around the sun. Over the course of a day,

From top:

The globe on the left

represents sidereal

time while the

globe on the right

represents terrestial

time.

The watch uses the

bélières system to

set its mechanisms

asseenontheback

of the case.

the Earth moves about one degree

along its orbit, which creates an

additional four minutes each day,

hence we have the 24-hour day

here on Earth. (There is, of course,

a small overage each year — which

is why we create the leap year every

four years at the end of February.)

What is sidereal time? Well,

because the Earth is rotating, if

we look up at the night sky, we see

a rotation of the canopy of stars

above. These stars are actually fixed

in place and it is our planet that is

rotating. Each night, looking up at a

specific time, stars will appear in the same location at a

given time. Because the Earth completes a full rotation

in 23 hours 56 minutes and four seconds, this is the

exact length of a sidereal day. Thus this is the time it

takes for the sidereal globe on the left of the Cosmos to

complete a full rotation while the terrestrial globe takes

24 hours to account for the additional four minutes

created by the Earth’s rotation around the sun.

Even when the sun is out, the stars are still

present overhead; it’s just that they are now

obscured with light reflecting off our planet and

into the sky. What is wonderful about the Girard-

Perregaux Cosmos is that it is the first watch

that miniaturises these two ancient methods

of time-telling and places them side by side

in the same watch.

Now I want to discuss some comments

I’ve seen by Internet keyboard warriors

stating that the Cosmos is overtly

reminiscent to Greubel Forsey’s GMT earth.

This is incorrect and is based on a superficial

observation of both watches without a deeper

understanding of their underlying mechanics or

purpose. Greubel Forsey’s GMT watch, which

is also an incredible timepiece, is a GMT/worldtime

watch with indications for local and home time,

which are complemented by a beautiful animation on

a miniature globe which shows time across locations

in the different zones when you align their longitude

with the time indicator around the globe. There is

also a flat world-time indicator on the back. To be

honest, function-wise, the GMT Earth has more

to do with Montblanc’s very cool Geosphere

watch which also has two half-domed miniature

representations of Earth for the northern and

southern hemispheres, which can be aligned

with a time indicator to tell time in all 24

zones at one glance, if you are good with

Geography.

The objective of the Cosmos is very

different. Its function is to reach back

to the very roots of timekeeping and

simultaneously capture the essence of the

two most ancient ways of telling time and

express them in a wonderfully evocative way. If

you think about it, the perspectives represented

by these two globes are polar opposites. The

globe on the right gives you an understanding

of time on Earth if you were able to stand on the

surface of a fixed star high up in space, while the

globe on the left gives you a representation of time

with you standing on a fixed location on Earth

looking up into space. Of course the stars that

appear overhead during a given time period varies

depending on your location on Earth, which is why

Girard-Perregaux will adjust the celestial globe to

your selected location. To me, the visual poetry of the

Cosmos is to remind us of how insignificant we as a

race are, relative to the universe as a whole. At the

same time, the Cosmos reminds me of how powerful

we’ve been as a race to be able capture and measure

From top:

Last year’s Cosmos

in titanium and

the new Cosmos

Infinity edition

time based on our observation of our planet’s

rotation around its own axis and the sun.

“More and more, these kind of highly

technical but very poetic representations of

time are becoming part of our core identity.

The point is that no one needs a mechanical

watch to tell the time. We want a watch to

inspire us and I think that this is certainly

true with the Cosmos,” says Patrick Pruniaux.

The two versions of the Cosmos are also

starkly different. The regular production watch

features a titanium case with titanium globes and

even has the application of luminescent ceramic

on the continents and constellations of the two

globes. The effect of this in ambient light or darkness

is incredible, with the entire watch coming to life

with luminous animation. The Infinity Edition is

different in that both the dial and the globes are

crafted from onyx and then painted with red gold for

the constellations and the continents, which not

only brings the craftsmanship involved to another

level, but also lends a more sober, reflective

and meditational mood to this majestic

complication. Lest we forget, located at six

o’clock on both models is a Neo Bridge, the

sculptural shaped bridge in titanium that

bears a tourbillon. Pruniaux says, “For me,

the Cosmos is a wonderful merger between

visual poetry and technical watchmaking.”

What is also extremely innovative about

this model is the watch case, which borrows

several elements from the case developed for

the award-winning Girard-Perregaux Constant

Escapement. This comprises an aggressively

boxed and dome-shaped sapphire crystal, as

well as the removal of any crown or adjustors for

the various indications. Instead, laid out on the

back of the watch are four keys — one for adjusting

the terrestrial globe, one for adjusting the celestial

globe, one for setting the time and one for winding

the watch. This particular setting mechanism based

on the four rotating bows is called “bélières” and is

also reminiscent of pocket watches in the past. Says

Pruniaux, “We wanted to optimise the wearability

of this watch, which is why we selected titanium

for the case and incorporated all these functional

innovations.”

The Cosmos Infinity Edition will be made in eight

examples and is priced at CHF 274,000.

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Left: Constant

Girard’s La

Esmeralda

Tourbillon with

Three Gold Bridges

Right: The Free

Bridge Infinity

edition

The Quasar Light

FREE BRIDGE

One of the most iconic movements in horology’s great

canon is Girard-Perregaux’s Tourbillon With Three

Bridges. This movement, first created in 1860 in a

pocket-watch tourbillon, is a masterpiece of form

and function united. The unique blueprint of the

movement architecture is as follows: three bridges

are arrayed horizontally, each precisely symmetrical

in length and width; the top bridge retains the barrel,

the middle bridge bears the cannon pinion and the last

bridge at the bottom supports the tourbillon. Between

the bridges, the extremely clear transfer of energy to

the third wheel (this wheel takes centre stage in the

watch just under the hands) — which engages the

pinion of the tourbillon cage to drive the escape wheel

around the fixed fourth wheel — is a marvel of logic.

Adding to the beauty of this system, the gear train is

arrayed on a perfectly vertical axis, so you can clearly

see how energy is transferred to the tourbillon and

balance wheel. Looking at this amazing microcosm is

to see the entire history of mechanical timekeeping.

While the tourbillon with three bridges has

remained one of the most enduring and appealing

movements in Girard-Perregaux’s arsenal, it has also

become a canvas for expression. A Laureato was made

with sapphire bridges, which has since developed a

fan base that counts renowned collectors such as Auro

Montanari, aka John Goldberger, amongst its proud

owners. (Montanari had purchased a watch formerly

belonging to famed retailer Laurent Picciotto.) In

February 2020, the single most stunning execution of

the three bridges movement was unveiled in the form

of the Quasar Light, which combined a completely

transparent sapphire case with three sapphire bridges.

The stunning sapphire bridges in this watch followed

the form of the Neo Bridges, which transformed

the three-bridges architecture into a curvilinear

modernist masterwork. Pruniaux says, “For some

time, we’ve been thinking about how to apply the use

of the Neo Bridge to a watch that was more accessible

in price than a tourbillon, but at the same time was

extremely innovative and visually exciting. The result is

our new Free Bridge.”

The new Free Bridge uses a sort of threequarter

dial. The top of the dial is dominated by the

skeletonised barrel, which is retained by a V-shaped

bridge that is part of the dial and fixed with a ruby.

What is cool about this barrel is that

simply by looking into it and observing

the mainspring, you can tell the state

of wind for your watch. Also integrated

into the dial is a second bridge that

supports the cannon pinion and hands.

Then just under this bridge slightly to the

left is a seconds wheel, which is driving a

blue silicon escape wheel that is also fitted

to yet another small bridge. This escape wheel

interacts with the silicon anchor that is driving

the massive proprietary balance wheel that is

fixed to the single Neo Bridge that traverses the

width of the dial in an open space at six o’clock.

The balance wheel is itself shaped like a bridge and

crafted from silicon; it is free sprung and utilises

opposable weights for its regulation. It should be

noted that Girard-Perregaux (and its sister brand

Ulysse Nardin) benefits from the expertise of Sigatech,

a company that specialises in manufacturing incredible

silicon parts, including proprietary escapements.

Girard-Perregaux’s own reputation in silicon

technology was forged with the Constant Escapement

Above: The Free

Bridge in steel

Watch, where a buckled and springloaded

blade powered each and every

impulse to the balance wheel, making

the watch totally autonomous from

the mainspring’s variable torque as

it unwound. Here in the impressive

new Free Bridge, silicon technology has

once again been tapped to create a visual

dynamic feast of innovative new design for

the oscillator. Pruniaux says, “The Free Bridge

alludes to the three bridges design, but also

brings its own design language and asserts our

position as one of the leaders in silicon innovation.

We feel that the resulting watch perfectly expresses

Girard-Perregaux’s spirit of continuous horological

evolution in the pursuit of excellence.”

The Free Bridge’s movement is self-winding,

beats at 4Hz and it will be made in two versions — one

in steel and one in DLC-treated steel with an onyx

dial and rose-gold indexes in the Infinity edition. The

watch measures 44mm in diameter. The price of the

Free Bridge watch is CHF 16,250 and the price of the

Free Bridge Infinity Edition is CHF 19,410.

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Clockwise from

top left: the 1966

Infinity 30mm

for ladies; the 1966

Infinity 40mm,

bothfeaturingonyx

dials.

1966

New for 2020 are two version of the 1966, in 30mm

(for ladies) and 40mm, also featuring onyx dials.

To me, the 1966 has always been something of a

Zen watch —something to strap on when you want

to create a state of mental calm, which, let’s face it,

has been of significant importance over the last few

months. Indeed, to me, one of the few antidotes to

the maelstrom of sensory overload that is the news, is

turning my television off and gazing into the grand feu

enamel dial of my white-gold 1966. What is nice about

these two models is that looking into the onyx dial,

you’re transported to a state of serenity. (Multiple

negronis may also help enable this state.) Pruniaux

says, “These watches are a great example of what I

was discussing earlier: timepieces that are discreet

and understated, but have a real depth to them

because of the use of onyx. You can only get this kind

of perfection in a black dial using grand feu enamel or

onyx, and with these watches you’ve got a kind of extra

level of richness you can keep discreetly to yourself.”

The 1966 Infinity Edition at 40mm costs CHF 9,100

while the 30mm with diamonds cost CHF 10,780.

VINTAGE 1945

As always, the Vintage 1945 overdelivers in terms of

pragmatic complications relative to its price point

of CHF 15,690. The watch features both a date

mechanism as well as a moonphase indicator at six

o’clock integrated with the small seconds indicator.

Pruniaux says, “The resulting watch is incredibly

charming. This is my first Vintage 1945 and the use of

onyx with this elegant Deco-styled case, offset by the

gold indices and seconds hand, is highly appealing.”

The Vintage 1945 will be made in a limited series of 88

watches only.

The Vintage 1945

Above: The

Laureato in 38mm

(with diamonds)

and the 42mm

LAUREATO

Along with the Nautilus and the Royal Oak, the

Girard-Perregaux Laureato is one of the famous

sports-chic integrated-bracelet watches that were

the prevailing style of the ’70s and which still resonate

with collectors today. By selecting onyx for the dials of

the two new Laureato versions in 42 mm and 38 mm

(with a diamond-set bezel), Girard-Perregaux has

chosen to enrich the “chic” dimensions of this model

with appealing results.

Once again, that added level of depth by the

onyx dials endows the Laureato with a soupçon of

dressiness that suddenly makes it highly suitable

for black-tie functions. Pruniaux says, “To me, the

onyx really makes the Laureato even more adaptable.

It elevates its dressiness, yet the material’s lustre

is so subtle that it is still equally at home in a sporty

environment.”

This limited-edition Laureato will be retailed

exclusively at Wempe Jewelers. Pruniaux says, “It

is a statement of our belief in partnerships with the

world’s best retailers such as Wempe or The Hour

Glass. For us, our retailers are our partners and we

always enter into dialogue with them, even related to

our product development, because we feel that they

truly are in touch with the hearts and minds of the

world’s greatest collectors.”

The Laureato onyx-dial Infinity edition in 42mm

is priced at CHF 12,260 while the 38mm version with

diamonds cost CHF 15,600.

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Tudor Black Bay Fifty-

Eight Navy Blue —

Steeped in Military Service

Born more than eight years ago, the Tudor Black Bay

continues to delight its devotees with new ways to enjoy the

snowflake hands and no-crown-guard dive watches.

Words Ross Povey

Tudor’s surprise

release for 2020

—theTudor

Black Bay Fifty-

Eight Navy Blue.

The Tudor Black Bay Fifty-Eight Navy Blue was a surprise

release from Tudor. Nobody who has lived through the

uncertainty, fear and loathing of spring and summer

2020 will ever forget the COVID-19 pandemic that caused

the well-oiled gears of Planet Earth to grind to an abrupt and

terrifying halt. An unprecedented time for all of mankind that

will likely change the way we live for the foreseeable future. As

the lockdown eased and the infection rates seemingly began to

subside, Tudor made its move and presented us with the Black

Bay Fifty-Eight Navy Blue. Let’s dive into the story of a watch

steeped in the rich and esteemed military history of the Tudor

watches, one that began in the early 1950s that is still relevant

today: the Black Bay and its forefathers were truly Born

To Dare…

The Tudor Black Bay has been one of the most important

watches of this millennium for Tudor. Actually, it has been

THE most important watch of the past 20 years for the brand.

Following the brand’s withdrawal from key markets in the

early 2000s, Tudor’s triumphant return in 2010 with a whole

new look and feel and the launching of the Heritage line, was

nothing short of genius. The reimagined watches from Tudor

archive were exactly what collectors wanted at the time. A huge

boom in vintage watches was well underway by 2010, with

prices of Rolex watches, in particular, rising on a monthly basis.

The vintage Tudor ‘Home Plate’ chronograph from 1970

was a serious proposition in the collectors’ market and so

when the Heritage Chrono was unveiled at Baselworld in 2010,

it was the talk of the fair. And it wasn’t just in Basel that the

excitement erupted — the shockwaves quickly rippled around

the globe and people went crazy for this vintage-esque watch.

Two years later, things got even more serious with the unveiling

of the Tudor Black Bay. This large, no-crown-guard diver’s

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2012 TUDOR

Heritage

Black Bay

Above: 1954 Tudor

Oyster Prince

Submariner

Right: The Marine

Nationale photographed

in 1986 (Image: Joël

Brun/ ECPAD).

watch was more than a heritage piece — it was an opportunity

for collectors to own a Big Crown Tudor. The versatile Big

Crown watch could be worn on the beach, in the pool or for just

about any other modern-day activity for which a vintage piece

would never be suitable. The Black Bay had arrived and it was

the beginning of a new chapter for Tudor.

To truly appreciate the heritage and importance of the

Black Bay Fifty-Eight, we need to head back to the 1950s. By

the early 1950s, modern diving equipment was emerging on

the market. The diving systems of the early 1940s and post-

WWII developments meant that more people were able to

dive recreationally. Like many, Tudor was at the forefront of

developing a wristwatch that would serve as an essential piece

of safety equipment. Its first toe-dip into the diver’s realm was

reference 7922 in 1954, a self-winding automatic watch that

was driven by the cal. 390, based on a Fleurier movement. The

watch had a highly legible dial layout, with radium-filled hands

and radium hour markers. This allowed the wearer to tell the

time under dark conditions such as underwater or at night. The

rotating bezel allowed divers to measure elapsed time by moving

the triangle, also with luminous filling, to where the minute

hand was at the beginning of the dive, to track exactly how long

they had been submerged — vital for their safety. The first batch

of 7922 watches were fitted with pencil hands that were the

predecessor of the more well-known Mercedes-pattern hands.

On the dial of the

1958 “Big Crown”

Tudor Oyster Prince

Submariner ref.

7924, note the gilt

“meters first” 200m

depth rating (Image:

antiquorum.swiss).

One of the most fascinating elements of the Tudor dive

watch story is the brand’s relationship with a number of key

navies around the world. The most famous relationship was

perhaps the most important: in 1956, the French Navy ordered

a batch of Tudor Submariners, the reference 7922. The watches

were put into active service with the divers and stood up well

to the rigours of military life. The watches had slim cases and

a small 6mm winding crown that gave the early Submariners a

sporty look and pedigree, ensured by the watches’ depth-rating

of 100m. This was the beginning of a collaborative relationship

between Tudor and the Marine Nationale (MN), with the latter

offering valuable insights into the watches’ abilities in the field.

The feedback was that the French Navy wanted a watch that was

a little more robust and the divers requested a winding crown

that was easier to use.

The reference 7924 came to market in 1958 and was Tudor’s

response to the French divers’ request for a more robust watch

that was easier to operate. The robustness led to Tudor being

able to depth rate the watch to 200 metres — double what

the 7922 could go down to. To make the Submariner easier to

operate, Tudor adopted the oversized 8mm crown that they

had tested in the prototype second batch of 7922. It is this large

Oyster crown with the word ‘BREVET’ on it that led to these

1950 Subs being known as Big Crowns by collectors. For any

vintage collector, the magic of the Big Crown is unbeatable.

Ref. 7923

The 39mm case, with super-domed acrylic crystal and the

large winder, gives the watch a real presence on the wrist like

no other vintage Submariner. In early 1958, a batch of these

watches was delivered to the French Navy and the watches

went into professional use. It wasn’t, however, just the French

Navy that issued the Tudor 7924 to its troops. The United

States Navy and the Argentinian Navy also issued the Tudor Big

Crown. These were super-tough durable watches that could

withstand the rigours of military service, but at a price point

that was affordable for the defence budgets of these navies.

This had always been the key component for Hans Wilsdorf

when he dreamt up the Tudor concept. He wanted to offer

people a watch that had all the hallmarks and quality of Rolex,

but at a more accessible price point. This was achieved by the

use of third-party movements that Tudor modified to meet its

stringent standards. In fact, many or most of the components

of vintage Tudor watches are the same as that of their Rolex

counterparts, except for the movements and dials.

One interesting watch of note from this era was the

reference 7923. These watches were made in very small

numbers and were a very niche offering from Tudor. The

7923 was a manually wound Submariner and is in fact the only

manual-winding Submariner from either Rolex or Tudor.

Nobody can know for sure why the decision was taken to test the

market with these pieces, but a good guess would be that it was

perhaps intended as a very well-priced, entry-level submariner

for recreational divers. These watches are incredibly rare and

were made for a short period in 1955. A small number of these

watches have appeared with a so-called ‘red depth’ dial. And it

was this watch that was the inspiration for the inaugural Tudor

Only Watch piece.

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The original Black Bay One was the first

time that Tudor participated in the Only

Watch charity auction. The watch took its key

characteristics from the original 7923 and

was the only time a Black Bay watch had been

produced without the iconic snowflake hands.

Instead, the watch featured yellow-gold pencil

hands and a small-lollipop seconds hand

(where the bubble appears on the tip of the

seconds hand). This detail was an important

part of the original 7923’s aesthetic and they

have been faithfully reinterpreted here. Also

present was the ‘red depth’ rating on the

dial, above the stylistically correct SHOCK

RESISTING. This classic 1950s Submariner

feature was charming and striking in equal

measure, and the watch broke all records for

the sale of a Tudor watch!

The Ref. 7923 (left)

inspired the Tudor Only

Watch timepiece (top); the

Ref.7928(right),notable

for its crown-guard and

Mercedes-pattern hands.

For just over a decade from 1958, Tudor continued to

supply both the French and US navies with Submariners. In

1959, the reference 7928 was introduced that featured a new

7mm winding crown and, most notably, crown guards that

flanked the winder and afforded more protection to the most

vulnerable part of the watch. The 7928 was always fitted with

Mercedes-pattern hands, but the French divers requested

something new. In 1969, Tudor began offering snowflake

hands on their Submariners. This coincided with the brand’s

move away from Fleurier movements and adopting ETA

calibres that they modified to meet the Wilsdorf standard.

One element that the divers requested be improved was

the legibility of the hands under dark conditions, which was

especially important underwater. The Mercedes-pattern hands

had luminous material, but the divers wanted something that

The Tudor Black

Bay Fifty-Eight

Navy Blue (right)

seen with its direct

ancestor, the

1969 Tudor Prince

Oyster Submariner

ref. 7016 (left).

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The Black Bay was originally

released in red, followed by

versions with a blue bezel

and a black bezel, but always

with a black dial.

The Black Bay models have

since 2016 been fitted with the

in-house calibre MT5602.

chronographs, a GMT watch and a number of paired-down

dress-watch interpretations and riffs on the classic. When the

Black Bay was originally unveiled, it was using a modified ETA

movement. However, in 2016, Tudor rolled out its new in-house

caliber, so all the watches (except the smaller dress versions of

the Black Bay) were updated to house the new movement. The

original Black Bay was a 41mm watch with a black dial with gilt

printing and a dome sapphire glass. The watch borrowed from

various elements of the vintage watches: the case of the 7922, the

large winding crown of the 7924, and of course, the snowflake

hands from the 1970s watches. This fusion of key design

elements was the perfect celebration of everything that was great

about the vintage Submariners, repackaged for 21st-century

living. Following the original red, Tudor also introduced a blue

bezel and finally a black bezel, but always retaining a black dial.

In 2018, six years after the first Black Bay was unveiled,

Tudor gave the world the Black Bay Fifty-Eight, giving true

vintage fans exactly what they’d been waiting for. The ‘58’ in the

watch refers to the year that Tudor launched its 200m-rated

Big Crown Submariner, the reference 7924. The watch is

incredibly faithful to the proportions of the 7924, from the

The calibre

MT5402 is

COSC-rated with

a waterproof

rating to 200m.

was easier to read. For comparison, the British MOD-spec

Rolex Military Submariner had to have the Mercedes-pattern

hands replaced with the so-called sword hands, in line with the

MOD specification for diver’s watches. The Tudor snowflake

hands served a similar purpose to the sword hands, but Tudor

opted to also use them in civilian watches. It was this snowflake

hand that became Tudor’s most well-known signature that we

can now see in the Black Bay watches. The Tudor Submariners

were fitted throughout the 1970s until the early 1980s when the

Mercedes-pattern hands returned to active duty. The first series

of snowflake-hand-equipped watches were the 7016 and 7021;

the 7021 was also the first Tudor Submariner that was equipped

with a date function. Alongside the introduction of the snowflake

hands, Tudor also offered a new colour for the dials and bezels of

their Subs — a beautiful blue! The blue was immediately popular

and it is the blue no-date snowflake Submariners that most

people associate with the French Navy and the MN watches.

The snowflake watches were also issued to a range of other

navies around the world including the United States, South

Africa, Italy, Argentina, Jamaica and Canada. For many people,

the de-facto Tudor military Submariner look is a blue snowflake

on a grey NATO-style strap. This is the way in which the military

divers wore the watches in service too. There are a couple of

reasons for this. The first is simply cost — when budgets are tight,

the cost of a steel bracelet is significant when it’s a large order.

The second is security — the steel bracelets, as good as they were,

had a number of ‘fail points’. If any of the links, the clasp or end

links break, this would send the watch to a deep, watery grave.

The nylon strap meant that even if a spring bar broke or popped

off, there was still another to hold your watch securely in place.

Fast-forward three decades from the early 1980s to 2012,

and we arrive at the unveiling of the Heritage Black Bay. As

mentioned at the start of this article, the Black Bay has become a

Goliath for Tudor and the range now encompasses dive watches,

The Black Bay Fifty-

Eight launched in

2018, is faithful to

the proportions of

the legendary 7924

from 1958.

39mm no-crown-guard case and domed glass, to the gilt print

dial and rivet bracelet. It was an instant hit with collectors of

both modern and vintage watches.

And now, in 2020, fans of the blue snowflake watches have

had their prayers answered with the Black Bay Fifty-Eight Navy

Blue! The watch is every bit as cool as the original, with a 39mm

steel case and a bracelet that echoes the rivet-style bracelets of

the 1950s and ’60s. The original rivet bracelet was not the most

hardy, but it was a very cool look on a vintage watch. Tudor’s

reinterpretation has the styling cues down to a fine art. Now

the rivets are far from being just a visual accessorily, but are

actually key to the construction of the bracelet. The watches are

waterproof to 200m, again faithful to the 7924 in an era when it

would be well within the brand’s capability to increase this depth,

and the sapphire glass is even domed to add to the heritage charm

of the watch. The Black Bay Fifty-Eight houses the in-house cal.

MT5402, which is COSC-rated and can boast a 70-hour power

reserve — all of this comes with a five-year warranty, too.

With the blue bezel and dial with the snowflake hands,

combined with the 39mm shoulderless case, it’s exactly what

the offspring of a blue 7016 and 7924 would look like — a

very good thing! On the wrist, the Black Bay Fifty-Eight has

always been the watch of choice for those who lean towards

vintage watches. The original Black Bays are very cool, but

are bigger and deeper than vintage Tudors, which is ideal for

many modern watch buyers, especially those for whom vintage

doesn’t quite pack the punch they need. The blue of the dial is

also incredible. Tudor have truly captured the same grey and

blue hues that made the 1970s watches desirable, yet they have

captured it in a thoroughly modern way that gives the watch

a very contemporary look. Certainly, this is a watch that can

hold its own against any sports watch, and whilst it looks the

business, it’s also important to remember the pedigree and

heritage in which this watch is steeped.

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Worth Its Weight in Gold

The Rolex King Midas is enjoying a revival among collectors, and deservedly so.

Words Nick Foulkes

Nick Foulkes

expounds on his love

for the extravagant

Rolex King MIdas in

this issue.

Iwas recently strolling down the

Burlington Arcade, when my eye was

caught by a watch in the window of

George Somlo’s shop. Somlo is the only

authorized dealer of vintage Omega, and

has a strong line in vintage Cartier, Patek

and 1960s/’70s Piaget…. But this was

something I had not seen in a fashionable

West End window, at least not for some

years: a Rolex King Midas Cellini with

gadrooned case and bracelet.

As a weathervane of tastes in vintage

timepieces, Somlo is as good as any, and

with West End rents being what they are,

he’s not about to put dead merchandise

in the window, ergo, this esoteric

offering from the bowels of Rolex history

must be enjoying a comeback and all I

can do is ask why it took so long.

It is probably because the Rolex King

Midas has been the black sheep of the

family overlooked and underappreciated

for at least a generation that I like it so

much. Even people who claim to know

Rolex well will tell you blithely that the

only numbered and limited series that

Rolex has ever done is the fabled ref. 5100

“Rolex Quartz” that made its debut in the

1970s. Whereas in truth, Rolex had issued

a numbered and limited series of watches

long before the first clouds of the looming

Quartz Crisis had even begun to gather

on the horizon. Although its distinctive

design suggests the 1970s, the King Midas

appeared in Rolex catalogs as early as 1962.

One of the most daring pieces ever

launched by Rolex, the King Midas

was both far ahead and way behind its

times, and so sui generis as to defy, or at

least complicate, accurate description.

As the name suggested, the watch was

unabashed in its lavish use of 18K gold.

Once worn, the Midas is impossible to

forget; it weighs on the wrist like an 18K

gold manacle rather than a watch. But

there was much more to it than simply

Nick Foulkes’

own Rolex King

MIdas Ref. 9630.

a large quantity of precious metal. The

bracelet, composed of articulated ingots,

was closer in appearance to the tracks

of a tank than the conventional watch

bracelet. The case and bracelet were not

merely harmonious; it was impossible

to tell where the head of the watch

ended, and the bracelet began. Even in

the 21st century, the King Midas looks

idiosyncratic and unusual; in the early

’60s, it must have seemed like a UFO.

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movement in the caliber 9P, an ultrathin

hand-wound movement of 2mm

height that enabled the development of

elegant dress wristwatches of avantgarde

design, often using exotic stone

dials. A new language of horological

ornament had been invented and with

the Midas, Rolex was to prove that it was

fluent. And, highly unusually for Rolex,

the King Midas ref. 9630 was limited

to 1,000 pieces each with a number

engraved on the underside of the bracelet

close to the junction with the case.

Straight on one side and angled to

a point on the other, when laid flat on

its edge, it evokes the pediment and

tympanum of a classical building. “We

created this as a modern tribute to ancient

Greece,” explained one advertisement.

But anyone who had even just glimpsed

the packaging would have been well aware

of the debt to the ancient world.

The “box” was a true tour de force and

a collectible on its own merits; ranking

alongside the cork box housing the first

Nautilus and the moon-cratered box

in which the 1969 Omega Speedmaster

Tribute to Apollo XI was presented. Like

the watch inside, it was truly remarkable,

taking as its inspiration a masterpiece of

antiquity in the collection of the British

Museum. The famed Midas stamnos, a

lidded pottery vessel combining aspects

of vase and amphora, was created around

440 BC, the black ground is decorated

with red figures depicting Silenus led

before Midas. The incident recorded

on the two-and-a-half-millennia-old

stamnos is the moment at which the

satyr Silenus, found drunk by peasants,

is brought before the Phrygian monarch

Midas, who recognizes him as the teacher

of Dionysus and treats him honorably,

extending several days of hospitality

before returning him to Dionysus who,

in thanks, grants Midas the famous

touch that turns all to gold. This scene

is reproduced on the lid of the chaliceshaped

Rolex King Midas “stamnos”

which is further printed with a battle

scene from classical antiquity.

Only ever intended to be sold in small

numbers and, as the advertising pointed

out, priced to be beyond the means of all

The first series of the watch

carries only the words “Rolex”

and “ ” on the dial.

Using solid gold throughout, the King Midas was bruited

about as the heaviest and most expensive men’s watch in production,

not just at Rolex, but in the entire industry.

The Midas’s early adoption of the

integrated case and bracelet design,

along with the watch’s angular styling,

has fueled speculation that Gérald

Genta, who would become famous

for integrated designs for both Patek

Philippe and Audemars Piguet, was

involved in the creation of the Rolex

King Midas. Whatever the truth of this

assertion, it was certainly a bravura

exercise in detailed design: the winding

crown with a sawtooth-style profile and

the concealed clasp were not familiar

from other models in the Rolex range.

And just in case the wearer was unable

to decipher the in Greek script

on the dial, the angled case wall either

side of the winding crown was deeply

engraved with the words “Rolex King

Midas.” Unlike later examples, the first

series of the watch carried only the words

“Rolex” and “ .”

The key to understanding this watch

lay in the name — using solid gold

throughout, it was bruited about as the

heaviest and most expensive men’s watch

in production, not just at Rolex, but in

the entire industry.

“Never before — a watch so daringly

new, so outrageously different, so

harmoniously classical. Named after

the legendary king with the golden

touch, sculptured from a block of solid

18ct gold, the King Midas is a watch

designed for the most discriminating

people in the world,” enthused an

early advertisement. “Each watch is a

wonderfully solid mass of gold, very,

very heavy and… very, very expensive.”

“You may not be able to afford one,

but you can’t afford not to see one. Come

and daydream. See Midas. Touch Midas.

A real masterpiece in gold, to which no

illustration can do justice.”

It is, unarguably, an extreme

expression of watchmaking. Nobody

needed the Midas. But then nobody

needed a watch that would work at

the bottom of the Marianas Trench 11

kilometers under the waves; the point

was that Rolex could, and dared, to

make it. It is fascinating to think that

at around the same time that Rolex was

developing its very special Deepsea

model with the hemispherical watch

glass for the Trieste bathyscaphe

excursion to the deepest point on the

planet, it was also working on a watch

that was almost the diametric opposite.

ROLEX AND THE AVANT-GARDE ’60S

With the Midas, Rolex was responding

to a new type of timepiece: in 1957, the

family-owned firm of Piaget, which

until the 1940s had been a supplier of

movements, had launched a remarkable

Left The Ref. 9630 is accompanied

by a Rolex King Midas Urn inspired

presentation box (Image: sothebys.com).

The black box is shaped like the mythical

Midas stamnos, with scenes depicting

Silenus led before Midas in red.

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Elvis Presley is presented with the Rolex

King Midas for his Houston Astrodome

Livestock Show and Rodeo concerts.

He’s seen here holding the urn-shaped

box, with the watch seen on his left.

Ref. 4017 in gold with gold mirror dial,

circa 1975.

Ref. 4015 in white gold with fluted bezel

and blue dial, circa 1976.

Ref. 4126 in yellow gold with

hobnail-textured bezel and polished

wood dial, circa 1981.

Later versions

of the King

Midas lost the

asymmetrical

case design, like

the Ref. 4611

(right) in yellow

gold with lapis

lazuli dial.

Smaller versions were made for women

aswell,likethisQueenMidaswith

paved diamond dial and bezel.

but the most plutocratic of customers

(approximately 50 per cent higher than

the previous prestige model, the Day-

Date), the King Midas enjoyed celebrity

status. Wearers included John Wayne

and Elvis Presley, who was presented

with a Midas engraved with the words,

“To Elvis Presley from the Houston

Livestock Show Officers 1970.”

When the first “homage to

Benvenuto Cellini” brochure appeared

in 1964, the King Midas enjoyed a

prominent position but the Midas did

not become a Cellini-signed model

until much later (the copperplate Cellini

signature first appeared on watch dials

in 1968). The ’70s was a particularly

fecund era for the Cellini range —

the King Midas was interpreted in a

variety of different shapes and styles

and became a pillar of this family of

watches. The Midas name last appeared

in the catalog in the early 21st century,

by which time the all-gold original

had been replaced by the “Cellini

Midas-First” on crocodile strap.

Now at last it is, I hope, enjoying

a well-deserved renaissance. What

I find truly remarkable is that for the

sort of money that will not even get you

started in collecting vintage steel sports

Rolex, it is possible to buy a watch that

is (i) a huge chunk of gold; (ii) part of

a limited and numbered series; and

(iii) a real piece of Rolex history.

It may be hoping for too much to

think that Rolex will ever relaunch the

King Midas but I would like to think

Rolex collectors will look on it with

increasing respect.

Ref. 4315 in white gold, brushed, with a

silver dial, circa 1975.

IMAGES: HERITAGE AUCTIONS.

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LAURENT FERRIER would become our bridge

between the past and the present.

The Master of Neo-Classical

Watchmaking — Laurent Ferrier

Words Wei Koh

When discussing LAURENT FERRIER, I am brought

to mind of Marcel Proust for a vividly evocative

reason. According to the French novelist’s

statement, “Style. . . is a revelation of a private universe which

each one of us sees but which is not seen by others.” Deep

inside Laurent Ferrier’s imagination, inchoate but present

when he made his first pocket watch in 1968 and enriching

itself to full maturity over his 37 years in a famous watchmaking

maison, was a singular voice of immeasurable horological grace.

When he did unveil this vision to the world with the launch of

his eponymous brand in 2009, the watch that he created, the

Classic Tourbillon Double Spiral, meaning double balance

spring, triggered an incredible flood of what Proust would call

“involuntary memories.” Ferrier reconnected us all with the

love for classical watchmaking, a remembrance of things past,

that we had almost forgotten. But now, thanks to him, it came

flooding back to us more powerfully than ever. Laurent Ferrier

would become our bridge between the past and the present. His

watches are the living, beating repository of horology’s greatest

collective memories. So artfully did he wield nuanced details

inspired by 19th and mid-20th century Swiss watchmaking

that his vision felt like it had already

existed for a century or more, already

permanently inscribed into the lexicon of

horology’s great canon.

Even more importantly, at a time

when watchmaking was becoming

bombastic and theatrical, he

reintroduced the world to the type

of watchmaking that was serene.

Says Ferrier, “In art, a baroque

period is always followed by an era of

renewed classicism. That is the type of

watchmaking I wanted to reintroduce to

the world. Classic watchmaking as I loved

it.” Which is to say watchmaking that is

devoid of hyperbole. An ethos of smooth

curvilinear forms inspired by the touch

of the divine in nature. Watchmaking

that champions restrained beauty belied

by technical prowess that instantly

made Laurent Ferrier one of the most

compelling high watchmaking maisons

around. In his humility, Ferrier demurs, “We are hardly a

Maison. We are just a small enterprise that makes just around

150 watches a year.” Yet the emotional impact of LAURENT

FERRIER far exceeds the quantities of watches he creates.

I have witnessed grown men, sagacious and learned, lost in

rapture in the microcosmic depths of the Tourbillon Double

Spiral. Its ethereal movement architecture and its visual

symphony of hand-finished details triggering memories of

past horological loves like a poem by Pablo Neruda. I have seen

jaded weary collectors smile in childlike delight at the delicate

hue of Ferrier’s chemin de fer on his Grand feu enamel dials or

revel in the dynamic tension presented by the smooth pebblelike

form of his École case contrasted by its virile Officer’s

lugs. I, myself have been immutably seduced by the Constantin

Brâncus ’

i-like linear attenuation of his Assegai hands. Each

LAURENT FERRIER watch is part of a multi-level codex. As

you examine it, you unearth layer after layer of detail that is

the product of the watchmaker’s internal reflection and quiet

consideration. All of which combine to create his horological

intellect, many elements of which were taught to him years

before he dreamed of creating his own brand.

Launched in 2010, Laurent Ferrier

championed a renewed era of restrained

beauty and classic watchmaking.

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Every element has been

painstakingly considered over and over

until we thought it was perfect.

THE STORY OF LAURENT FERRIER, THE MAN

Ferrier explains, “I grew up around watchmaking so

there was always a sense of predestination that I

would work in watches. I imagine in the same way

that it was for my son, Christian. My father was

a specialist in grand complications and I was

infected by his passion in particular early on.

He would tell me stories of how timekeeping

was interlinked with the story of human

history. That the marine chronometer was

the instrument which allowed man to safely

navigate the seas.” But at an early age,

Ferrier was also swept up by a passion for

auto racing. Which he feels added to his interest

in watchmaking in a unique way. He explains, “I

started in local races but soon gravitated to endurance

racing. I loved the idea of trying to achieve perfection

and consistency with each lap. I suppose this is also

one of the things that drew me to horology; the idea of

trying to express something perfectly. Racing taught

me a lot about details. If your car is not prepared

correctly, if you are not mentally focused, if you do not

enter each turn at the right speed or the correct angle,

it effects the outcome.”

For Ferrier, the mental discipline, the rigor of character, the

focus necessary to be a great driver was similar to his approach

to watchmaking. He says, “Similarly in watches, every single

element makes a critical difference in the outcome. This is

something that I have tried to apply to LAURENT FERRIER

watches. Ours is a design language that is restrained, some

might even say minimalist, but if you look at the details, the

color density of the font for each marker, the shape of the

crown, the compound curve of the sapphire crystal, every

element has been painstakingly considered over and over until

we thought it was perfect.” In addition, Ferrier would quickly

understand that both racing and watchmaking involved every

one of the human senses — a revelation that would serve him

well in life. He explains, “When I was young, my father would

encourage me to touch and feel the watches he worked on to

start to develop a sensitivity to their tactility. It is similar to

driving; you see with your eyes but you control the car through

feel that comes from the wheel to your fingertips, and the

interaction of the car with your body through the seat.”

As Ferrier explains, the sense of his family’s horological

predestination led him to watchmaking school where he

excelled graduating at the top of his class. But even at an

early age, Ferrier had a very distinct perception of what style

of watchmaking he loved. He states, “When I was 16 years

old, I completed my watchmaking studies and presented my

Montre d’École in 1968, which was an attempt to create a

very elegant and pure expression of watchmaking. The next

40 years would be a period where I would learn and define

the codes of my vision for watchmaking. I would come to love

apparent simplicity or purity in design combined with extremely

ambitious technical innovation. What I love is the dynamic

tension between a watch that is wonderfully restrained and

charmingly understated when you look at it from the front, but

as you examine the details and then turn it over to look at the

movement, you suddenly become aware of how complex it is.”

It would be impossible to fully understand Laurent Ferrier

without discussing his time at Patek Philippe. Says Ferrier; “I

owe a tremendous amount to my time spent at Patek Philippe.

For 37 years, I only worked at one watch brand and I can say

unequivocally that it is an incredible Maison. Their tradition

“School Piece” watch

made by Laurent

Ferrier during his

watchmaker’s

training, 1968.

was to always take on board the top one or two graduates

from the watchmaking school and as I was fortunate enough

to do well, they recruited me. My first job was to work on a

project related to a quartz digital display chronograph which

had finally been abandoned. This left an impression on me;

that human beings still respond to traditional time telling in

a very fundamental way. It would really reinforce a belief in

mechanical watchmaking for me even when the Quartz Crisis

started. I recognized that all electronic devices eventually

become obsolete. Whereas my father might be working on a

watch that had been left dormant for many years, but with some

oiling and service, it would start immediately and keep time as

perfectly as when they were new.”

Amusingly, his passion for racing caused a brief departure

from watchmaking, but its call to Ferrier was ultimately

too beckoning. Eventually his two passions found a healthy

compromise thanks to a kind boss. He explains, “My boss

was very kind to me so, by 1971, I started by working in all

the different departments at Patek Philippe. But I was really

catching the auto-racing bug at this time. So I left for another

job in the auto industry but really because it would afford

me the flexibility to race. If you are going to compete on the

weekend, then you need all of Friday to prepare your car and

learn the track. And all of Monday to debrief, and for repairs

and maintenance. Eventually my boss at Patek asked me if I

would be willing to come back. I was very happy to but asked if I

could apply my holiday leave such that I could take each Friday

off during the racing season to prepare my car. As soon after the

Quartz Crisis hit the industry, my work week was shortened to

four which was perfect for me.”

But even as his racing career flourished, his adventure in

watchmaking also offered new opportunities. Says Ferrier,

“In 1974, I ended up in the department that oversees the

development for all the external parts of the watch. Meaning

that when Philippe Stern decided on a new watch, the

movement would be developed by another team, while our

team would create everything that ‘touched the air’ or that was

external, specifically the case, the dial and hands, the crystal

and the bracelet. This was an incredible job because you really

understand how the smallest detail, how the hands are bent to

follow the curve of the crystal, the thickness of lugs, the size of

the crown, of the pushers, the integration of the bracelet, all of

these things made such a huge difference.”

One of Ferrier’s first projects was a watch that would

become one of horology’s most recognizable icons, an

iconoclastic design for an integrated-bracelet steel watch

created by Gérald Genta. Says Ferrier, “I was lucky enough to

be part of the project that developed the Nautilus. We received

the plans from Genta’s atelier and the instructions from the

great Philippe Stern to make these two-dimensional drawings

a reality. What is funny is that because this was far before the

era of three-dimensional digital modeling, the front of the

watch was always drawn perfectly, as was the back of the watch,

but the side was often left as something for us to interpret. The

brilliance of this design was the dramatic contrast between the

oversized 39mm incredibly modern case, contrasted by the

thinness of its profile at just 7.6mm. The Nautilus is a two-

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Ferrier with a laugh, “People often describe us as being on the

same podium as Paul Newman but Le Mans has no podium to

speak of. However, we were of course well aware of him as he

was our competitor. We were very impressed by his co-driver

Rolf Stommelen. Despite all my racing, I had never really

won any money and it was only in 1979 that I finally received a

significant cash prize. So I took part of this money and offered

a Patek Philippe Nautilus to François. On the back of it, I had

engraved ‘Le Mans 1979.’ Throughout my entire racing with

François, we would always talk about what we might do together

one day. That evening he proposed the idea of us starting our

own watch brand. It intrigued me but I really loved my job at

Patek so it would be something I put on hold for many years,

until I finally felt I was ready.”

Indeed, it would take Ferrier a full 37 years at this famous

watchmaking Maison, where he would eventually rise to head

the product development department, before he felt he was

ready to create his own brand. To me, this is a remarkable

contrast to the multitudes of young upstart watchmakers so

eager to impart their vision of horology on the world. For

Ferrier, he felt he had first of all to fulfill his obligation to his

employer and second, wait until his vision for watchmaking

was at the peak of its expressive possibility. He recalls, “I went

to speak to my superiors. At first they thought it was curious

that I would want to leave just a few years from my retirement

and the pension it would provide. I explained I was leaving to

create my own small brand. I suppose it was not normal for

someone my age to leave to start something new in their early

60s. But I finally knew it was time. Part of the motivation was

the idea of being able to collaborate with my son Christian,

who was at Roger Dubuis working on movement development.

I suppose it is the dream of every father to be able to create

something together with his son. It is also a very complementary

relationship because I like to focus on the design of the watch

even though I also love the technical aspects of the movement,

while he loves to focus on the technical aspects even though

he has a huge appreciation for design. It was really the

opportunity to create our dream watch, the exact type of watch

we would love to wear ourselves. We knew we wanted to create

a watch that was perennial that resonated with a great classic

watchmaking language that we both loved. We also wanted the

watch to express that dynamic contrast I speak about often. To

have a wonderful discrete language on the dial side, and then

to have a real vision of virtuoso watchmaking on the movement

side.” The first manifestation of Laurent Ferrier’s vision for

high watchmaking did all that and more.

Racing would lead to a meeting with industrialist François Servanin

who would eventually become Ferrier’s partner.

Paul Newman during the 1979 Le Mans race.

part interlocking and overlapping case that is held together by

special screws that travel through the vertical axis of the case’s

ears. When we were finished we thought it was one of the most

beautiful and original watches we had ever seen.”

A PARTNERSHIP BORN IN RACING

Ferrier’s early life began to find its rhythm and with success in

both racing and watchmaking, he found himself content. What

he didn’t realize was that a friendship would lead him both to a

podium position at the 1979 24 Hours of Le Mans as well as the

creation of his own brand. He explains, “Throughout this time

I began racing quite competitively. Eventually starting in 1975,

I began competing at the 24 Hours of Le Mans. That is how I

met the man that is now my business partner, as President and

main shareholder, in LAURENT FERRIER watches, François

Servanin. He was a very interesting man. He had already

established a reputation for helping to develop race engines

and he was a rising driver on the endurance-racing scene. At Le

Mans in 1978, François came in 11th overall and first in the grand

touring category driving a Porsche 911. That same year I came

in 10th overall and first place in the under-two-liter prototype

category in a Chevron ROC. Based on our friendship and our

mutual respect for one another, we decided to race in a Kremerprepared

Porsche 935 in 1979 where we placed third overall.”

That same race Paul Newman and his co-driver placed

second. It is incredible to think of Ferrier and Servanin

celebrating in the same paddock as Newman and his team. Says

The1979LeMansbroughtwithitan

incredible third-place finish. That same

year Paul Newman came in second.

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CLASSIC TOURBILLON DOUBLE SPIRAL

I recall the first time I heard of Laurent Ferrier, it was from

one of the watch collectors I respect most in the world. This

is a man who is in possession of both a Patek Caliber 89 and

some of George Daniels’ most important works. So, when

he professed his admiration for LAURENT FERRIER, I was

eager to learn more. But being in the presence of the Classic

Tourbillon Double Spiral was an experience I was not prepared

for. Immediately I was swept up by a powerful sense of Proustian

nostalgia. It struck me deep in my emotional epicenter that it

expressed precisely the style of watchmaking I longed for but had

not even realized I missed. At 41mm in diameter, it was certainly

modern but not oversized. But the delicacy with which the grand

feu enamel dial, the lithe elongation of the Roman numerals in an

act of interpretative brilliance that rivaled even Louis Cartier’s

mastery of typography, was the first thing seduced me.

Everything, the position of the sub-seconds, the slate

grey used for the minute track and the ivory cream Grand Feu

enamel of the dial was perfectly executed. If the dial of a watch

can be likened to the face of a person, it was simultaneously

arresting in its beauty and somehow tremendously warm

and inviting because of its familiarity. Ferrier laughs when

he recalls telling Servanin that he wanted to create his first

watch as a round three-handed watch with an ivory dial and

Roman numeral indexes. In the context of the first decade of

the new millennium, where watchmakers were experimenting

with different modernist approaches to displaying time,

this seemed almost willfully anachronistic. Ferrier says,

“François would later tell me that of all the ideas to start

the brand he considered it the least inspired. This was of

course before he saw the watch.” The Classic Tourbillon

instantly awakens a longing for true classical watchmaking

from the 19th century. Says Ferrier, “The idea is how do you

design something that brings out this emotion yet it is totally

original?” And originality is indeed prevalent in his design.

Ferrier’s Roman numerals are long and graceful and unlike

any other I remember. His unique shape hands similarly long

and sleek. Ferrier names these hands “Assegai” models, and

they are inspired by the javelins used by the legendary Zulu

warriors. The magic of the Grand Feu enamel dial really comes

to light when Ferrier explains the delicate use of complementary

colors. He explains, “If you look closely, you’ll see the minute

track is a type of slate grey as opposed to the black of the indexes.

The same thing with the signature and the words ‘Tourbillon

Double Spiral.’ These are rendered with a softness and delicacy

that makes them look like they have faded over a century.”

When you touch a Laurent Ferrier case it too exudes a sense

of familiarity. Every surface has been modulated to feel like a

caress on the skin. The term “Galet” which Ferrier gave to his

very first case design refers to a pebble. And this was precisely

what Laurent Ferrier had in mind. He explains, “I wanted to

Acasewhereeverysurfacehasbeenmodulatedto

feel like a caress on the skin.

As someone who loves cars, I always felt the best automotive design mixes soft,

rounded feminine lines with stronger, more masculine ones.

create a case that had all the satisfying tactile smoothness of a

pebble you find in a river whose surfaces has been worn smooth

by time and water, so that no matter where you touch it you feel

this sense of tranquility and perenniality.”

Ferrier recalls multiple times during his career designing

and prototyping cases where endowing a round case with a soft

organic smoothness suddenly made it a pleasure to wear. At the

same time, he wanted to energize his design with the inclusion

of sharper, straighter lines, which he applied to the profile of

his lugs. He explains, “As someone who loves cars I always felt

the best automotive design mixes soft, rounded feminine lines

with stronger, more masculine ones. This creates an amazing

dynamic tension, a sense of energy resulting from the contrast

and I wanted to apply this to my Galet Classic model.” What is

interesting is that even though the case for Ferrier’s first watch

is 12.5mm in thickness, necessitated by having a tourbillon

Ferrier’s first independent foray unveiled a horological design language of

extraordinary sensitivity to detail.

Caliber LF 619.01

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Christian Ferrier.

I wanted my watch to be a symbol

of discrete elegance.

located at the back of the watch, it wears like a much thinner

watch because of the way almost every line is expressed as a

curve. Finally, the moment you turn a LAURENT FERRIER

watch over, is to be utterly obliterated by the beauty of the

movement. In this case, the devastating richness of finish and

the magnificent 19th-century Vallée de Joux pocket watch

architecture of the tourbillon caliber.

But why start with a tourbillon? Says Ferrier, “There are

certain complications such as a split-seconds chronograph

that I love, but these are very delicate mechanisms and have

to be treated carefully as they are fragile. What I like about the

tourbillon is that it is, of course, difficult to poise and regulate.

But once this is correctly done, it continues to run with great

stability. For me, it was very important that our first watch be

an incredibly reliable one and that all the owners would have a

great experience with it.”

Importantly, Ferrier decided to make his Classic Tourbillon

Double Spiral a masterwork of subtlety, not just with the

restrained beauty of his dial, but by also placing his tourbillon

at the back of the watch. He explains, “This was very important

to me. I wanted my watch to be a symbol of discrete elegance,

where the owner keeps the secret of its incredible complexity to

himself. He has the opportunity to share this with his friends, but

only when he chooses.” In a world dominated by social media

and perhaps aggressive oversharing, Laurent Ferrier’s watches

militated against bombastic extroversion with intentional

and wonderfully charming understatement. In the context of

2008, with the world swept up by a financial crisis, this became

something very significant, an expression of sensitivity and taste.

Interestingly, in 2020, in a post-COVID-19 environment,

this concept of discrete elegance is perhaps more relevant than

ever. Says Ferrier, “Eventually I was asked to make a version of

my watch where the tourbillon could be viewed from the front,

but whenever possible, I prefer to design my watches to be the

ultimate statements of restrained beauty.”

What is certainly not restrained in his first horological

overture was the utter transcendent magnificence of his

31.6mm-wide, 5.57mm-thick caliber LF 619.01. To create this

movement, Laurent Ferrier and his son, Christian, reached out

to old friends, and former colleagues from his time at the famous

manufacture, who had since founded their own watchmaking

workshop, La Fabrique du Temps. They had worked at Patek

Philippe on complicated watches before moving to Franck

Muller to collaborate with the legendary Pierre-Michel Golay of

Gérald Genta on, amongst many things, a grande sonnerie. The

movement that they would create with Laurent and Christian

Design schematics

of the two opposing

hairsprings.

Ferrier would be one of their milestone achievements. Says

Ferrier, “There have been many beautiful tourbillon movements,

but my favorites were 19th-century pocket watches made with

Vallée de Joux ébauches. So we decided to create a movement that

expressed this style of watchmaking. At the same time, we wanted

to bring an added technical dimension to the tourbillon. That’s

when we came up with the idea of a double balance spring.”

Says Christian Ferrier, “The idea of the double spiral, or

balance spring, has to do with optimizing concentric breathing. A

balance spring depending on its orientation will have a tendency

to develop more in one direction than the other. As wristwatches

adopt numerous positions throughout the day, this can also place

unequal friction on some of the regulating elements such as the

balance staff. The idea is that by placing two balance springs

in opposing directions — head-to-tail as Ferrier calls it — the

two springs offset each other and allow for regular and uniform

development of both springs. This works particularly well in

combating errors caused by gravity. As the original purpose of

the tourbillon as designed by Abraham-Louis Breguet was to

compensate for errors caused by gravity on the sensitive regulating

organs of the watch, in particular the balance spring, we thought

it would be particularly meaningful to elevate the performance of

our tourbillon with the double balance spring solution.”

Says Laurent Ferrier, “For me every element of the watch

should have a meaning and be rooted in historical significance.

Yes, it is interesting to use a double balance spring in any

movement because it helps to offset gravitational errors, but

even more meaningful to use it in a tourbillon because you could

imagine Breguet being pleased by this idea. The fact that together

these two springs better hold the center of the axis of the balance

even as they turn within a one-minute cage seems to really strike a

chord with collectors that love high watchmaking and its history.”

In order to achieve this innovative solution, Ferrier tapped

Precision Engineering AG to create the two balance springs.

The company uses a proprietary material named after professor

Reinhard Straumann who patented the material Nivarox.

The tourbillon cage

powers a small seconds

indicator on the dial side.

What is extraordinary about the Laurent Ferrier Tourbillon

movement caliber LF 619.01 is the beauty of its architecture.

Bridges are executed as stunning and powerful horizontal

expressions of masculine design. The gear train is clearly

delineated and your eye naturally follows the pathway

from barrel, to second wheel to third wheel. Where a lot of

tourbillons are designed so that their third wheels engage with

the pinion of the tourbillon cage, Laurent Ferrier opted for a

different design. Here, the third wheel drives an intermediate

wheel, which engages directly with the exterior of the tourbillon

cage. A wonderful detail is that this tourbillon cage in turn

drives a small seconds indicator on the dial side.

Says Laurent Ferrier, “I was surprised to discover that

there are little tourbillons with a sub-seconds indicator at six

o’clock. I suppose it has to do with the complexity of creating

a functional seconds indicator on top of the tourbillon. I’ve

always loved the beauty of a three-hand chronometer and when

I had the opportunity to create my tourbillon, I wanted it to have

precisely this appearance from the front of the dial.”

For watch lovers, discovering this movement is like being

swept up in a love affair of extraordinary passion. The barrel

features a decidedly old-school blade-style click ratchet,

which has been mirror polished to such a high level that it

doesn’t reflect light. All five of the bridges (excluding the

tourbillon bridge) receive Geneva waves contrasted by stunning

hand beveling on their angles. While many brands shy away

from sharp bevels as these have to be painstakingly created by

hand, LAURENT FERRIER almost goes out of his way to supply

these in force. But it is his tourbillon bridge anchored by two

fixed points on the left and by one point on the right that is his

high finish tour de force, the orgiastic crescendo to the visual

opera of his creative brilliance. The rounded left side of the

bridge receives this same mirror polish or “spéculaire” while

the left side provides extraordinarily perfect sharp internal

angles which are the single most challenging type of hand

beveling there is.

The lascivious use of sharp

internal angles and mirror

polish on the tourbillon

bridge speaks of a great

deal of handwork.

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Says Ferrier, “For those that understand these details,

I thought it would make them smile to see a movement

intentionally designed so it could only be finished by very skilled

hands. Of course we make about 150 watches a year so we are

able to devote the time, energy and affection to every one of our

timepieces.” Indeed, every countersink and screw head has

been mirror polished to perfection and added together becomes

a visual experience that is horological edification at its very

finest. The Classic Tourbillon Double Spiral was launched in

2010 and soon developed a cult reverence that culminated in its

winning of the 2010 Geneva Grand Prix.

CLASSIC SECRET TOURBILLON DOUBLE SPIRAL

In 2011, LAURENT FERRIER unveiled an intriguing version

of the Classic Tourbillon Double Spiral. Laurent Ferrier

featured a dial that could be retracted at 240 degrees to reveal

a second dial underneath. That dial made as a bespoke order

for each client could be gem-set, gold-engraved or miniaturepainted.

He explains, “The Secret was actually the first watch

that I designed. I love the idea of a highly personalized dial.

But because the philosophy of our brand is about discretion,

we liked the idea of being able to keep an amazing artwork as

something very private. I came up with the idea of a dial like a

fan that would open to reveal a second dial underneath that was

painted or decorated with a motif.”

The Secret can be opened on demand using the pusher

co-axially mounted on the crown. But at the same time, you can

program the dial to open from a specific time to another. If after

dinner, from nine to midnight, if this is your time for personal

reflection, then the dial can be programmed to open a full

240 degrees during this period. Over the life of this charming

model, Ferrier has collaborated with extraordinary artisans

like Anita Porchet, the late Dominique Baron and others. Each

Secret is a bespoke creation limited only by your imagination.

Once people started to notice the Tourbillon Double Spiral,

many of them began to approach me to ask “We love your style of watchmaking but

is it possible to create something that is more accessible in price?”

The dial on the Secret

can be retracted at

240 degrees to reveal a

second dial underneath.

CLASSIC MICRO-ROTOR

Launched in 2012, the Classic Micro-Rotor featured an

automatic movement wound by a small fan-shaped mass

mounted on a high-polished bridge. However, what was hidden

within its depths was an escapement created by the legendary

watchmaker Abraham-Louis Breguet. More than just an

accessibly priced LAURENT FERRIER, the Classic Micro-

Rotor soon developed a passionate following. Says Ferrier,

“Once people started to notice the Tourbillon Double Spiral,

many of them began to approach me to ask, ‘We love your style of

watchmaking but is it possible to create something that is more

accessible in price?’ For Christian and me, this was important

because we wanted people who loved our watches to be able to

wear them. So, we began to have a conversation about a simpler

automatic watch.” Says Christian Ferrier with a smile, “Well,

of course my father would say simple, but in fact the movement

we arrived at was anything but. I always liked that the tourbillon

model and the Micro-Rotor model appear identical from the

front of the watch. This was always my father’s philosophy that

the complexity and technical value of your watch should be

something you keep for yourself. However, we wanted owners of

the automatic watch to also be able to turn their watch over and be

able to feel a similar emotion that owners of our tourbillon feel.”

How did the father and son arrive at the unique combination

of automatic winding and a novel escapement? Says Laurent

Ferrier, “I love the practicality of an automatic movement. But

so much of the experience of owning a LAURENT FERRIER

watch is the enjoyment of the movement, so we couldn’t cover

this with a full-sized rotor. We decided, along with La Fabrique

du temps, to mount this rotor on a bridge that resembled a

tourbillon bridge that received the same level of mirror polish.

Similarly, the bridge for the balance wheel is inspired by our

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tourbillon bridge — this is also mirror-polished and with sharp

internal angles that can only be created by hand.”

But there would be one more element to Ferrier’s automatic

caliber FBN 229.01 that would be obscured from the naked eye.

Says Christian Ferrier, “When Breguet created the tourbillon

he was trying to solve the issue of errors created by gravity on the

hairspring and the escapement. But he was also trying to resolve

the issue of oil. In fact one of his most famous statements is,

‘Give me the perfect oil and I will give you the perfect watch.’ He

understood that lubrication or more specifically the loss on parts

had a very negative effect on watches. Because of this, in 1789,

he created the natural escapement.” One of Breguet’s signature

inventions, the natural escapement uses two escape wheels

turning in opposite directions to all but reduce the sliding friction

found in most escapements. In Breguet’s design, the first escape

wheel is driven by the mainspring, while the second escape wheel

is driven by the first escape wheel. This way the release of the

escape wheels, which alternates, is in each direction to reduce

sliding friction. A lever in the center rocks back and forth and is

what provides the impulse to the balance wheel.

The challenge facing Laurent Ferrier was to define a

functional balance between the limited thickness of an automatic

movement and a high degree of efficiency for winding the barrel.

Achieving this implied finding a system ensuring perfect winding

in order to compensate for the lower inertia of a small oscillating

weight. In fact a micro-rotor needs as twice as many rotations

(300 vs. 150) needed for one complete turn of the ratchet wheel.

Thanks to the efficiency of LAURENT FERRIER escapement,

the number of rotations needed can be reduced by one third – to

approximately 200 rotations. A gain for the owner of the watch.

Caliber FBN 229.01

This exclusive double direct-impulse escapement in silicon,

directly on the balance, has been inspired by the father of modern

horology, Abraham-Louis Breguet. This modern construction,

associated with the use of cutting-edge materials, maximises the

restitution of energy. Thanks to the excellent efficiency of this

escapement, the moment of couple (= torque) required to wind

the mainspring is reduced and hence optimizes the movement

winding. Inspired by the concept of the detent escapement

this escapement has the advantage to give two impulses per

oscillation (1 oscillation = 2 vibrations). This means that

LAURENT FERRIER’s movement frequency of 3Hz (21,600

vph) allows to impulse the balance 21,600 times per hour.

To use a metaphor, we can explain the double direct impulse

by comparing with a swing: with a detent escapement you push the

swing once and you wait until it bounces back to give it the next

impulse; with the double direct impulse escapement you push the

swing and another person opposite pushes it back on his side.

Says Christian Ferrier, “Breguet’s idea was brilliant. He

implemented the escapement in 20 pocket watches. But the

escapement was extremely difficult to manufacture with the

tools of this era as the tolerances had to be perfect for the wheels

to have no play but be able to move freely. As we discussed

the natural escapement in collaboration with La Fabrique du

Temps, they came up with the idea of using advanced technology

and materials, specifically nickel phosphorus, for the escape

wheels. These are galvanically grown and have tolerances that

are incredibly precise, down to the micron. For the lever they

suggested we use silicon and because of these materials, we

were able to reduce to a minimum the use of lubrication.”

Says Laurent Ferrier, “I think it is wonderful that we were

able to implement the famous natural escapement, I must say we

were very impressed with the results of this escapement. Like the

tourbillon, it is challenging to install and regulate but once this is

correctly done, it has proven to be incredibly stable. It was also

important to me that we expressed the same movement design

language in the micro-rotor and so you see that on the angle of

the upper bridge we created a sharp internal angle just to show

collectors who appreciate these details that this movement is

hand finished to the same standard as our tourbillon.”

The dial design of the Classic Micro-Rotor exudes a

wonderful minimalism invoked here by long pointed baton

markers that perfectly complement the finesse of Ferrier’s

signature Assegai hands. The minute track, rather than being

printed or applied, uses a pierced technique that results in

the relief effect of 60 tiny bowl-shaped indexes. Says Ferrier,

“This was a technique that was once popular but has largely

disappeared. It is an example to me of a technique that is

beautiful yet very subtle and as such, perfect for our dial.”

Upon launch, the Classic Micro-Rotor became one of the most

coveted timepieces around and struck a chord with the world’s

leading watch experts. So much so that Aurel Bacs, senior

consultant at Phillips Watches and the world’s leading watch

auctioneer; Auro Montanari, the legendary Italian collector;

Ben Clymer, the brilliant founder of Hodinkee; and Eric Ku, the

owner of vintage Rolex forums, and a vintage watch guru and

Rolex expert, all ended up creating unique executions of this

watch for themselves.

Schematics

of LAURENT

FERRIER’s

escapement.

The Classic Micro-Rotor became one

of the most coveted timepieces around

and struck a chord with the world’s

leading watch experts.

Auro Montanari

Auro Montanari’s

LAURENT FERRIER

watch.

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SQUARE MICRO-ROTOR

Launched in 2015, the Square brought an all-new energy

to Ferrier’s lineup. This cushion-shaped 41 × 41mm watch

added an injection of sporty energy. Says Ferrier, “I was

always attracted to this style of case. While the cushion shape

is very distinct from our Classic, it precisely follows our ethos

concerning a form that provides a great tactile pleasure to

wear.” The Square was the first Laurent Ferrier watch to

be produced in series in steel, and won the prize for Best

Horological Revelation in 2015.

Over the course of his life, Laurent Ferrier has made

several special versions of the Square that demonstrate his

extraordinary design acumen. Indeed, the watch has become

TheSquarewontheprizefor

Best Horological Revelation in

2015 at the GPHG.

something of a showcase for Ferrier’s imagination. One of

these models is the Boréal launched in 2016, which features a

stunning luminous sector dial. There are two more sector-dial

versions with applied indexes and track made for US retailer

Swiss FineTiming (silver dial with applied Arabic numerals

in 2016 and salmon dial with applied Breguet numerals in

2017) and, of course, the wonderful original sector-dial watch

created for the Only Watch charity auction in 2015.

Beating inside the Square is the FBN229.01 micro-rotor and

natural escapement movement that was introduced in the highly

successful Classic Micro-Rotor. The Square also comes in a

Regulator configuration where each hand is placed in a different

position on the dial, emulating a watchmaker’s regulating clock.

The design

of the watch

is a perfect

expression of

Ferrier’s focus

on intuitive

displays of

information.

CLASSIC TRAVELLER

One of Laurent Ferrier’s objectives in the expansion of his

complication vocabulary was to retain the beautiful design

purity of his brand while adding real and pragmatic functions.

In 2013, he did just that with his Classic Traveller. Says Ferrier,

“One of the realities of the modern world is constant travel. So

I wanted to create a watch that addressed the need to read both

home time, local time and date at one glance. The first thing

that struck me is that many watches have the date synchronized

to home time which is technically incorrect. Because wherever

in the world you are, the local date is the information relevant

to you. The second thing I noticed was that even when the date

was synchronized to local time, it would be brought forward but

most often it could not be brought backwards.” Thus motivated,

Ferrier embarked on a mission to create one of the easiest to

use, functionally innovative and of course classically stunning

watches on the market.

He named this watch the Classic Traveller. This watch

would be powered by his micro-rotor, natural escapement

movement. But what would make a huge difference to

discerning watch collectors is that the caliber LF 230.02

is an integrated movement. That means that the additional

mechanism to display the home and local time is integrated into

the baseplate of the movement. Most other brands would have

simply added a module to the base caliber. But as Christian

Ferrier explains, this would not be the prevailing philosophy at

Laurent Ferrier.

The design of the watch is a perfect expression of Ferrier’s

focus on intuitive displays of information. He explains, “When

someone looks at a watch, their eyes will naturally move to

certain displays. I want to create a sense of visual logic so

that when someone looks at it, you don’t even have to explain

how to operate the watch. You understand intuitively. For

example, on the Traveller, your eyes will move from left to

right as this is the direction in which we read. On the left of the

case at 10 and eight o’clock, you will find the two pushers to

move the local time hour hand either forwards or backwards.

The Square Regulator.

The additional

mechanism to

display the home

and local time is

integrated into the

baseplate of the

movement.

Square Boréal.

Piece unique created for the Only Watch

charity auction in 2015.

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The lower advances the hand while the top pusher makes it

go backwards.” At nine o’clock on the dial, you have a display

for home time. This is told with a dragging indication and the

aperture is made larger than that of the date for two reasons.

First, that you immediately identify its function; and second, so

you can see the hour just before and just after your home time.

At three o’clock, you have the date. This indication follows the

local time both forwards and, very importantly, backwards.

Then you have a small seconds indicator at six o’clock which is a

visual signature for Ferrier’s brand.

The dial iconography of the Traveller is an exciting

departure from the ultra-classic nostalgia of both the

Tourbillon Double Spiral as well as the Micro-Rotor watches.

Here we find a much more contemporary energy expressed

through the use of long pointed applied hour markers called

drop-shaped and printed minute markers in high-contrast

relief to the matte or contrasting finished dials. The watch

measures 41mm in diameter and is 12.64mm thick. From the

back, one visual clue that this is a different timepiece from the

Micro-Rotor is the use of a lovely barleycorn guilloché pattern

on the rotor. The standard Micro-Rotor watch has a fanshaped

engraving applied to it.

ÉCOLE MICRO-ROTOR

2017 was a momentous year as it marked the launch of Ferrier’s

new case shape, this time one that paid homage to his roots.

The École’s design was based on the pocket watch that Ferrier

crafted to graduate from watchmaking school. Says Ferrier,

“As I began to think of a second round case shape, I first asked

the question what its purpose would be. The Classic has a very

specific form that is very curvaceous. However, when it came

to enlarging its dimensions to add more of the complications,

I didn’t like the effect on its proportions. As such, I began

to think of a case that would be particularly well suited to be

the home of complications such as the annual calendar and

the minute repeater that we were developing. Interestingly,

I found myself back at the very origins of my journey with

watchmaking. As I mentioned, to graduate from watchmaking

school in 1968, I made my own pocket watch. This timepiece

was very much inspired by the watch design I loved from the

1950s. Interestingly, I think I can now see much of the design

philosophy that would take shape later in life in evidence in

this project. In particular, I liked the case of this pocket watch

and thought it would be a strong inspiration for a new model. I

called this École in reference to its link to my school project.”

Of the various case designs that emerged from the ’50s,

one of the most beautiful was the “Disco Volante” case shape

used by several high watchmaking maisons for some of the most

iconic watches from this period. This is a serene round “Flying

Saucer” shape that was counterpointed by soldered lugs.

However, Ferrier’s approach to this style of case was markedly

different. His École takes the iconography of the Disco Volante

and softens it with a sensitive organic plasticity to imbue that

same feeling of having been worn smooth by water that is in

evidence in his Classic. The result is a watch that is an even

higher expression of harmony and tranquility.

While the Classic is about the contrast between curved lines

and straighter ones to result in a dynamic tension, the École

case does not have a single straight line. Its bezel and case band

are curved, and even the caseback is rounded. Every section of

this three-part bassiné case feels sculpted by nature. So, the

dynamic contrast here is achieved through the muscularity and

power of the lugs with their curved shape but straight sides.

Each lug is capped with a cabochon that covers the spring bar

and endows the design with a kind of Officer’s case aesthetic,

which is augmented by the ball-shaped crown that is a pleasure

to wind. The final result is a case that is more curvilinear than a

traditional Officer’s case, but more functional and robust than

a Disco Volante.

Some collectors have posited that the form of the École is

reminiscent of these early wristwatches that had lugs soldered

onto them for use by pilots and military officers. But I feel that

the ethos of the École is far more nuanced and charmingly

executed in its wonderfully rounded form to be so easily

described with this simplistic comparison. Launched in 2017

with a diameter of 40mm, the École immediately became a

worthy sibling to Ferrier’s other case shapes.

With his École, Ferrier’s dial design would reach an apogee

of purity. Drop-shaped hour markers at 12, three and nine

o’clock were contrasted by a printed minute track. The subseconds

scale would only feature four hash marks adding to

the Zen minimalism of this act of horological haiku. Regarding

the surface decoration of the dial, which features contrasting

sections of vertical brushing for the main dial and circular

brushing for the section beneath the indexes, Ferrier was again

inspired by the great Abraham-Louis Breguet.

Each section of the École

dial features a different type

of decoration.

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Says Ferrier, “Before Breguet watches were very ornate in

design, he was the first person to create a restrained and subtle

design for the dial. In so doing he became the world’s first

modern watch designer. His idea was to use different styles of

guilloché to help in the identification of each section of the dial.

So the small seconds subdial would have a different decoration

from the power reserve indicator, for example.” While looking

at a “guilloché fait main” Breguet watch today in comparison

to a LAURENT FERRIER, the styles of watchmaking could not

be less similar. However, the use of subtle dial decorations to

create beauty while enhancing visibility is a strong philosophical

allegiance between the two watchmakers. Of note is that Ferrier

created a steel version of this watch, and chose a rougher

decoration for its micro rotor movement, recalling the original

materials uses in prototyping, such as brass, which offers a

contrast with steel. Further hand-finishing skills applied to

the movement include shot-blasting, known as microbillé, and

mirror polishing for the parts in steel, including the balance

cock. This gives a similar aesthetic as the frosted finishes that

were often used by British watchmakers in the 19th century.

The gold versions of this watch received the classic Geneva

stripes decoration.

The dial of the École is also configured as a regulator. This is

based on large watchmakers’ clocks that were used to regulate

movements. For maximum visibility from all parts of the atelier,

regulators had each of their hands placed at different positions

on the dial. In the case of the École, hours are placed in a

subdial at 12 o’clock, seconds at a subdial at six o’clock and the

minutes are read off the large hand in the center of the dial.

Dial of the École

configured as a

regulator.

The dial of the

Annual Calendar is a

masterpiece of Ferrier’s

intuitive approach to

information display.

Example of the ‘frosted’

finishing on the movement.

ÉCOLE ANNUAL CALENDAR

Shortly after the launch of the École, in 2018, Ferrier introduced

his first complicated version of this timepiece. The annual

calendar complication, which is one of the most pragmatic in

the realm of high watchmaking, was introduced in 1996 by Patek

Philippe. This watch marries the intelligence of the perpetual

calendar, which automatically compensates for the shifting

30/31-day rhythm of the months, with the more accessibly

priced and functional robustness of a simple calendar, which

necessitates the manual correction for any month with less

than 31 days, altogether five days during the year. In an annual

calendar, you only need to make one adjustment each year by

manually adjusting it on the last day of each February.

What was important for Ferrier was that his annual calendar

introduced an ease of adjustment that was not present in other

watches. He explains, “I’ve always loved the annual calendar.

Here is a watch that provides a correct reading for date, day

and month at all times with only one adjustment required

each year. But the reality is that as with all calendar watches,

owners have a tendency to rotate with other watches, and

eventually, the calendar information has to be reset. With

other annual calendars, a system of pushers integrated into

the side of the case are used and each display is operated using

the corresponding pusher. This means you have to create an

unnecessarily complex case, and also, if you don’t have an

instrument to adjust these pushers, you are unable to set your

calendar. At the same time, there has been a solution where the

annual calendar information is synchronized but then if you

accidentally set the information too far in advance, you can’t

turn the date backwards. For our annual calendar, we wanted to

have all the practical benefits of crown operation but a date that

could be turned both backwards and forwards.”

Adjustment of the day of week

Winding

Adjustment (forward/backward)

of the Calender

Correction of hour

of reference and the

minute hand

One of the easiest annual calendars to set, Laurent

Ferrier’s Annual Calendar has no recessed pushers;

all information is set using the crown and the large

pusher on the side of the case.

This is how the Annual Calendar

is set. Position one on the crown is

for charging the barrel of the watch’s

manual-wind movement. Pull the

crown out to position two and you can

now rapidly advance the date in either

direction. However, by turning the

crown backwards and forwards in one

motion, you can advance the month.

Days of the week are adjusted using

the pusher integrated at 10 o’clock into

the case. So in terms of sequence, you

would first adjust the months, the date,

then pull the crown out to third position.

After that you can easily use the pusher

to set the correct day of the week.

The dial of the Annual Calendar

is a masterpiece of Ferrier’s intuitive

approach to information display. Day

and month are read in twin beveled horizontal apertures that

are located at 12 o’clock just above the LAURENT FERRIER

signature. The month is read off a centrally mounted hand

and a scale that is printed on the perimeter of the dial. This

is reminiscent of one of Audemars Piguet’s first perpetual

calendar wristwatches, the reference 5518 from 1955. Indeed,

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for me, even the wonderful font selected by Ferrier with the

open “6” and “9” and vertical serif “7” pays tribute to the

masterpiece while providing a thrilling contemporary twist by

being rendered in bold colors such as Royal Blue. But it is in

the demarcation of subtly different levels and decorations on

the dial that you see Ferrier’s true genius. The center of the

dial sits slightly higher and uses a vertical satin brushing, the

minutes receive a circular-brushed finish and slope gently away

from the center of the watch, while the date track sits on an

opaline finish on a slightly recessed plane. Similarly, the small

seconds subdial is recessed and there is circular guilloché in

the center with an opaline track. And for the first time, Ferrier

uses a crosshair motif on his dial which brings an added sporty

dimension to the design. Additionally, the watch won the best

Men’s Complication prize at the GPHG in 2018.

Note that the Annual Calendar does not feature the natural

escapement found in the Micro-Rotor. Instead, Ferrier has

opted for a classic Swiss Anchor in its place.

Movement side of the

École Annual Calendar.

The LAURENT FERRIER

Bridge Manual.

LAURENT FERRIER x URWERK

for Only Watch 2017.

ÉCOLE MINUTE REPEATER

In 2019, Laurent Ferrier completed the complication range for

his watches with a minute repeater created in collaboration with

La Fabrique du Temps. Says Ferrier, “The roots of the minute

repeater are one of the most charming in horology. Noblemen

in the 18th century wanted to be able to check the time without

having to resort to lighting a candle. So they would own a pocket

watch that would play the time. By depressing a slide in the

watch, it would ring out the time.” The format in which time

is played on two gongs, one with a lower note and one with a

higher note, is as follows. Hours are struck on the low gong,

quarters with a combination of the two, and minutes on the high

gong. Ferrier’s minute repeater finds the perfect home in the

tripartite bassiné case of his École. As always this timepiece is a

masterwork of subtlety. The LAURENT FERRIER signature is

muted and the minutes are described using small printed dots.

The roots of the minute repeater are one of

the most charming in horology.

Indeed, the words “minute repeater” are so softly inscribed on

the dial that your eyes have to seek out the words.

The steel case of the watch aids in the brightness and clarity

of the minute repeater, which is activated using the large

slide located in the traditional position at the left side of the

watch. The movement, which is designed by Ferrier’s friends

at La Fabrique du Temps and Christian Ferrier, is excellent in

tonal quality. It should be noted that both these men have an

incredible history with repeaters and have created an exemplary

movement here that is typical of a Laurent Ferrier watch,

restrained but technical at the same time. What is charming to

see is the typical blade-shaped ratchet spring for the barrel,

which comes from Ferrier’s very first movement, his Tourbillon

Double Spiral, but now located on the same plane as the

hammers and flying regulator of the repeater mechanism.

BRIDGE MANUAL

In 2017, Laurent Ferrier combined with

independent watchmaking rebels URWERK on

a unique watch for Only Watch. The resulting

timepiece became one of the most hotly contested

lots. But the shape of the watch left something to

be desired for Ferrier. He explains, “ The case

was a bit bigger than what we were used too. But it

started me thinking about a bridge-shaped watch

that featured a wonderful curving case profile and

that is how we arrived at the Bridge One.”

Launched in 2019, the result is a masterful

work of old-world refinement. Of course, for

Laurent Ferrier, the idea of placing a round

movement inside a rectangular case did not sit

well. Accordingly, he conceptualized an allnew

rectangular manual-wind caliber the LF

107.01 specific to this model. Though the watch

measures 44mm × 30mm and is 14.58mm thick, it

is remarkably comfortable to wear because of the

curve of the case. The Bridge is made in an enamel

time-only version, a version with small seconds and

a version with a sector dial.

GRAND SPORT TOURBILLON

Launched in 2019, the Grand Sport Tourbillon

was created to honor three major achievements.

The first was to celebrate the 40th anniversary

of the 1979 Le Mans third-place victory by

Ferrier and his partner, François Servanin. This

remarkable moment also set into motion the

birth of the Laurent Ferrier brand. Secondly, the

Grand Sport celebrates the 10-year anniversary

of the 2009 creation of the brand, as well as the

conceptualization of the Tourbillon Double Spiral.

What is interesting to recall is that in honor of

Laurent Ferrier (center), François Servanin

(right), and his team at the 1979 Le Mans race.

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LAURENT FERRIER watches are the ultimate

in discretion and understated charm.

their third-place podium finish at Le Mans, Ferrier gifted

Servanin with a Nautilus watch as a symbol of their friendship.

Says Ferrier, “As we approached the 40-year anniversary of

this race, I wanted to give him another watch to celebrate four

decades of friendship and one decade of partnership. But this

time, I wanted it to be a watch that I designed and that was

powered by the engine that was most significant to both of us,

the Tourbillon Double Spiral.”

For Ferrier, the Grand Sport Tourbillon would be the first

watch he created that entered unabashedly into the world

of sports timepieces. Says Ferrier, “I began to think back to

those days that I was racing. And I started to think of a watch

that I could wear in the cockpit, behind the wheel, that could

live up to all the pressures of the 24 Hours of Le Mans.”

Ferrier recognized first that it had to be perfectly ergonomic.

He explains, “I went back to the Square which was my most

sporty timepiece at the time. And I began to conceptualize

a chassis around it. More of a tonneau shape which I always

find comfortable to wear. I wanted the case to be rigid like a

car and so I came up with the idea of it being held together by

stems or rods that would be attached to the bezel and travel

through to the caseback, where they were securely fastened.

I wanted to use these hexagon socket headed screws because

this is something we used often in racing.” Looking at the

caseback of the Grand Sport, you can see Ferrier’s meticulous

attention to smoothing every available surface, particularly in

the integration with the watch’s rubber bracelet. Says Ferrier,

“I thought immediately of a rubber bracelet because this is

The Grand Sport Tourbillon, limited to 12 pieces.

something you could wear under a racing suit and it would

perform well and not get wet with perspiration.”

Ferrier also knew that he had to have the ultimate

performance engine, specifically his amazing Tourbillon

Double Spiral. Says Ferrier, “As I mentioned, I chose the

tourbillon because it is actually a robust complication. But

because our tourbillon is using the two hairsprings arrayed

head to tail to maximize concentric breathing, this tourbillon

performs incredibly well.”

Finally, Ferrier knew he had to have a dial that provided

maximum visibility even under the duress of endurance racing.

For this reason, he selected bright orange luminous indexes

and hands. The case of the Grand Sport is 44mm in diameter,

making it the largest timepiece in the Ferrier arsenal. Yet

because of the intelligent strap integration, the watch wears

easily even on smaller wrists. The Grand Sport is also waterresistant

to 100 meters, making it the ultimate stealth sports

watch perfect in the water or behind the wheel of your racecar.

The LF 619.01 caliber, fully admirable on the back, bears

numerous Laurent Ferrier signatures, and is absolutely

stunning and elegant. It’s also treated with a dark ruthenium

coating for a more muscular look. For 2020, the Grand Sport

Tourbillon gains a integrated steel bracelet, with a threelink

tapered design that reminds one of the engine block in a

car. The matte finishing of the entire watch gives it a classic,

weathered appeal. The dial, instead of the brown from last

year, takes on a gradated blue to black presence, while the hour

markers and hands remain the same.

CLASSIC ORIGIN GREEN

LAURENT FERRIER watches are at their best when they are at

their most subtle. Seemingly subtle, at least. Because as much

as you may be looking at a time-only watch with a small running

seconds, turn the watch over and you’ll be left with no doubt that

LAURENT FERRIER means business. But with a great sense of

delicacy and elegance that only a few are able to appreciate. With

this in mind, enter the Classic Origin Green, created to mark

Laurent Ferrier’s 10th anniversary as an independent watchmaker,

and only be available directly through LAURENT FERRIER.

The watch is a time-only instance with a small running

seconds placed in the traditional 6 o’clock position. The case is

from the watchmaker’s Classic collection and features a round

polished case. We would, however, be grossly mistaken if were

to write the watch off there. Because that case is rendered in

titanium. Grade 5 titanium specifically, as it allows for the high

gloss polish we see here. Looking through the sapphire glass,

we see the beautiful gradient opaline dial that transitions from

translucent green at its centre to deep green near its periphery;

with 18k white gold drop-shaped hour indexes used for the

cardinal points, and 18k white gold Assegai-shaped hands. Just

above the hour indexes we’re presented with a railway track

minute scale that doubles up with a 24-hour scale printed in a

sharp tint of yellow, giving the timepiece a sense of sportiness.

The same yellow color is used to mark the scale of the small

seconds that’s held within a stepped down sub dial.

Now, we turn the watch over to reveal the manual wound

Calibre LF 116.01, which is making its debut in the Classic

Origin. As much as the watch has very classic elegant aesthetic

outlook from the front, Laurent Ferrier has taken a left turn

having used Grade 5 titanium for it, no doubt a very contemporary

choice. The movement’s bridges are finished in micro blasted,

black rhodium, yet another contemporary direction, but the

decorations thereafter are very much classical with hand polished

angles on the bridges, mirror polished screw heads and so on.

It’s also important to note that the LF 116.01 has a free-sprung

balance with the Breguet overcoil and Laurent Ferrier’s longblade

ratchet system. What is the long-blade ratchet system?

It’s not seen much in modern watches but was widely used in

pocket watches in a time long past. Essentially the bar has a spring

retention on one end and a pawl finger on the other. When you

are winding the watch, the ratchet wheel can, therefore, only be

wound in one direction as allowed by the pawl finger.

IS LAURENT FERRIER FOR YOU?

In conclusion, asking yourself if you are a potential LAURENT

FERRIER owner has a lot to do with understanding your

fundamental philosophy in life. LAURENT FERRIER watches are

the ultimate in discretion and understated charm. These watches

are for the individual that has style and elegance and a love for

technical watchmaking, such as the world’s first tourbillon with

double hairspring and details like Grand Feu enamel dials, but

prefers to keep the value of his watch to him or herself. You

might see his watch and like it, and you might not be sure if it is

a modern watch or even a vintage watch, but other LAURENT

FERRIER owners will recognize it and know what it is.

Says Ferrier, “I like that LAURENT FERRIER

collectors form a sort of club, or close-knit community

that is simultaneously very discerning but behaves with

ultimate discretion. Perhaps in the post-COVID-19

environment where it can be perceived as not correct to

display one’s wealth aggressively, we will see a return to

understated, or I believe the Americans call it ‘stealth’

elegance. I certainly think that this will be one major

shift in consumers’ mentalities and I feel that LAURENT

FERRIER is the perfect brand to express that ethos.”

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TIME

to

RACE

About the Book: Time to Race by Cesare Maria Mannucci and John Goldberger.

In the words of the authors:

To honour our great passions, to offer our contribution to a story that deserves to be explored

and told, with words and images. And so now, we have reached a point where the on-board

cameras during GPs show Lewis Hamilton driving with an IWC watch printed on his gloves,

or Sebastian Vettel’s helmet is decorated with Hublot logos, and the drivers race in circuits plastered

with Rolex advertising billboards; while Paul Newman’s Paul Newman Daytona or Conte Trossi’s

Patek Philippe have attracted massive media coverage for the astronomical prices that these watches

have reached at auction.

It’s not just a question of money, however, because the Heuer Carrera belonging to Arturo

Merzario or Troy Ruttman’s Universal have also hit the headlines. Thus we created a book that

aims to explore the relationship between racing and watches in every aspect. From the watch

manufacturers that have always paid special attention to racing competition, to car companies who

have been directly involved in the production of their timing equipment.

From the major circuits to the timekeepers, but above all to the men who have worn these watches

or received them as a reward throughout their careers. The result was a rather voluminous work,

which however does not want to be the classic coffee-table book that becomes part of the furniture but

is difficult to consult; all enriched by pleasant and innovative graphics created by Roberto Rinaldi.

“Time to Race” wishes to be a book of stories and images, of men and watches. A book to read

through for each main character and for each model. It wasn’t an easy job, and for several watches

it turned into a real treasure hunt, eventually finding them in countries or situations that were

completely unthinkable.

Whenever it was possible, we published the watch that belonged to the protagonist, while in other

cases we published the exact same model. It was an editorial choice not to take into consideration

current watches where drivers are involved in licensing activities because these are purely

commercial operations. Even though some drivers offered them to us insistently.

“Time to race” has thus become a journey into our memory and our passion, the memories of

racing and the technical evolution of watches, passing through a period of over one hundred years.

We had a lot of fun in writing it down. I hope that you will have the same amount of fun in reading it.

ABOUT THE AUTHORS

John Goldberger, a.k.a. Auro Montanari, is no stranger to the watch collecting world. He is a

brilliant author and an all-round expert on fine wines, vintage Cartiers, Patek Philippes and,

of course, Rolex among other noteworthy watchmaking names.

Auro co-authored this book with his friend of 40 years, Cesare Maria Mannucci, an

accomplished writer having covered Formula 1 Grand Prix races through his career. In some

race seasons, he’s known to have covered than 40 races in a year.

Time to Race is a passion project these two friends have brought together their individual

fields of expertise to produce a book that explores the relationship between racing and

watches in every aspect, over the course of the past 100 years.

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Below:

Trossi in the Ferrari

magazine.

RACER PROFILE:

Carlo Felice Trossi

Carlo Felice Trossi was born in April 27,

1908 in Biella, Italy. He was born into

greatness, meant for greatness. A Count

of Pian Villar, family tree was made up of

explorers, bankers and politicians. Trossi

was one of the one of the most important

investors in — and President of — Scuderia

Ferrari in 1932, Carlo Felice Trossi was not only a race car driver,

but also a skilled pilot and sailor.

Trossi was racing as soon as he had finished his university in

1931. On the occasion he had a life altering meeting with Enzo

Ferrari. Trossi was immediately drawn to the genius of a man.

In 1932, Trossi raced with a Scuderia Ferrari Alfa Romeo and

came in second at the Mille Miglia that year. In 1933, he moved

over to Grand Prix racing, debut at the Monaco race where he

finished fifth place.

1935 he was convinced that German cars were superior and

tried to switch over to one. However, failing to secure a German

car to race in, he went on to build his own. The car, however,

proved difficult to drive. He then turned to a Mercedes SSK,

which he built a body for in 1933 with the help of Willy White.

The car remains a legend today, in the private collection of the

one and only, Ralph Lauren.

Trossi served as a pilot during the Second World War and

returned to racing in 1947. He drove an Alfa Romeo 158 and won

the Italian Swiss Grand Prix in 1948. The irony of life though is

that on that very same occasion, Trossi was informed that he had

developed a brain tumor and passed on in the following

year on May the 9th.

The watch that is listed next to Trossi’s profile in

the book is an interesting one as it is one that is possibly

a piece unique and one that has been followed quite

closely for some time. The timepiece is an over-sized

monopusher chronograph by Patek Philippe, made

in 1925 and sold on March 26th,1932. The timepiece

bore the serial number 415702 and was last seen

in public with Sotheby’s at their 2008,

Geneva sale where it sold for USD

2,236,919; at the time, the most

expensive watch to have been

sold by the auction house.

Above:

Trossi racing with

a Scuderia Ferrari

Alfa Romeo.

Left:

Patek Philippe

monopusher

chronograph owned

by Trossi.

RACER PROFILE:

Stefano La Motta

Italian racer, Stefano La Motta is said to have been a part of a

group of rich landowners, who in post-war Sicily, worked hard

to keep local motor sport alive. La Motta, personally, owned over

3200 hectares of cultivated land.

He started racing in 1948 with Cisitalia and was soon

nicknamed “Spyder Nuvolari”. It wasn’t too moved to Ferrari

Sport 2000. Not much is out there about his racing career or his

life for that matter, but of the few things that are known, we know

that he was responsible for having organized the Tour of Sicily,

founded the Favorita” racecourse, and even took presidency of

a football club, Palermo Football Club. Stefano La Motta lost his

life on April 1st 1951 at the tender age of 31, while racing in the

Tour of Sicily, driving an Alfa Romeo 1900.

La Motta is known to have worn a Rolex 4113, a reference that

Rolex produced in 1942 in a run of just 12 examples. The 4113

is considered by many to be an odd ball reference from Rolex,

which while it was an interesting watch, was also a project that

Rolex shelved fast enough. Evidenced by the fact that only 12 were

ever made.

The most recent example of a 4113 that came through the

auction scene was seen with Phillips Watches at their November

2019 sale in Geneva. This was the piece with case number 051’318

and sold for nearly 2 million Swiss francs (CHF1,940,000 to be

specific). It’s quite well known

that Auro himself is an owner

of one of these twelve piece,

although it’s not known which

case number was initially the

property of racer, Stefano La

Motta.

Left:

The Rolex Ref. 4113

and the movement

(seen below).

Left:

La Motta wearing

the Rolex Ref.

4113 split seconds

chronograph.

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Below:

Back of

Cunningham’s Ref.

1463.

RACER PROFILE:

Briggs Cunningham

Briggs Cunningham was an American racecar

driver, who was born into an extremely well to

do family, based out of Cincinnati, Ohio. But it

wasn’t just motor racing that he was proficient

in. Cunningham is also remembered for his skills

as a sailor, who skippered the yacht Columbia to

victory in the 1958 America’s Cup race.

Cunningham clearly had a passion for speed

and the machines that enabled them, be it on

water or on the roads. Throughout his life he’s known to have

owned and raced Jaguars, Ferraris, Corvettes, Listers, OSCAs

and Abarths. However, he is perhaps most admired for his ability

to put together and supporting race teams in the 50s with Cadillac

and Chrysler Hemi-powered Cunningham sports cars.

His ultimate motor racing dream in life was to conquer 24

Hours of Le Mans in an American car with American drivers.

While this never came to pass, he made his fair share of

impressions and won several races at Sebring, Elkhart Lake,

Bridgehampton and others.

Aside from racing boats and cars, he is also known to have

had great taste in collecting these. He had a number of cars

and sail boats that he owned, some of which he modified

and entered into races. Most notable story that gets passed

around about Cunningham that he was the first person in the

US receive delivery of the Mercedes-Benz 300SL Gullwing.

Cunningham’s other interest was in fine timepieces.

Steel Patek Philippe watches to be exact, two of which

were piece unique creations, including a steel 1463

chronograph with a black dial, luminous Arabic

indexes and hands.

Above:

Briggs Cunningham

wearing the Patek

Ref. 1463 (seen

below).

Left:

The Breguet

movement.

RACER PROFILE:

Dan Gurney

American race car driver, Dan

Gurney was a man who raced

extensively. He participated and won

races in Formula One, Indy Car,

NASCAR, Can-Am Trans-Am Series

and even Le Mans. In fact, having won the 1967 24 Hours of

Le Mans he proceeded to spray champagne from the bottle

in his hand while on the podium. Thus beginning a race track

tradition that is now a staple at every podium celebration.

Gurney’s love for racing developed after his parents moved

the family to Riverside, California while he was still a teenager.

There he quickly got caught in the California hot rod culture

and proceeded to build and race his first car at the age of 19, at

the famed at the Bonneville Salt Flats.

After completing university and a two year stint serving with

the US Army, Gurney’s big break on the race track came when

he was invited to test a car that was labelled fast, but difficult to

handle by the likes of Carroll Shelby and Ken Miles. He drove

said car for the inaugural Riverside Grand Prix, where he came

in second place ahead of multiple other established drivers,

and with Carroll Shelby taking up the pole position. His feat

got the attention of the Ferrari importer in North America,

which eventually lead to his Formula 1 career with Ferrari as

of the 1959 season.

In the matter of timepieces, Gurney has been

photographed on track wearing a Rolex 6234 Chronograph.

But perhaps the most striking was the unusual Breguet

dive watch that he was photographed wearing at the 1965

Silverstone. He was wearing it on a steel mesh bracelet.

The watch had large luminous hour markers, a bakelite

diving bezel and the unmistakable Breguet signature on

the dial in cursive.

Left:

Dan Gurney wearing

the Breguet watch

(seen below).

Left:

Gurney in

Indianapolis.

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Below:

Enzo and his top

driver Alberto

Ascari

RACER PROFILE:

Enzo Ferrari

Born in Modena, Italy

Enzo Ferrari found himself

enamoured by the world of

motor racing at the tender

age of 10. With minimal

education, a stint in the army

during the First World War,

he later found himself racing

for Fiat and then Alfa Romeo.

The institution that we now know as Scuderia Ferrari was

established by Enzo Ferrari in 1929 and later in 1932 when he

became a father, he retired from racing himself to build a team of

excellent drivers. They were initially Alfa Romeo’s racing arm but

had to part ways in 1933 for financial reasons. Scuderia Ferrari,

however, trudged on.

In 1937, Scuderia Ferrari had to be shelved and Enzo Ferrari

went back to working for Alfa Romeo. His relationship with the

company this time was a trouble one and he soon went his own

way to start his own company. Times were tough,

however, with the Second World War and an

allied bombing that destroyed Enzo Ferrari’s

Modena factory. He was forced to move to

Maranello where he found Ferrari S.p.A. after

the war, in 1947.

Immediately, he went out of his way to

dominate the sport. Quite specifically to take

on Alfa Romeo. His first major win came at the

1949 24 Hours of Le Mans. In the following

year, Enzo enrolled his team into the newly

formed Formula 1 World Championship racing

and has been the only team to continuously race

at every season of the Grand Prix since. The

rest, as they say, is history.

Enzo Ferrari’s timepiece of choice was

the Rolex Chronograph ref. 3055, one of

the smallest chronograph the Crown ever

made measuring in at just 30mm. That

very watch is in the possession of Piero

Ferrari today, Enzo Ferrari’s younger son.

Left:

Piero Ferrari

with the Rolex

Chronograph Ref.

3055.

RACER PROFILE:

Jim Clark

British race car driver, Jim Clark lived a

short but accomplished life. He made his

Formula 1 racing debut at the Dutch Grand

Prix in 1960. He was 24 then and racing

for Lotus. After witnessing some horrible

accidents and deaths on the track, being involved in one

himself, when the car and driver who collided into him

were thrown into the air, his luck finally turned in the 1963

season when he won the Drivers’ World Championship.

He won seven out of the 10 races that season and won Lotus

their first Constructors’ World Championship. Clark’s record

went unbeaten until 1984, by yet another legend, Alain

Prost matched the count. Ayrton Senna was able to break

the record later in 1988 with eight wins. Jim Clark met

with an unfortunate accident in 1968 while taking part in a

Formula Two race that caused him his life.

In terms of wristwatches, Jim Clark has been spotted with

several chronographs. However, the one that is most often

attributed to him is a Ref. 806 Breitling Navitimer. He is

spotted wearing the Navitimer throughout the late 1960s

while driving and as well while attending races from the

sidelines.

Left:

Jim Clark wearing

the Ref. 806

Navitimer (seen

below).

Left:

Enzo Ferrari and

Phil Hill.

Left:

Jim Clark wearing

Enrica Sherpa.

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I Am Legend —

The Jaeger-LeCoultre Caliber 920

54 years after its debut, Jaeger-LeCoultre’s ultra-thin automatic ebauché

movement is more relevant than ever.

Words Wei Koh

Vacheron Constantin Ref. 222

(Image: A Collected Man)

T

here is something to be said about our deification of

litheness throughout human history. After all, the

slender dueling sword used both as ancestral sidearm

and for disputing matters of honor at dawn is considered far

more elegant than the single-edged hacking blade known as

the saber. Similarly, the greyhound is revered as the apogee of

canine grace whilst the Great Dane is relegated to the role of

comedically uncoordinated bumbling lummox in comics like

Marmaduke. In the realm of watchmaking, there was one ultrathin

automatic movement, a masterpiece of technical elegance

measuring a mere 2.45mm in thickness, that went on to enable

the creation of the two most successful luxury watches of all

time. It even saved one of horology’s most famous brands from

financial downfall during the Quartz Crisis. Its name is the

Jaeger-LeCoultre caliber 920 and this is its story.

The Jaeger-LeCoultre caliber 920 is in my opinion the

most significant automatic, ultra-thin caliber ever created for

several reasons. The first is that without it, two of the world’s

most important watches and to this day the most sought-after

grail timepieces — namely the Audemars Piguet Royal Oak

reference 5402ST from 1972 and the Patek Philippe Nautilus

reference 3700/1A launched in 1976 — would not have been

possible. When I say this, I mean that these watches would not

have possessed the wonderful dynamic tension between bold,

oversized cases contrasted by the deliciously thin profiles that

this amazing ultra-thin movement allowed.

Second, the caliber 920 can be considered one of the most

important factors in Audemars Piguet’s success over the past

half-century. Not only did it power the legendary Royal Oak,

but it also made possible the watch that truly saved Audemars

Opposite page: Audemars

Piguet, Vacheron

Constantin and Patek

Philippe all utilized the

caliber 920 ebauché.

Right: Audemars Piguet

Royal Oak Ref. 5402


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Whether in AP guise as the 2121 (below) or as Vacheron’s 1120 (right), the amazing ebauché

caliber 920 is still serving active duty today.

PATEK PHILIPPE CALIBER 28-255, 1976–1981

In order to achieve the slim profile of the original Nautilus

designed by the legendary Gérald Genta and launched in 1976,

Patek Philippe selected the caliber 920 as its engine. As the

Royal Oak had been launched four years earlier and to good

results, it is plausible that Patek decided to borrow a page from

AP’s success and simply use the same movement. The resulting

watch was 42mm in diameter and just 7.6mm in thickness. The

caliber 920 was transformed into the Patek Philippe caliber

28-255. This movement served faithfully in the Nautilus until

the introduction of the reference 3800/1A in 1981, a mid-sized

37.5mm-diameter Nautilus which featured the new in-house

caliber 335 SC with central seconds and date. This movement

was 3.5mm as opposed to the caliber 28-255’s 3.05mm,

although a more apt comparison would have been the central

seconds version of the caliber 920, which would have been

3.40mm. The modern version of the Nautilus, the ref. 5711

launched in 2006 for the model’s anniversary, features the inhouse

caliber 324 SC. It is 8.3mm in thickness.

The mid-sized Nautilus

3800/1A launched in

1981 with a new in-house

movement, marking the

end of the caliber 28-255.


Notice the free sprung balance. The balance cock is

even engraved with instructions on how to regulate it

using the opposable weights.

Piguet from the Quartz Crisis. That is the reference 5548, the

world’s thinnest automatic perpetual calendar, with a diameter

of 36mm but a thickness of just 7mm. Launched in 1978, the

watch went on to become one of Audemars Piguet’s greatest

success stories. Says AP historian Michael Friedman, “What

I love about the 5548 was, at a time when no one was creating

complicated watches, let alone an all-new, record-setting

ultra-thin automatic perpetual calendar, that’s precisely what

AP did and it made all the difference. Can you imagine we made

675 of these in 1984? That year there were only 1,066 perpetual

calendars in Switzerland. Meaning, we made considerably more

than half of all these watches.” Finally, the caliber 920 stands

apart as one of the most reliable, beautiful and technically

innovative movements of all time.

One of the most interesting things about the caliber 920

is that while it was designed and made by Jaeger-LeCoultre, it

was never actually used by the Vallée de Joux’s Grande Maison.

Instead, it was sold in ébauche form to all three brands that

comprise watchmaking’s Holy Trinity: Audemars Piguet, Patek

Philippe and Vacheron Constantin. That means each brand would

purchase the movement in kit form, but would add their personal

touch and decorate it in their own distinct way. The caliber 920

was and still remains the world’s thinnest automatic movement

with a full-sized rotor. There are thinner automatic movements,

such as the Patek caliber 240 and the Bvlgari caliber BVL 138,

but they use micro-rotors. Yes, there are also thinner movements

that feature peripheral winding systems such as Bvlgari’s BVL

288 automatic tourbillon. So why did Jaeger-LeCoultre use a

full-sized rotor? Because it wanted to create a movement that,

in addition to being beautiful, was an absolute workhorse. It

should be noted that the movement without date is an incredible

2.45mm. With date, as it was used by Audemars and Patek, it is

3.05mm in thickness. And with date and central seconds, it is

3.40mm in thickness, which probably explains why it was not

used in this format as there are thinner movements, including the

Jaeger-LeCoultre caliber 889 at 3.25mm. The movement features

36 jewels and measures 12.5 lignes or 26mm in diameter.

But let’s see what else makes it so special.

FREE SPRUNG BALANCE

Looking at this movement, the first thing to notice is a free

sprung Gyromax balance wheel. This means that the regulation

of the movement is performed by turning opposable weights

fitted to the balance. This alters the inertia of the balance

wheel, which is consider to be a more stable way of regulating a

watch, rather than manipulating a regulator which changes the

effective length of the hairspring. The balance of this movement

oscillates at the very unique speed of 19,800vph. Note that the

decoration on the balance cock is an instruction on how to use

the weights to alter the inertia of the balance.

ULTRA-EFFICIENT, HIGHLY INNOVATIVE ROTOR

The full-sized rotor is designed so the maximum amount of

its mass is at its outer perimeter. This thicker section of the

rotor actually fits into a recessed area in the baseplate. To aid

in stability, the caliber 920 features a beryllium ring integrated

into the rotor which floats on special jeweled rollers to aid

in the smoothness of its movement. There are four of these

jeweled rollers and each is mounted on an axle and fixed to the

mainplate. One of the effects of this system is a totally unique

sound when the rotor is moving. It sounds, for lack of a better

description, expensive. The rotor winds in both directions.

Now let’s look at the caliber 920 as it was used by each

member of watchmaking’s Holy Trinity.

Above The beautiful Patek caliber 28-255 was found

in the original 3700/1A (left) from 1976. (Image: A

Collected Man)

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VACHERON CONSTANTIN CALIBERS 1120,

1121 AND 1122, 1977–PRESENT DAY

In 1977, to celebrate is 222nd anniversary, Vacheron

Constantin entered the integrated bracelet sports chic market

with its aptly named 222. Instead of approaching Gérald

Genta who had designed both the Royal Oak and the Nautilus,

Vacheron tapped a young upstart watch designer named

Jörg Hysek. The result is one of my favorite watches, with its

stunning distinct fluted bezel and barrel-shaped, faceted case

decorated with an engraved Maltese cross on the bottom right.

This watch came in both 37mm and 34mm versions, both 7.2mm

thick and powered by the Jaeger-LeCoultre 920-based caliber

1120. The result is one of the most elegant watches of all time.

However, in 1996 when Vacheron launched the 222-inspired

Overseas watch designed by Dino Modolo, it replaced the

caliber 920 with a thicker Frédéric Piguet movement.

But it seemed the wonderful caliber was simply resting

dormant waiting to stage its triumphant comeback in 2016,

with the reintroduction of a new Overseas family that perfectly

captured the magical design ethos of the 222 through the

renewed expression of that thrilling design tension between

a muscular large case and an ultra-sleek profile. The caliber

1120 was brilliantly used in two models. The first was the twohanded

Overseas Ultra-Thin, which measured 40mm but was

just 7.5mm thick. And the second is one of the most beautiful

watches in recent memory, the transcendent Overseas Ultra-

Thin Perpetual Calendar. This watch was originally unveiled in

a white-gold case with slate gray dial. However, to me it really

flourished in 2019 with the addition of a rose-gold case and

blue-dial version available on a blue rubber strap. And as of

this year, it has been made absolutely ravishing by the addition

of an Overseas Ultra-Thin Perpetual Calendar with skeleton

dial as well as the blue dial version on an integrated rose-gold

bracelet. All versions of this watch measure 41.5mm by 8.1mm.

In comparison, the Audemars Piguet Royal Oak Perpetual

Calendar is 9.5mm thick while the Patek Nautilus Perpetual

Calendar is 8.42mm thick.

From left: 2016 Overseas Ultra-

Thin time-only model and the

perpetual calendar version both

with a slate-grey dial; the blue

dial version with rubber strap

that was released in 2019; the

skeletonized version released in

2020; and the Historiques Ultra-

Fine 1968 (below).

Above The Vacheron

Constantin 222; Right

the caliber 1120.

As an amusing aside, the thinnest watch that Vacheron

Constantin has ever made using the caliber 1120 is the squarecased

Historiques Ultra-Fine 1968 watch reference 43043

that dates to 2010. As the name implies, this was a tribute to the

appealing square-cased reference 7614 that made its debut in

1968. The modern watch featured a 35.2mm case diameter and

was an ethereal 5.5mm in thickness.

Vacheron still uses the beautiful caliber 1120 outside of the

Overseas family and today it powers the two-hand no-date

beauty that is the Traditionnelle Self-Winding Ultra-Thin. This

wonderful work of Zen reductionist watchmaking is 7.26mm

in thickness and features a sapphire caseback where you may

revel in the beauty of the movement’s rotor replete with the

integration of a skeletonized Maltese cross. Note that Vacheron

purchases this movement from Audemars Piguet, which now

owns the exclusive rights to its manufacture.

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From left:

Reference 5548; side by

side comparison of the

2121 movement and the

2121/2800 perpetual

calendar movement.

In 1984, Audemars made the decision to marry its two most

iconic creations, the Royal Oak and the caliber 2120/2800,

and the slim 9.3mm in height Royal Oak Perpetual Calendar

was born. This would go on to become the single most iconic

complicated sports watch in horological history. The Royal Oak

Perpetual Calendar remained largely unchanged from 1984 to

1995 until a limited edition was made that added the leap-year

indicator to the dial. This would become a regular feature a few

years later with the reference 25820. It was only in 2015 with

the caliber 5134 that the movement was significantly changed,

with the addition of a week-of-the-year indicator. In 2017 this

movement was used to create the highly sought after reference

26579CE Royal Oak Perpetual Calendar Ceramic.

AUDEMARS PIGUET CALIBERS 2120/2800, 2121,

5134 AND 5133, 1972–PRESENT DAY

Like Omega and the history of the Lemania 2310, if there is any

one brand whose history is symbiotically intertwined with that of

the caliber 920, it’s Audemars Piguet. As previously established,

thanks to the caliber 920 or as AP designed it, caliber 2121, the

Royal Oak was able to boast a 39mm case diameter contrasted

by a slim 7.2mm in thickness. Following the success of the

Royal Oak, AP’s fortunes improved, but the brand was far from

out of danger from the Quartz Crisis. Motivated to help their

manufacture, a team of watchmakers started working on a

secret project, which would turn out to be the world’s thinnest

automatic perpetual calendar movement at 3.95mm in thickness

and with a diameter of 28mm. When the three of them, Michel

Rochat, Jean-Daniel Golay and Wilfred Berney, presented their

movement, the 2120/2800, to AP’s then boss, Georges Golay,

he was so blown away by their achievement that he immediately

ordered 1,000 watches and asked his brilliant artistic director

Jacqueline Dimier to design a dynamic modern wristwatch

that would become the legendary AP reference 5548, which

measured 36mm in diameter but was only 7mm in thickness.

This ultra-thin automatic perpetual calendar, whose only rival

at the time was Patek Philippe’s 3448, became an enormous

success for AP and truly secured its future.

Royal Oak

Perpetual

Calendar

(1984)

Considering the importance of the caliber 920

movement to Audemars Piguet, it is no wonder that during

the negotiation to sell their 40 percent stake holding in

Jaeger-LeCoultre to Richemont Group in 2000, AP insisted

to have the rights to manufacture this legendary movement.

Over the years this iconic caliber been used extensively by AP,

featured in every one of their automatic perpetual calendar

watches and to this day, it is still the engine for the Royal Oak

reference 15202, one of the hottest watches on the planet.

It even forms the base of the ultra-radical caliber 5133,

initially made as an experimental ultra-thin perpetual

calendar movement for the RD#2 concept watch unveiled

in 2018. The key to this movement was the integration of the

calendar mechanisms into the plate of the base caliber. This

watch was commercialized in 2019 as the Royal Oak Self-

Winding Perpetual Calendar Ultra-Thin reference 26586

and is considered by collectors to be the Holy Grail of sports

perpetual calendars selling for well in excess of its retail price

in the aftermarket. The reference 26586 is just 6.3mm in

thickness, made possible by a movement that is just a mere

2.89mm thick as opposed to the 3.95mm thickness of the

caliber 2120/2800 or the 4.31mm thickness of the caliber 5134.

Today the caliber 920 is manufactured by Audemars

Piguet and continues to power the majority of its automatic

perpetual calendar watches such as its much sought after

Royal Oak Ultra-Thin 15202ST. It has also allowed Vacheron

Constantin to create one of the very best complicated sports

watches on the market, the Overseas Perpetual Calendar

Ultra-Thin in both skeleton and solid blue dial, demonstrating

that 54 years after it was born, it is more relevant than ever.

Clockwise from top left:

The ceramic and

openworked Ref. 26585;

powered by the caliber

5134; the newer, more

radical ultra-thin caliber

5133 inside the RD#2;

the RD#2; the Audemars

Piguet Royal Oak

Selfwinding Perpetual

Calendar Ultra-Thin

released in 2019.

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California Dreaming

Joshua Shapiro is leaving his mark on American

watchmaking with J.N. Shapiro.

Interview by Adam Craniotes

Photography Atom Moore

When the conversation turns to American

watchmaking, one name always stands out: Joshua

Shapiro. For the past four years, Mr. Shapiro has

been working quietly and steadily in Los Angeles, California,

handcrafting intricately detailed engine-turned dials that are

bona fide works of art.

We were fortunate to be able to catch him during a rare

moment of respite to reflect on the past, present, and future of

American watchmaking, and his place in its revival.

When and how did you get your start in this business?

Well, I started actually as a kid just really interested in

metal. My father and grandfather were both machinists.

My grandfather was kind of like a jack-of-all-trades. He

went from welder and machinist to founding the city where

his business was based. So just a really neat guy. And as a

kid, he would just show me stuff around the machine shop.

And he’d show me all sorts of really fascinating things, and

I enjoyed doing different metal processes. And then kind

of forgot all about it until around the time I got married,

about nine years ago. And something in marriage, maybe

the “prison sentence” of marriage, made me look for a good

fun hobby. And I walked into Feldmar, which is a local watch

store here in Los Angeles. And they had this big poster of a

Chronoswiss Opus Chronograph. And it’s this big skeleton.

I thought it was fascinating, and that kind of started it all.

How has the current crisis affected you, if at all?

So far, things have been very, very good. What happened was,

I collaborated with Collective Horology, a group of collectors

based in Silicon Valley. We came up with the idea of doing

this limited-edition meteorite-dialed watch for their watch

collector club. Every year they do a relatively large watch run

— most recently with Zenith — where they produce 50 or so

watches, but in between, they’ll do a smaller run of watches with

someone like me that’s more of an independent maker. And so

we collaborated on a meteorite-dialed watch.

When I launched the watch with them, it garnered a ton of

publicity. Honestly, I think a lot of collectors were very bored

and itching for something new and different. And those all

immediately sold out, but more importantly, thanks to the

attention that the project generated, I was able to sell quite a few

more watches on top of that. So I actually wound up selling more

watches in the past few months than I did in the past few years.

Joshua Shapiro at

work in California.

Amazing.

Yeah.

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Well, perhaps it’s also sort of pent-up demand.

Collectors are trapped at home, and they want to spend

their money on something. It’s almost like retail therapy,

but on a very high level.

I think part of it is just the market that the Patek/Rolex world has

created where you can no longer get the watches you want to get

now. If you’re going to go on a long waiting list anyway, why not

wait with a person like myself you can get to know? Make a watch

to your specifications that [will] help support a local watchmaker

rather than putting in a lot of money for a watch that you may or

may not see for a long time, based on hype instead of substance?

Excellent point. So now that we know business is booming,

can you describe an average day in the office?

Right now, like many, I’m working at home. It’s a struggle

managing home and personal life and separating that from the

workshop. But I will be moving to my own industrial facility

in the next few weeks, so that’ll be a big life change. We have

so many various projects going on. I still make dials for a few

people like David Walter, who’s an amazing watchmaker here in

California. And I have my own Infinity Series that I’m working

on, along with two other watches that I have in development that

are all in-house: a tourbillon and a time-only movement. We’re

doing all the R&D and making almost all the parts right in my

shop. But, yeah, I’m still the guy that takes out the trash, does

all the marketing, manages my employees, and tries to sit down

and engine turn as much as possible. So it’s a pretty busy day.

I can imagine. And this isn’t your only job, is it?

No, it’s not. I’m also what I’d refer to as a part-time principal.

Back when watchmaking was still just a hobby for me, I was a

teacher. Eventually, I was promoted to an administrator, and now

I’m the vice principal of a small Jewish boys’ high school. It’s a

school that I helped start. I’m very passionate about it and glad

that I can split up my day so that it lets me follow both pursuits.

Have you been able to weave your watchmaking expertise into

the curriculum and get some of your students interested?

Yes. There’s a movement in education towards STEM:

Science, Technology, Engineering, and Mathematics.

So I started a program where we do a lot of 3D modeling

and printing based on my work, which gives my students

a very hands-on, practical version of engineering — I

kind of build [it] into a curriculum. And the ones that love

it and show some skill, I’ll invite to my workshop for the

summer, where they get a lot more hands-on experience.

So this is a weird question, and it’s going to tie into another

one. How does it feel to be one of the few people at the

forefront of this renaissance of American watchmaking?

It feels a little strange. It’s kind of humbling. It’s also kind of

weird. My background is in history, and I have a master’s in

US history. So I’m very well aware of the history of American

watchmaking and how massive and amazing it was. And it’s

almost heartbreaking how much it disappeared and how

badly the Swiss utterly destroyed it. And I’m just super happy,

more than anything, that I can sort of revive this incredible

Clockwise from top

left The J.N. Shapiro

Infinity Meteorite P.01

for Collective Horology.

A watch designed in

collaboration with the

global watch enthusiast

community Collective

currently sold out.

A never seen before

engine-turned dial

made from a 4 billionyear-old

meteorite. A

look at the hand-wound

Uhren Werke Dresden

movement, manualwound,

19-jewels,

3Hz, with a 54-hour

power reserve.

watchmaking tradition that was here. I get a lot of joy from

using the same tools and machinery used in the industry 50 or

60 years ago. They’re so well-built that I can still make parts

to ridiculously extreme tolerances with them. It’s very, very

humbling, but it’s also very exciting.

In spite of this well-earned success, I have to ask, did you

ever consider giving up? Or maybe not giving up, but just

saying, “All right, this was a fun interlude, but let me put

away these childish things and get back to the real work.”

You mean like quit watchmaking and go back to teaching

full-time?

Yeah. Sort of like, “Look, this was a fun hobby. I’ve taken it to

a point, but you know what? Let me get back to the real world.”

It’s kind of funny. There was a point, a very small window,

where I kind of decided to do just that. Do you know [actor and

watchmaker] Aldis Hodge?

Very well.

So, Aldis was looking for rose engine machines in April of

2015. At the time, I had some, and I wasn’t quite sure where I

was going, or I was going to do the whole watchmaking thing.

So Aldis reached out to me to offer to buy them. I hate to

admit it, but probably if any average person had reached out,

I would’ve said, “Oh, I’m not sure. I’m still trying to figure

things out.” But when I realized that he was a movie star,

I’m like, “Hey, I want to meet this guy.” So he came, and he

made me an offer, which I accepted. Then it was like, “Now

what do I do?” Everything I’d been doing had kind of been

building up to buying these machines, and now they’re gone.

And I was still kind of a collector at that point too, so I’m

like, “Oh, maybe I’ll take this money and go out and buy a nice

watch.” I’d always been a Patek fan, so I went out and bought

a used Calatrava with some of the money. But within about a

month, I started looking at the watch and thinking, “Well, this

is a cool watch, but I would much rather have back the machines

to make watches.”

So I sold the watch, [and] I sold a ‘67 Mustang Fastback.

Wait, you also sold a classic Mustang?

I know, I know, it’s painful. But it came down to, would I rather

have a car, or would I rather really go for this? And so that was

kind of the turning point. Selling that first set of machines really

put things into perspective. And from that point on, there was

no looking back. I was all in.

Can we talk about your trademark Infinity Weave guilloché

pattern? How did you come up with this?

So there’s basketweave, which is a pattern that you don’t see

too often because it’s very, very difficult to do. Abraham-Louis

Breguet pioneered it, but you’ll also see it on George Daniels

watches, Roger Smith watches, and every once in a while,

Kari Voutilainen will do it. I realized that if I’m going to come

in and start making dials, I’ve got to up the ante. But I didn’t

want to do something too flashy either. So that was sort of my

impetus to try to do something very, very intricate with that

basketweave pattern.

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That’s some pretty heady company…

Indeed. And so I came up with this idea and then I had to figure

out basically how to do it. It took over a year of experimenting

with different pattern bars.

Pattern bars?

Pattern bars are what you use to create patterns on a straight

line machine and rosettes on a rose engine machine. It took

over a year of experimentation just to get a pattern bar to work.

And then I had a practice actually to make something that

looked good. It wasn’t until after a year that I realized that this

was something that I could do and, more importantly, repeat.

The Infinity Weave pattern is kind of nuts because the big

baskets are easy to do, but then the little baskets I’m doing

one line at a time under a very powerful microscope. And if I

slip, that section that I’ve been working on for however long,

sometimes up to a week, is down the drain. So it’s a labor of

love that goes into each one of those. It’s not something I can

do in a day. I have to spread it out over a bunch of days, just

because I can’t focus on that small of a level for that long of a

time. Not to mention I would just get carpal tunnel in my hands.

So when I sell a watch, they’re really getting my blood, sweat,

and tears on that dial.

Do you ever regret coming up with such a unique

and intricate method?

I wouldn’t say I regret it because I don’t think [if] I had done

something less, it wouldn’t have caught anyone’s imagination.

I’m grateful to the pattern because it’s putting food on the table.

But it is a lot of work. And it is frustrating when I mess up. So

no, I don’t regret it. But it is a lot of work. But then I do ask a lot

of money for it, and that makes me feel better. (Laughs)

I bet. So, what’s next for J.N. Shapiro?

I haven’t released any pictures of anything I’m working on,

yet, but something big is coming. When it comes to prototypes,

some people like to show the progress each step of the way. But

then if the final product ends up looking dramatically different,

or you can’t figure something out, or it doesn’t work out, then

you kind of look like an idiot. So I’ve been very quiet for the last

year or so, working on a tourbillon and a time-only manualwind

movement.

Many people think that dial making is a different skill set

than watchmaking, but to me, they’re one and the same. Almost

all the skills that go into making a dial also go into making a

watch movement. And a lot of it is significantly easier because

a watch movement is thicker than a paper-thin dial. So I’ve

found it very enjoyable to switch over to making movements and

various watch parts, gears, pinions — we’re doing it all here.

And it’s just a very satisfying feeling. It was my goal all along,

and I’m making great progress towards that. I got customers

interested, some have already put down deposits and sightunseen

deposits, which is pretty brave.

That’s a wonderful validation.

Yeah, yeah, it is. And I’m working very hard to make them

happy that they did. So yeah, there’s going to be a lot of special

things about these watches that haven’t been done in America

A colorful lineup of Infinity

options with straps by Stone

Creek Straps from Mesa,

Arizona. Below Aclose-up

of the Infinity Rose Gold.

in a long time. Some brands in America try to market their

Americanness as a selling point, but that kind of limits you

to the American market. So my goal with these watches is to

compete with the best in the world, the best of the Swiss. To

be able to hold these pieces up next to the best independent

watchmakers and be on a comparable or better level of finishing

with my dials and cases.

That’s my vision, my goal, and my team’s goal.

Wow, I can’t wait. Do you have a timetable for this? Are you

looking to launch this in a year, two years?

My goal is in the late spring, early summer of next year. I haven’t

decided from a marketing standpoint, whether to release both

together or separately. I’m still figuring all that out and also

figuring out what I’m going to do with the Infinity Series once

I launch these things. That’s why watch brands have whole

marketing divisions, but I’ve got myself and the people I hire,

and that’s about it.

Now, before I let you go, there’s one specific member

of your team that I have to ask you about. That, of course,

would be Tank.

Oh yeah. He’s our security tortoise.

A 40mm stainless steel

Infinity with German silver

dial, a custom experiment

for several clients asking

for variations on a theme.

Tank, the “security” tortoise.

“Security tortoise”?

Yeah. When we’re deep in concentration, and someone leaves

the door open, he’ll go right up to my feet and give me a fresh

reminder of who’s in charge.

I feel like everybody needs an office tortoise.

Yeah. Southern California problems.

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Watchfinder Finds

Here are a few recent highlights that were sold through our partnership with pre-owned

watch expert Watchfinder & Co. If you are in the market for a timepiece and want to see our current

selection of pre-owned watches available for purchase, head on over to www.revolution.watch.

Words Kevin Cureau

OMEGA RACING SPEEDMASTER REDUCED

On the tail end of the 1980s, Omega decided it was

about time to put a diminutive variation of their flag

bearer, the Speedmaster Professional, into the market.

The Speedmaster Reduced from a distance, can —

and often is — mistaken for its larger sibling, the

Speedmaster Professional aka, the Moonwatch.

In 1996, Omega released a special version of their

smaller Speedmaster, the Speedmaster Reduced

Racing, which was launched by the one and only

Michael Schumacher. The association with Michael

Schumacher was appropriate because let’s not forget

that the Speedmaster was conceived in 1957 as a

chronograph for race car pilots.

But let’s put aside the association with one of

motor racing’s biggest names for a second. Looking at

the dial of the 1996 Racing we can see that Omega had

made an effort here to create a better balance with the

positioning of the sub dials at nine and three o’clock.

Add to this, the striking “Ferrari” red, the racing

seconds track and those broad hour and minute hands

filled with a generous amount of Super-LumiNova.

All in all, a compelling watch for any collector looking

for quirky pieces from the Speedmaster’s timeline.

PANERAI PAM 390 STEEL BASE LUMINOR MARINA

Panerai initially created luminous instruments for the Italian

Navy and was tapped in 1936 to create a waterproof luminous

watch to be used by Italian Frogmen. It continued to supply the

Italian military well into the 80’s, until electronic technology

eclipsed mechanical watchmaking.

The PAM 390 is everything a Panerai should be which is

to say bare, stripped-down, pragmatic and essential as befits

a watch meant to be worn while sitting astride manual guided

torpedoes toward enemy warships. It has always been Panerai’s

“base” model watches, devoid of all indications save hour and

minute, that have been their most collectable because of all

these reasons. But of all the base watches that have ever been

created there is a strong argument that the PAM 390, created in

a 2000 example limited edition in 2011 for sale in the brand’s

boutiques only is the best looking. It is basically the greatest hits

list of the brand’s coolest elements.

It has the gold hands first introduced in the PAM 127 tribute

to the 1950. It has the tobacco hue dial first introduced in the

brand’s titanium watches. These dials were meant to evoke the

tropical dials in the old military issued watches. It’s the perfect

44 mm size for a Luminor Marina. It’s the perfect material in

simple pure polished steel. And it features the most beautiful

strap created by Panerai, the Assolutamente, a stunning

patinated calf strap. Thanks to the use of a Unitas manual wind

movement, the watch is affordable and is the perfect Panerai

for a one watch collection, the starting point of someone just

getting into Panerai or the ultimate very day wearer.

JAEGER-LECOULTRE MEMOVOX TRIBUTE TO DEEP SEA

In 1950, Jaeger-LeCoultre created the Memovox,

a watch with a mechanical alarm. It was powered by

the manual-wound Calibre 489 and featured two

crowns to separately set the alarm and the time. JLC

described the function of the Memovox as a watch

that “remembers, notifies and awakens,” kind of a

companion for those tireless personalities who, at the

dawn of the second half of the past century, focused

on creating value and multiplying productivity. It is no

wonder that Memovox means “voice of memory.”

1959 is the year when the Memovox plunges into the

water and cements its position as one of the iconic diving

watches of its era with the release of the Jaeger-LeCoultre

Memovox Deep Sea. Powered by the Caliber 815, it

became the first dive watch equipped with an alarm whose

sound – rather, its vibration – was perceived underwater

as an additional safety feature for divers to remind

themselves when it is time to resurface. The original

Memovox Deep Sea was the brand’s first real dive watch

and it is accepted that only 1,061 pieces were made of it.

To pay homage to the brand’s innovative history in

the field of dive watches, Jaeger-LeCoultre released

the Memovox Tribute to Deep Sea as a limited series of

timepieces in 2011. JLC pretty much preserved the original

Memovox Deep Sea aesthetics. The most notable change was

obviously the movement, which in the Tribute is the triedand-proven

Jaeger-LeCoultre 956 (with 45-hour power

reserve). The movement retains the famous two crowns, one

for setting the time and the other for the alarm.

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Laurent Ferrier

Classic Origin

for Revolution

& The Rake

Having witnessed the beauty of Aurel Bacs’ sector

dial Laurent Ferrier, we worked with the Swiss

watch manufacturer to create our special edition in

the same spirit but with different details.

Words Wei Koh

OK, let’s jump in the DeLorean, set the year for

twenty-o-ten, because in the words of the

immortal Doc Brown, “We are going back

to the future.” In 2020, Laurent Ferrier celebrated

his 10th anniversary with what might initially seem

like a counter-intuitive move, which was to launch

his most accessibly priced and simplest watch. But

this act of revisionist horological history has been in

the works for a full decade. Says Ferrier with a smile,

“It was important to me 10 years ago to position my

brand at the highest level, with a watch that had a

substantial technical value like the Tourbillon Double

Spiral. But in my heart I was always dreaming to create

something that was a core expression of my purest

values. A simple three-hand manual-winding watch

with a beautifully restrained movement expressing all

my values — elegance, love for watchmaking history,

ergonomy and finish at the highest level.”

Laurent Ferrier Classic

Origin for Revolution &

The Rake

The movement

comes in a special

yellow-gold finish

that is microsandblasted,

used

previously in the

Montre École watch.

The resulting timepiece, the Classic Origin Opaline,

is a watch that is destined to make you smile, in that it is

an expression of all that Ferrier loves. His wonderfully

smooth Galet case shape, now in grade 5 polished

titanium, is complemented with a uniquely stylized

yet charmingly understated dial. I described Ferrier

as a bridge between horology’s past and the present,

constructed through nuanced details gleaned from

vintage timepieces reaching as far back as the 19th

century but perfectly reinterpreted for the modern day.

Nowhere in his range is this more in evidence. Here,

a unique combination of applied baton markers with

printed indexes, a burgundy 13–24-hour scale (an

amusing and unconventional addition) and continuous

seconds subdial come together perfectly.

Turn the Classic Origin Opaline to the back and

the beautifully and intuitively laid out movement

will continue to charm in abundance. If the caliber

LF116.01 looks familiar, that’s because it actually

forms the base movement of the caliber LF126.01

used in Laurent Ferrier’s annual calendar. The

differences between this and the LF automatic

micro-rotor movement are significant. First, there is

no natural escapement. Instead, here the movement

uses a traditional Swiss anchor escapement in

combination with a large free sprung balance wheel.

Says Ferrier, “The free sprung balance was important

to me because it’s far more stable than a balance

that is adjusted using a regulator.” Ferrier refers to

the regulator as a device that is used to effectively

lengthen or shorten the hairspring to speed up or

slow down the oscillations of the balance wheel. His

preference is to regulate the oscillator using inertia

screws which, when adjusted so more of their mass

sits toward the center of the balance slows it down,

and when adjusted so greater mass is at the perimeter

speeds it up. Says Ferrier, “The free sprung balance

is nothing new but it is to me the best way to create

stability in timekeeping.”

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edition02_DI_Final04)

The Classic Origin

Opaline released

this year.

The Laurent Ferrier

Classic Origin for

Revolution & The Rake

additionally comes with

a “beads of rice” style

bracelet and an extra

set of luminous hands.

The movement has all of the codes that

we’ve come to love in Laurent Ferrier’s

watches. There are three wonderfully

finished bridges and a balance cock. The

top bridge which retains the barrel features

Ferrier’s signature black-polished flat-blade

ratchet spring. The second bridge retains the

direct drive seconds bridge while the third bridge

exists to retain the escapement wheel. Note the use

of a shock absorber integrated into the jewel bearing

of the escape wheel pinion for greater autonomy

from micro-shocks. The fluid shape of this bridge is

echoed in the beautiful almost bird-shaped balance

cock. All bridges received a micro-sandblasted

treatment which contrasts nicely with their polished

bezels and sharp hand-made angles.

So the point is that this “simple” Laurent Ferrier is

also one of his most appealing offers. But if given the

opportunity to run creatively rampant on the Classic

Origin, what watch would be the result? For the answer

to that, we would need to go back to the popularization

of the sector or scientific dial watches. They began in

the 1920s as a way of more clearly delineating time and

were used on both wristwatches and pocket watches.

They featured a circular track where the hour indexes

would radiate outward. This means that the hour hand

would align perfectly with this track and there could be

no mistaking its placement. On the perimeter of the

dial, you would have a clearly printed minute track that

would align with the minute hand to provide ultimate

clarity. Seconds could either be placed in a subdial at six

o’clock, or read off a central seconds hand.

Further, different sectors of the dial would always

have different decoration to more fully create a

sense of information compartmentalization. Over

the ensuing decades, brands including Omega

and Longines, in particular with their tre tacche

waterproof watches, became synonymous for this

style of “scientific” watches.

SIMPLY RAVISHING SECTOR DIALS

Laurent Ferrier has used the sector dial to great effect, in

particular in his Galet Square with the Only Watch 2015

pièce unique, the two limited editions for Chicago’s

Swiss FineTiming and even in a luminous version with

the Borealis. But to me the most beautiful execution

of this is the watch created by Aurel Bacs, the world’s

greatest vintage watch auctioneer and expert. Around

the time the Micro-Rotor watch emerged, Bacs came up

with the idea of creating a pièce unique for himself with

a sector dial. Using his extensive knowledge, he created

what must objectively be called the most beautiful

Laurent Ferrier watch of all time. It was so stunning that

when he showed it to several of his team members at

Phillips, including renowned experts and collectors Alex

Ghotbi and Paul Boutros, they too wanted to order one.

And finally the watch was anointed as an icon when it

was also ordered by none other than the incredible Auro

Montanari or John Goldberger, historian,

author and collector ne plus ultra.

Auro Montanari (above)

wears his Laurent

Ferrier Micro-Rotor

Aurel Bacs scientific

edition on a vintage Gay

Frères beads of rice

bracelet.

Right: Patek Philippe

pocket watch with

scientific dial dating

from 1923

IMAGE: JOHN GOLDBERGER

While those watches featured a micro-rotor

movement, when given an opportunity to create

something on the Classic Origin hand-wound

platform, I simply requested that Ferrier create

something in the spirit of the Aurel Bacs but without

replicating it. The resulting design by Ferrier and

Amandine Perrier was something that I could only

describe as ravishing. It features a two-tone dial with a

cream center, surrounded by a printed sector track and

Arabic markers. The dial is silver outside the central

area, receives circular brushing under the indexes

and is opaline under the minute track’s chemin de fer.

Seconds are at six o’clock with a full seconds track

and four enlarged markers at the compass points. The

hands are Ferrier’s signature Assegai models that have

been flame-blued and to me contrast perfectly with

the cream of the dial. It should be noted that the Aurel

Bacs watch features different hands selected by him, as

well as a different styled crown.

While I had the choice of titanium or steel, I

selected steel. Why? Because first, I found this more

appropriate for a scientific-style watch and second,

because we wanted to mount the watch on a steel

“beads of rice” bracelet made in Japan with straight

end-links — this is our preferred way of wearing the

watch. This bracelet was directly inspired by Auro

Montanari and his wearing of his own Laurent Ferrier

Micro-Rotor Aurel Bacs scientific model on a vintage

steel Gay Frères “beads of rice” style bracelet. A

second natural-colored calfskin strap is of course

included along with the Laurent Ferrier buckle.

But that’s not all because I’ve also sourced a

second set of blued steel LumiNova-filled hands which

are included with our Laurent Ferrier Classic Origin

Revolution & The Rake edition. I’ve always loved it

when vintage scientific dial watches were ordered

with radium hands and as a tribute to this, you now

have a choice as to which set of hands you would like

fitted to your watch. As we will be offering this watch

by preorder, please note to specify if you would prefer

the luminous hands or the normal Assegai hands fitted,

and we will include the second pair in your watch box.

Flip the watch over and there is a final surprise

waiting for you. Instead of the sandblasted black

rhodium finish, I’ve requested the finish that was

used only once before on the Montre École in steel.

That is a yellow-gold or champagne finish that has

been micro-sandblasted to appear almost like a

frosted finish, which to me sets off the high-finish

angles even better. The Laurent Ferrier Classic

Origin for Revolution & The Rake will be made in

12 numbered examples. It features a steel case, two

sets of flame-blued hands (luminous and classic

Assegai), a steel “beads of rice” bracelet and a calfskin

bracelet with tang buckle. Its price is 28,800 Swiss

francs, which to us is an amusing nod to horological

vibrational speeds, and in Asian culture means forever

prosperous which can’t be a bad thing.

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Bvlgari Octo Finissimo Chronograph

GMT for Revolution & The Rake

Bvlgari’s world record chronograph gets

a“toolwatch”makeover.

Words Wei Koh

Iremember the exact moment I set eyes on the

Bvlgari Octo Finissimo Chronograph. Though it

was just over a year ago, considering the mindbending

changes that have happened to the world in

the interim, it seems like a lifetime ago. Before I get

into the details of the special edition of this watch

that Bvlgari’s amazing creative director Fabrizio

Buonamassa designed, I’d like to talk about the

changes to the world and in particular Bvlgari’s

reaction to them. When the COVID-19 pandemic

hit, Bvlgari’s CEO Jean-Christophe Babin was

one of the very first to respond: first funding a 3D

microscope to help researchers at Spallanzani

Hospital study the virus at the cellular level; second,

by transforming a fragrance factory outside of Milan

to produce hand sanitizer. And if the latter seems

somewhat commonplace today, think back when the

world and in particular Italy faced a total shortage of

sanitizers and PPE amid the decimation of the first

wave of COVID-19. But then Babin did something

truly extraordinary. He and Bvlgari created a virus

eradication fund dedicated not just to the eradication

of COVID-19, but also any future outbreaks of

infectious disease that could threaten the world.

This fund provided much-needed medical school

scholarships to the next generation of researchers and

helped to fund vaccines, such as the one developed at

Oxford University. My point is that even as the firstworld

nations return to some semblance of normality

and our human resilience sets us collectively on the

path to recovery, we will all remember how everyone,

in particular the world’s biggest luxury brands, acted

during this crisis. And it is without a doubt that thanks

to the leadership of Babin, Bvlgari has been one of the

most exemplary.

Above:

The ultra-thin BVL 318 with

a peripheral rotor.

But back to last year. At what turned out to be the

very last Basel fair in history, I was seated beside Babin

at a restaurant situated next to the Rhine River that

bisects the Swiss-German town. I was familiar with this

location as every morning, I had hauled my aged body in

some pathetic semblance of jogging past it. Babin placed

the watch in my hands and I was utterly blown away. As

you may know, I am a fan of chronographs and one of my

favorite movements is the Frédéric Piguet 1185, which

for 31 years previous to 2019 was the world’s thinnest

automatic time writer at 5.5mm. But the movement in

the Bvlgari smashed that. At 3.3mm in a watch that is

just 6.9mm thick, the BVL 318 is even thinner than the

manual-wind version of Piguet’s legendary vertical

clutch caliber, the 1180, which is 3.95mm thick. The fact

that Bvlgari added a peripheral winding automatic rotor

as well as a GMT function seemed to be something of a

victory dance, but done with the brand’s typical Latin

panache. The BVL 318 uses a laterally coupled clutch

and features a column wheel. The winding mass is made

of platinum and aluminum.

Left:

The watch is only

6.9mm thick, made

possible with the

BVL 318 movement.

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for the GMT function as well as the two pushers on

the right for the chronograph function into its faceted

architecture. Indeed they were so subtle in appearance

that you might initially mistake the start/stop and reset

buttons as crown guards on a slightly more aggressive

variant of the Octo Finissimo. The counters on the dial

were as follows: continuous seconds at nine o’clock,

24-hour home time at three and 30-minute counter

at six o’clock. It was the perfect stealthy gentlemen’s

chronograph.

Right: The entire dial

is coated in LumiNova,

which under ambient

lighting presents a light

cream colour, but glows

with perfect visibility in

the dark.

Above: Fabrizio

Buonamassa

Right: Sketches

of the watch to

illustrate layout and

pusher functions.

But it was the watch itself that charmed so

relentlessly. I’ve often spoken about my first encounter

back in 2014 with both the Octo Finissimo Small

Seconds and the transcendent tourbillon version;

how these watches seduced with the dynamic tension

between a strong virile muscular wrist presence

contrasted by their extraordinary elegant litheness in

profile. This record-setting slimness could only be

achieved through the brilliant combination of in-house

dial making, case making, movement development and

later bracelet making. The dial of the titanium watch

was 0.2mm in thickness, making it thinner than a single

index on most watches. To achieve this, Bvlgari had

to develop a whole new way to case the watch. From

2014, Bvlgari would set records for thinness in the

tourbillon, manual-wind, minute repeater, automatic

and automatic tourbillon categories. But more than that,

each watch they created added to the credibility and

power of an all-new design icon. Then in 2019, Bvlgari

unveiled their chronograph, which I could only describe

as hypnotically alluring in its beauty and technical street

cred. The 42mm case in Bvlgari’s signature sandblasted

titanium perfectly integrated the pusher on the left

FROM STEALTH TO STANDOUT

Almost immediately, though, I started dreaming of

a decidedly more aggressive version of this watch.

Broaching the subject with Buonamassa, he found the

concept appealing. He explains, “I love the idea of a

‘tool watch’ version of the Octo Finissimo Chronograph

GMT. The first thought was that we should put a

tachymeter on the bezel. For someone that is an auto

enthusiast, this would be a valuable and iconic function

to have.” Even though Bvlgari has an Octo chronograph

model with a tachymeter, its Zenith El Primerodriven

Velocissimo, it wasn’t a question of adding this

element to the Octo Finissimo. Buonamassa explains,

“That watch is considerably thicker and the bezel is

totally different. Engraving and printing a tachymeter

scale on the ultra-slim Octo Finissimo took a lot of

experimentation.” The way in which any Octo Finissimo

is assembled involves posts

integrated into the bezel which run

through the monocoque case and

which are fixed on the caseback

with special fasteners. During the

engraving and printing process

of the tachymeter, any pressure

deforming the bezel would result in

a case that would be compromised

in its security. After considerable

attempts, Buonamassa found the

solution. But then we arrived at a second challenge.

Any tool watch needs to have luminous indexes and

hands. But in the Octo Finissimo this proved almost

impossible. Says Buonamassa, “With a dial that is only

0.2mm thick the indexes and hands were just too thin

to be coated with LumiNova. But then I thought what

if we painted the entire dial and then all the indications

would stand out in negative relief?” As you can imagine,

I loved this. Buonamassa immediately set to work on dial

prototyping. He explains, “We went through quite a few

dials. Some were too luminous so that even in normal

light they were glowing and some were not luminous

enough. We wanted to find just the right balance so it

looked like a normal white dial chronograph in daylight,

but as soon as you move into darkness, it glowed with

perfect visibility and remains luminous for a long time.”

One of my favorite moments when lockdown lifted was

a video sent to me by Jean-Christophe Babin as he and

Buonamassa were discussing the dials over lunch. I

love a white dial chronograph. There is something so

appealingly pure about it and the Bvlgari Octo Finissimo

Chronograph GMT perfectly encapsulates this.

We were initially only going to make 15 examples

of this watch to commemorate Revolution’s 15th

anniversary, but the resulting watch was so good that

even within our own team we had so many expressions

of interest that we had to increase it to 20 pieces.

But perhaps what I like best about this collaboration

with Bvlgari is that this is a watch that represents our

partnership with a truly ethical brand. I like to think

that as luxury consumers, the choices we make are our

declarations about the world we want to live in and the

people and brands we want to support. I hope that the

owners look down on their watches and smile not just

because this is a crazily cool chronograph, but also

because it is made by some truly good people

at Bvlgari.

Above:

bulgari_

DIFINA

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Think Pink

Designed in collaboration with

Garage Italia and Lapo Elkann,

Hublot creates a Big Bang to capture

the zeitgeist.

Photo Courtesy of Hublot

0am on a NYC rooftop.

0° 45’ 31’’ W 73° 58’ 43’’.

ting at USD 44’000.

Alot has been said in the last

few years about this color. It

started as a trend, but for us,

it quickly became something more.

Nowadays we feel it encapsulates

many of the values of this cultural

revolution that we are living. Gender

roles are getting erased, and there’s a

strong need to reevaluate the concept

of masculinity itself, in particular

as it pertains to the watch industry.

We believe this is a great starting

point for such a conversation.

Lapo is an endless source of

inspiration for us. His character and

style have always motivated us to push

the boundaries of our creativity. And

Hublot is one of the best partners that

we could ask for a collaboration. On a

professional level, they have a strong

capacity to turn ideas into reality

without the usual compromises that

we have to accept on other projects.

They are product-driven with quality and attention to detail

that still manages to surprise us after many years. Furthermore,

on a personal level, they’re really great people to work with. So

it becomes a sort of ‘perfect storm’ where you have the right

inspiration, the right historical moment, and the right team to

work with. I think it shows in the final result: a simple yet iconic

idea that we hope will remain a memorable testament to these

exceptional times we’re living in.

Much of our work revolves around cross-pollinating ideas

across different industries and media. So it’s only natural to

transfer some of what we learned and developed onto other

projects. The color itself, the complex anodization process, the

knitted strap, even the amazing digital launch campaign that

we co-created are all elements of the project that I’m sure will

influence our work in the immediate future and beyond.”

– Carlo Borromeo, Creative Director of Garage Italia

Hublot Big Bang Millennial Pink Ref. 441.UP.7320.NR.GIT20;

Satin-finished and polished millennial pink anodized aluminum;

Satin-finished titanium caseback engraved with “Limited Edition”;

Millennial pink knit velcro or rubber strap; USD 20,900;

Limited edition of 200 pieces

hublot.com

176 FINAL THOUGHTS

www.grand-seiko.com/us-en

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COLLECTION

Villeret

©Photograph: patriceschreyer.com

NEW YORK · 697 FIFTH AVENUE BETWEEN 54 TH &55 TH STREET · 212 396 1735

LAS VEGAS · THE FORUM SHOPS AT CAESARS PALACE · 702 369 1735

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