Designer Kimberly Markel took home a Rado HyperChrome Dual Timer and $5,000 in prize money after winning the Rado Star Prize U.S., the first U.S. version of the international design competition. Her entry, a design-driven dining chair handcrafted from reclaimed plastic, which is part of her Glow collection, won over the jury of design industry experts with its stylish, environmentally-conscious design concept. Markel was presented with her prize last week during the launch of NYCxDESIGN at WantedDesign in Industry City in Brooklyn. An additional public prize winner, selected from among the finalists by online voting, will receive a Rado watch.
Markel’s Glow collection uses discarded plastics to make new chairs, tables and vases with a resulting aesthetic that is soft, colorful, translucent, and imperfect. The pieces are functional, durable, and primarily made of materials that have reached the end of their usable lives. According to Markel, the collection was inspired by the need to create, but the desire to do it in a responsible way.
The Rado Star Prize is a competition that aims to support young designers and gives them a platform to present their work. Instead of focusing on just one field of design, the prize is meant to attract projects and ideas from numerous design disciplines in order to create projects that can benefit the lives of individuals or communities.
The addition of automotive content to the iW Magazine wheelhouse has been long overdue, and when the opportunity came about to cover Bentley’s first foray into the SUV market, it seemed like the perfect opportunity to kick things off.
We all know of Bentley’s long-standing relationship with Breitling, but watch associations aside, the idea of tearing around for a couple of days in the world’s fastest, most powerful, and most luxurious SUV on the planet sounded like a pretty reasonable place to set the bar. Bentley has run a string of first drive events for media over the last handful of months, but as it turned out they had an extra trick up their sleeve this time, and its name was Lime Rock Park.
For those who don’t know, Lime Rock Park is a short and painfully technical track located in northern Connecticut. Measuring 1.5 miles in length and comprised of a vicious string of bends and elevation changes, many pro-drivers are quick to quip that if you can be quick around Lime Rock, you can be quick on any other circuit. While I’m by no means a novice to the sports and performance realm, Lime Rock was a new bit of territory for me, and the idea of tackling it from behind the wheel of a 600hp, 668lb-ft behemoth seemed like a pretty baffling proposition. I mean, if Bentley was launching their upcoming Speed 6 sports car here it would make a fair bit of sense, but we’re talking about a 7,100lb SUV here. Either way I was curious enough to hop behind the wheel and see why Bentley was convinced that a track day was putting their best foot forward.
Before we were able to get to the nitty gritty of our excursion, we had the joy of sitting down for dinner with the brand’s top brass, including President and CEO of Bentley Motors USA, Michael Winkler. I’ll spare you the finite details of the PR speak and brand positioning, but one thing is for certain, Bentley is well aware of their need to identify with a younger demographic. The “old boys club” of the uber-luxe car buying market is getting well beyond retirement age, and much as all the luxury car brands are doing well right now, there’s a clear acknowledgement on the part of Bentley that this short-term success isn’t sustainable without developing a lust for the brand among a new generation of buyers. There were a few of us at the table that were quick to note the references to millennials and Apple user interface technology when discussing the new Bentayga. Credit where credit is due, the touchscreen infotainment setup in the big SUV is the best we’ve seen from the brand yet, so they were definitely paying attention on that end. Now this isn’t to say they’ve forgotten the sensibilities of their long-standing clientele either. Exquisite wood veneers and supple leathers adorn every corner of the Bentayga’s interior and before you even fire up its mighty W-12 engine there’s no mistaking it for anything other than a top-tier luxury vehicle.
Kicking off our day of driving, Bentley laid out a great little road course to get us from our hotel up to the race track roughly an hour’s drive away. Before we were to rattle the Bentayga around the circuit at ten tenths, this presented us with a healthy opportunity to experience the SUV in the kind of driving situations it was more likely to encounter through 99% of its daily life. Through what wound up being one of the most winding stretches of roads I’d been on in awhile, I had plenty of time to fiddle with the Bentayga’s variable suspension setup to see how well Bentley has managed to mask its significant heft. A quick toggle between Comfort and Sport suspension settings revealed two completely different vehicles altogether. In comfort mode, the Bentayga rides like an old-school luxury cruiser – wafting along softly without a care in the world. We’re not talking vintage Cadillac, livingroom on wheels sort of cruising, but more in the vein of a BMW 7-series. On the other hand, flipping the dial over to Sport mode reveals an entirely different dynamic altogether.
One of the tricks that Bentley has up its sleeve is the use of a 48-volt active sway bar system – something previously unheard of in the auto industry.
Active roll bars have been around for a couple of decades now, though typically they operate on your standard 12-volt circuit that powers your average car. Bentley knew that to keep something as heavy and tall as the Bentayga from pitching and rolling through the corners they would need some serious power and after experiencing it first hand this new setup is just what the doctor ordered. Before we were set loose on the race track, Bentley’s driving instructors presented us with a quick exercise to show us how planted the Bentayga really could be. The premise was simple. Hammer the throttle up to the marker cones ahead. Our target speed being in the ballpark of 100 miles per hour. From there we were to immediately hop on the brakes and maneuver around a bend with the ABS fully engaged. We each took about 5 passes through the exercise, and though the Bentayga would take a fair nose dive during the exercise (as you’ll see in the quick video clip below), it was nothing shy of shocking to feel how little body roll it showed when being hucked left to right.
Finally we had jumped through all the hoops and it was time to really put the pedal to the metal. After a quick couple of laps in the passenger seat to get the lay of the land, we were “all systems go” at Lime Rock. On paper the Bentayga’s 4.0 second 0-60 time sounded impressive, but in the best of ways it felt almost underwhelming. This isn’t to say that the Bentayga isn’t quick, because trust me, it is. The thing is, the heavier and more planted the vehicle, the less fuss it makes when roaring up to speed. Through the main straight the Bentayga clawed its way somewhere north of 130 miles per hour, and if it weren’t for the fact that heavy braking was necessary to avoid certain doom, it could easily achieve much higher speeds without feeling the least bit nerve-racking or unstable. Hammering through the corners, the Bentayga continued to show off its lateral stability, and the more we powered around the track the more it proved it could handle the course more like a sports sedan than a hefty SUV. After about 4 or 5 laps I was finally starting to convince myself that I had the course figured out, but sadly that was as much as the burly beast could take before needing a break to let its meaty brakes cool off. Our hot laps were done, but Bentley had one last treat in store before calling it a day.
Bentley’s brand ambassador, British racing legend, repeat LeMans champion, and an all-around fascinating character, Mr. Derek Bell just happened to be on hand at Lime Rock for our event. Derek played a key role in the fine tuning of the Bentayga’s chassis, and he was happy to give us media a ride around the track to show us that no matter how quick we thought we were, we were still slow as shit by his standards. Even this late in his career Derek took to the track at an amazing pace. Any of us would be unable to focus on anything else to accomplish such a feat, and yet Derek steered his way around the course one-handed, all while softly regaling passengers with racing anecdotes from years past. The whole experience was the perfect wrap up of my time with the Bentayga, and I’m immensely excited about the prospect of more seat time late this year.
The 2017 Bentayga is expected in showrooms later this year. 75 “First Edition” models are destined for the US market with a starting price of $297,400 (each will include a Bentayga Edition Breitling for Bentley Watch). Standard edition models will start at $232,000.
The Specs Engine: twin-turbocharged and intercooled 6.0 Liter DOHC 48-valve W-12, aluminum block and heads, port and direct fuel injection Power: 600 hp @ 6000 rpm Torque: 664 lb-ft @ 1350 rpm Transmission: 8-speed automatic with manual shifting mode
PERFORMANCE Zero to 60 mph: 4.0 sec Zero to 100 mph: 9.3 sec Standing ¼-mile: 12.4 sec Top speed: 187 mph
Dedicated to Montblanc Brand Ambassador and famous World Badminton Champion Lin Dan, the new TimeWalker Pythagore Ultra-Light Concept is the brand’s latest addition to the TimeWalker collection. Dan, the only player to win all nine major titles in the sport, along with five World Championship titles, became a Montblanc Ambassador for Mainland China in 2014, and he has since become the inspiration for a number of developments in the TimeWalker series.
Earlier this year, at the Salon International de la Haute Horlogerie (SIHH) in Geneva, Montblanc launched the TimeWalker ExoTourbillon Minute Chronograph. This new TimeWalker Pythagore Ultra-Light Concept follows as another innovative addition to the line, which is known for its fusion of cutting-edge materials and mechanics combined with the traditional codes of fine watchmaking.
The ultra-light watch, which weighs in at a mere 14.88 grams, has black DLC titanium horns and uses ITR²®Kevlar®/Carbon elements for the middle case, caseback, bezel and crown. ITR²®, otherwise known as “Innovative, Technical, Revolutionary Resin,” is a composite material charged with carbon nanotubes. It is eight times lighter than steel and four times lighter than titanium. In this world premiere in case making, Montblanc combines the material with Kevlar®/carbon, a highly resistant synthetic fiber.
The absence of a traditional dial draws the eye into the movement. revealing its handcrafted skeletonized components that not only add to the watch’s aesthetic appeal, but also keep the watch’s overall weight to a minimum. Even the small seconds subdial, which has been crafted from super-light anodized aluminium and applied directly to the titanium mainplate at six o'clock, has been skeletonized for additional lightness and transparency. Other details include an engraving at eight o'clock of the five stars from the five most important championships of Badminton’s Grand Slam and an engraving at three o'clock of the two stars from the two rounds of Badminton’s Grand Slam won by Dan, a minute track etched directly onto the mainplate with black dots for the five-minute markers, and black anodized aluminium and skeletonized lance-shaped hands. The discreet red elements echo the color of Dan’s national flag.
The TimeWalker Pythagore Ultra-Light Concept is equipped with the new Montblanc manually wound Caliber MB M62.48, featuring hours, minutes and small seconds along with a 50-hour power reserve. The design is inspired by the historic Minerva Pythagore movement with its straight architectural bridge shapes that follow Pythagoras's Golden Ratio. This MB M62.48 movement is the modern-day interpretation of the historical Minerva movement designed in 1943. It has been completely redesigned in terms of materials and finishing, and the skeletonized main plate and the five bridges are all crafted in titanium for an extreme lightness of just 4.73 grams. The bridges have a three-dimensional effect with alternating satin and grained finishes, while the other components are hand-chamfered, hand-polished and hand-satin finished.
About Montblanc Montblanc cultivates the inventive spirit that is shaped by the history of classical watches. The manufactures in Le Locle and Villeret are precious sanctuaries for the craft of traditional Swiss watchmaking and the art of innovative horology. Montblanc has been a present beacon in the luxury brand market for nearly a century. Having been celebrated for generations as the paraount creator of writing instruments it branched out into exquisite watches, leather pieces, jewelry, fragrance and eyewear.
Breitling adds a new Superocean 44 Special to their collection. The watch is designed specifically for a divers’ needs like readability and water resistance.
The contrast between the all-black exterior and the white indications ensures readability in the darkness of the oceans. All markers are oversized to catch the eye, large baton-type hands clearly distinguishing the hours and minutes, different-shaped hour-markers for five minute intervals, quarters and 12 o’clock.
Equipped with a 44-millimeter case, the Superocean 44 Special houses a self-winding movement officially chronometer-certified by the COSC, a precision and reliability benchmark. It is teamed with a black rubber strap featuring Breitling’s signature and raised central ridge or a row of holes.
The watch is priced at $4,980.
About Breitling A leader in the art of chronograph technologies, Breitling dedicated its high-performance instruments to both the professional aviator and enthusiast alike. Each Breitling timepiece has earned a COSC-certification and is entirely constructed in house. The reliable timepieces have graced the wrists of adventurers from sky, to land and sea. Discover more about Breitling here.
A rare 1966 Rolex Ref. 6239 “Paul Newman” Cosmograph Daytona wristwatch is the principle enticement to collectors from Heritage Auctions this Thursday, May 26, in its Watches & Fine Timepieces Signature Auction to be held at the Waldorf-Astoria Hotel in New York. Heritage Auctions estimates that this Rolex will sell for more than $100,000. By May 20 the watch had already been bid to $25,000 in the pre-live-auction period online at the auction house’s website: ha.com.
“This beautiful timepiece, with its dial variation, art deco look, different color pattern and subsidiary dials featuring little squares instead of numerals is a classic of horology,” said Jim Wolf, director of fine timepieces at Heritage Auctions. “It’s also the ultimate vintage Rolex for the serious connoisseur.”
“It’s no small distinction that this is the oldest surviving Lange repeating watch,” Wolf notes in a press release. “This is a museum piece and an exceptional masterpiece.”
Heritage, a Dallas-based auction house with a wide range of American, German, British and Swiss vintage watch sources, can generally be counted on to add more than a few somewhat obscure makers to its watch auctions.
Another important timepiece set for the auction, notes Wolf, is the personal watch of J.M. Studebaker, the last of the five famed automaker brothers to pass away, in 1917. The watch is an Ad. Lang & Cie Geneve fine gold and enamel Keyless Lever pocket watch, circa 1870s. The watch (estimated at $10,000) is a museum quality piece with a signature dial, engraved portrait and enameled buggy and wagon that recalls the original Studebaker family business of making horse-drawn vehicles.
Here are a few more highlights for the May 26 Heritage Auction in New York.
With high precision and extreme legibility, the Richard Lange Jumping Seconds reinterprets the concept of the scientific observation watch. The balance is steadily driven by its one-second constant-force escapement.
The watch contains an intelligent combination of two mechanisms that functionally complement each other: a one-second constant force escapement and a jumping mechanism that guarantees the legibility. The Zero-Reset mechanism allows the watch to be synchronized quickly and comfortably.
This jumping mechanism is among the classic complications in precision horology. Pocket watches with this technology were once used to determine solar time. Ferdinand Adolph Lange developed one of these mechanisms as early as 1867 and was granted a patent for the invention.
The watch is limited edition of 100 pieces and is priced at 78,000 Euros. A U.S dollar price has not been determined.
About A. Lange & Söhne A.Lange & Söhne’s ability to create timepieces with outstanding functionality began with Ferdinand A.Lange 200 years ago. Today, each timepiece is crafted with increasingly perfected precision and beauty. Each movement must meet the highest aesthetic expectations and every piece is crafted with characteristic traditional elements like German silver plates, screwed gold chatons and engraved cocks. As was the case in Ferdinand A. Lange’s lifetime, the balance cock of an A. Lange & Söhne watch is still engraved by hand today. This transforms each timepiece crafted by the Saxon manufactory into a unique treasure. The engraving motif on an A. Lange & Söhne movement is a personal signature of each watchmaker. From the depth of a to the curled lines, each balance cock is distinctly unique.
A few weeks ago on Madison Avenue in New York, I had the pleasure of sitting down with watchmaking industry legend Francois-Paul Journe to discuss both the celebration of his past, and his plans for the future. This year marks the 25th anniversary of his first watch — the F.P. Journe Tourbillon. From this first piece through to present day, Journe continues to be regarded as one of the greatest masters of Haute Horlogerie, and a string of events in Manhattan brought together both fans and avid collectors of his timepieces. As we met in his flagship New York boutique on Madison I was eager to get a proper glimpse at the man behind the legend.
Going into our meeting I wasn’t quite sure what to expect. Francois-Paul has a bit of a reputation for being a rather blunt and opinionated individual, though coming to the table being able to discuss his views and the industry in French I found myself at a mild advantage to say the least. I was eager to hear his take on the current state of affairs of the watch industry both for independents as well as for big-box brands in 2016, but before even getting to the meat of the subject, Journe was quick to point out a long-flawed bit of terminology that continues to be overused in the industry.
“Well, what is it you refer to as an independent?” he said, seeming to ponder my use of the word. “I mean, technically Rolex is independent, AP is independent. So many people put weight behind referring to themselves as independent, but really, unless they’re owned by a conglomerate anyone can use that as a title. It’s a bit of a marketing ploy. Things are easier now for the small, passionate artisan watchmakers for a couple of reasons. Accessibility to parts manufacturers and suppliers is much easier than it was back in the ‘80s and ‘90s. And consumer access to information makes it easier for them as well. On the other hand, because there are so many new start-up brands it then becomes harder and harder for them to position themselves that sets them apart from their competition.”
I also couldn’t help but wonder what his view was on this year’s showing at Baselworld, and what trends he may have notices while wandering the halls.
“Trends? This year it’s like there aren’t any really. They’re all busy changing a dial here and a bezel there. It’s just a lot of the same.” he remarked. “I mean, if anything there’s a trend of all of them trying to cut prices down but that’s about it.” I couldn’t help but agree with him on all fronts. We both came to the agreement that you had to go deep into the dark corners of the Palace where MB&F and the rest of the mad creators were hiding to really find any real sense of innovation and growth in Basel this year.
One of the other big questions on a number of collectors’ minds is whether or not we will ever see a moderate increase in production volume from F.P. Journe. The brand on average produces roughly 800 or so timepieces a year, and with how much praise his recently launched Chronometre Bleu received, it begged the question of whether we could expect production to ramp up in the years to come.
“More than anything, my production volume will vary based around the time required to build the watches we sell. If we sold nothing but the Chronometre Bleu all year long, our current team could likely produce about 1,300 watches in one year,” he said with a smile. “I have no intent to increase the size of my facility, nor do I intend to sell only one watch so that I can produce more pieces. I want to sell enough watches each year, and a balance of different types of watches, that ensures that my staff will remain busy throughout the year. The way I work, and the way I like working, is the cost of one of my watches is factored out based on man-hours of production, not what we think the market will bear. It’s a bit backwards to some, but it allows me to work the way I want to work, and create what I want to create.”
I couldn’t help but question this further. Much as anyone says they’re into something for the passion and not the money; everyone has their tipping point, right?
“So if someone came to you tomorrow with an unlimited bank account and said I want to buy your company, but I want you to produce more watches than what you’re building now, you wouldn’t do it?” I asked, sitting perplexed in the face of Journe’s admirable point of view.
“Why would I want to? To have to answer to someone else? To have less control over production and direction? I’m not in this for the sake of being in business, and I think some people have a hard time wrapping their head around that as a concept.”
Though in a completely different way, this isn’t the first time that Francois-Paul came to the table with a concept that the watch industry had a hard time understanding. Just recently the man threw the industry for a loop by bringing to market what one could argue is the finest quartz-powered watch ever created — the Elegante 48. This stunning piece retails for north of $11,000 and, as with all things Journe, was completely engineered and built from the ground up by Francois-Paul and his team.
When talking about the Elegante he remained steadfast in his belief that quartz technology can no longer be ignored by the upper register of luxury watchmaking, and that he is eager to see how much further he can push with new innovations in the years to come. After hearing this I couldn’t help but ask, what sort of direction he wants to go with it.
“One of the concepts that I’ve been, let’s say playing around with, is the idea of a quartz-powered perpetual calendar using the same principles as the movement in the Elegante. You see, the Elegante uses two separate processors/drivers where one controls the hour hand and the other controls the minute. That way when the watch comes out of a dormant mode, each hand only has to move no more than 180 degrees to find its position. The challenger with a perpetual calendar is there needs to be a processor for seconds, minutes, hours, days, weeks, months, and years that can all operate independently and track time during a dormant state, so it starts getting a little more complicated.
I’ve known for years that Francois-Paul was a special kind of horological master, but it’s safe to say that this was the point in the conversation where I simply needed to take a moment to sit back and ponder his creative process. The next, and really the only other question that I could put forth at this stage was simple. “Why? Why of all things, would you look at devoting such resources and creative genius towards a quartz perpetual calendar?”
His answer proved both simple and immensely satisfying in a way that only someone properly watch-obsessed could truly appreciate.
“In a sense it’s a matter of accessibility. Look at the proper perpetual calendar watches that are out there and we’re talking a good $100k+, which many serious watch collectors may never be able to attain. Being able to build a proper, well-crafted perpetual calendar using quartz technology, I can create a timepiece of exceptional craftsmanship and quality that gives a collector access to a complication that he otherwise wouldn’t have the opportunity to own. To me this just makes sense, and it also gives me another challenge to take on.”
I’ve had the chance to speak with an interesting cast of characters from the watch industry over the years, but few conversations resonated with me as heavily as this. Yes, the man has strong opinions, but across the board I tend to agree with them. Yes, there’s too much over-marketing in the watch industry. Yes, the big-box brands are effectively sinking themselves by playing with colors rather than innovating, and yes, build me a leap year perpetual calendar that I can afford within the next few years rather than one I’ll have to drool over through glass until my career makes another leap or two forward. I don’t think anyone who knows a thing or two about the current state of the industry would be too quick to argue with him either.
Following the success of the Vanguard™ Collection, Franck Muller is introduces the new Gravity™line. The collection mixes technology and avant-garde, teamed with a sporty approach, combining perfect lines while revealing the power of its mechanism.
A new concept of tourbillon cage is demonstrated by its elliptical shape and structure in aluminum. Wholly in-house designed and manufactured, the Gravity™ is available in titanium, stainless steel and 18-carat gold. The strap comes in a variety of finishes including nylon and alligator.
About Franck Muller It was at the end of the 80s, in the city of Geneva, that two men, Franck Muller and Vartan Sirmakes, met.They shared a passion for watchmaking each of them with vast complementary experience in the field. At the time, Franck Muller was making his own models under the "Franck Geneva" brand.
At last week’s Timecrafter’s luxury public watch event in New York, iW sat down with actor and professional racecar driver and team owner Patrick Dempsey to learn more about his racing team and his work with TAG Heuer.
As an ambassador for the brand since 2014, and a long-time watch collector as well, Dempsey has visited the watchmaker’s headquarters in La Chaux-de-Fonds and a year ago waved the green flag inviting 2015 Indy Car drivers to start their engines for the 99th racing of the Indianapolis 500.
“Starting the Indy 500 last year was a very different perspective for me,” he recalls. “We actually had to throw the flag again because there was an incident during the first lap. I’ve done the pace car there and now the flag. It was nice to watch it from that perspective. The sense of speed is pretty remarkable.”
Along with four starts at the famed 24 Hours of Le Mans between 2009 and 2015, Dempsey has competed in a total of sixty-eight races between Grand-Am, ALMS and the IMSA WeatherTech SportsCar championship. He has done well too, scoring nine podium finishes, including high profile races like the Rolex 24, Sebring 12 Hours and Petit Le Mans at Road Atlanta.
While Dempsey is currently taking a break from the driver’s seat to spend more time with his family and his other jobs, acting and producing, he maintains close ties with his team, Dempsey-Proton Racing, which is racing a Porsche 911 RSR in the World Endurance Championship season. Still, despite his role this season strictly as an owner, Dempsey recalls how vividly aware he is of time while behind the wheel.
“You have an internal clock that you sense if you are up or down on a laptimer,” he notes. “I also wear a watch so I can see how long my stint is. But you can feel when you’re up and you can feel when you are a bit down. It depends on how you are on your entry into the corner, and on the exit in certain place. You can feel the time. There’s an internal clock that goes on and you know if you’re up or down.”
Dempsey-Proton Racing just completed the Silverstone race and Spa (6 Hours of Spa-Francorchamps, in Belgium) a few weeks prior to Timecrafters, he explains.
“We’re struggling a bit with BoP, which is the Balance of Performance, so hopefully we’ll get a bit of that before LeMans, which is the next big race for us in June. That’s our big race in the WEC. We’re ready for it.”
Here are more excerpts of our conversation with Patrick Dempsey at the TAG Heuer stand during last week’s Timecrafters in New York:
How was your visit to TAG Heuer headquarters in Switzerland “I visited TAG Heuer after reading Jack’s biography. You look at what Jack Heuer has done, with his breakthrough with the Carrera, and then one step further with the Monaco, he is so connected to McQueen and LeMans, and really placed the first product placement in a movie It was a fascinating journey he went on. I was also impressed with the watchmakers there, with their patience and focus. All of that plus the history, the museum, to be there with him and hear his perspective on time – it was remarkable. I also met Mr. Biver and he understood how important Jack Heuer is to TAG Heuer. I really learned a lot.
“You look at the history of TAG and its history of capturing time, going back to skiing and then automobile racing, and realize it’s all about the consistency and the capturing of time and chasing time. It’s a great metaphor. At some point you need to stop and be present and let time go. You can’t control it; you have to embrace it.”
Is it difficult to balance a serious racing schedule and professional acting? “Absolutely, and something gets sacrificed to do it at the level you need to do it. Certainly within the WEC, in racing with Porsche, for me it’s a total commitment. Last year I was 100 percent racing at the cost of many other things in my life. But it was worth it in so many ways because I achieved the goals I set out to achieve. It affects everything I do know on a daily basis. It certainly is affecting me this year with movies coming out. I’m about to direct a movie and in pre-production for that. It taught me that you have to be focused on the task at hand; you can’t spread yourself too thin. You have to make a decision about what to focus on and commit to it. Whatever that may be, family, career or racing.
Do you have a special timepiece “My vintage Monaco that I got just before the race in Spa last year. It’s from 1972, and I bought it. I really wanted to have that connection to Heuer and I wanted a vintage piece. I was right around the time I finished the show I’d been on for many years and it is sort of my retirement watch while also a beginning for something new. It means a lot to me.”
At its Timecrafters booth, TAG Heuer presented new and historical timepieces, including the original 1916 Mikrograph, perched in a showcase alongside the stunning 2016 re-edition. Also on display was the firm’s famed 1963 Carrera, seen with the newest models, Heuer 01 and Heuer 02. Similarly visitors could eye a 1916 Heuer wristwatch alongside the TAG Heuer Connected Watch, which also boasted a series of new screens, including one devoted to the 100th running of the Indy 500 this May 29.
MB&F has made its outsized imprint on current independent watchmaking energized by the singular artistic vision of its founder Maximilian Busser and his ability to enthuse and inspire talented individuals, his Friends, who inform that vision. But well before Busser founded his eponymous firm eleven years ago, another independent designer, Frenchman Alain Silberstein, was creating timepieces that betrayed his own unique style with create quirky, colorful timepieces with angular shapes, squiggly hands, bright colors and a defiance of classical dial or case design.
When the two independent watch designers collaborated for the first time in 2009, the resulting MB&F HM2.2 Black Box Performance Art piece combined Silberstein’s color and geometry with Busser’s Avant Garde HM2 rectangular case to create a limited run of timepieces Silberstein said reminded him of miniature box cameras of the 1940s.
Today Silberstein and Busser announce a second MB&F Performance Art collaboration, the MB&F Legacy Machine No. 1 Silberstein, that again melds the creative visions of these two designers. The new piece adds Silberstein’s trademark red, blue and yellow accents to the retro-futuristic MB&F LM1, with its large balance languorously rotating high above dual-time dials and a vertical power reserve indicator.
Those familiar with Silberstein watches may recall that they are known for his signature use of three bright primary colors, red, blue, and yellow, as well as simple shapes like the triangle, square or rectangle, circle and often a three-dimensional shape such as a pyramid, cube or sphere. Silberstein delightfully weaves these elements onto the dial and strap of this new gold, titanium or blackened titanium LM1 case. Here the LM1’s unusual dial acts as a palette for Silberstein’s colorful and angular signatures, in effect bolstering the sensation of three-dimensions on an already multi-level LM1.
Clear sapphire A clear sapphire balance bridge clears the way for that vision, however. Three years in the making, the sapphire bridge, which replaces the original LM1’s dual polished steel bridges, allows the eye to immediately spot these colorful time indicators.
This bridge is not the first such large-scale sapphire design from Silberstein. His 1997 Kronosaphir was perhaps the first all-clear sapphire-cased high-end timepiece (it featured a skeletonized ETA Valjoux 7750 chronograph), debuting years before Richard Mille’s RM 056 in 2012 and the more recent sapphire-cased watches from Hublot, H. Moser, Rebellion, Bell & Ross and others.
As MB&F’s Charris Yadigaroglou explained during Baselworld, where he previewed early examples of the new LM1 Silberstein timepiece, Silberstein felt strongly that since the balance is the heart of the timepiece, nothing should break the view of the dial side balance or block what Silberstein calls “eternal time” from reaching the time indications. Silberstein also thought that as graceful as the LM1’s original dual bridges may be, they took too much visual attention from the indications.
That certainly won’t be a problem with this watch’s triangular red hour hands, straight blue minute hands and yellow quarter-hour indications. As the hour is generally the first hand typically checked on any watch dial, Silberstein made the hour hands brighter and larger than the thinner blue minute hands.
Furthermore, the dials themselves are concave, not convex as on the original LM1.
The concave subdials also symbolize Silberstein’s ethos, Yadigaroglou explains, as they welcome the “eternal time” of the universe into the movement, where it is displayed as two independent time zones. Likewise the hands are also concave to complement that inward curvature. Silberstein also added his trademark to the vertical power reserve indicator at the 6 o’clock position, which he has transformed into a playful geometric totem pole that rises and falls as the mainspring winds and unwinds
Silberstein and Busser seem to share many of the same aesthetic instincts, particularly regarding shapes and multiple-level displays. Even the watch’s two crowns feature distinctive six-pointed star shapes formed by dual overlapping triangles meant to “make winding a tactile pleasure,” Yadigaroglou adds.
Silberstein explains a bit of the working relationship for this piece in the MB&F press release: “It was a pleasure to work from such a creative timepiece as LM1 because the suspended balance and arched bridge made it feel like working on the set of a science fiction film.” A more telling hint may be seen on the case between the watch’s lugs. Engraved in French is a paraphrased quote from Gustave Flaubert: “Le vrai bonheur est d’avoir sa passion pour métier” – which translates roughly as, “Making a profession of your passion is true happiness.”
From the back of the new watch we see the same richly decorated LM1 three-dimensional, slow-beat movement developed for the original model for MB&F by Jean-Francois Mojon/Chronode and Kari Voutilainen, with its single mainspring barrel and golden coating.
The 43.5 mm MB&F LM1 Silberstein is a limited edition of twelve pieces each in red gold, titanium, or black PVD-treated titanium. Prices: $83,000 (titanium and black titanium editions); $92,000 (red gold).
SPECIFICATIONS
Movement: Developed exclusively for MB&F by Jean-Francois Mojon/ Chronode and Kari Voutilainen. Manual winding with single mainspring barrel, power reserve 45 hours, transparent sapphire crystal balance bridge, bespoke 14mm balance wheel with four traditional regulating screws floating above the movement and dials, balance frequency of 18,000bph, gold chatons with polished countersinks and superlative hand finishing throughout respecting 19th-century style.
Functions: Hours and minutes; completely independent dual time zones displayed on two dials; unique vertical power reserve indicator, crown at 8 o’clock for setting time of left dial; crown at 4 o’clock for setting time of right dial and winding.
Case: Available in red gold, grade 5 titanium or grade 5 titanium treated with black PVD
Dimensions: 42.5mm wide & 17mm high
Water resistance: 30 meters
Strap & buckle: Black hand-stitched calfskin strap with black topstitched seams with red gold case, or red topstitched seams with both titanium cases.
Inspired by the original Bremont AC1, and taking visual cues from famed J-Class yachts of the 1930s, this new watch features sea blue steel hands and a fine ivory white opaline dial embossed with outlines of the America’s Cup trophy. With ‘London’ marked on the dial, the watch will be made in a limited edition of 535 pieces. The hand-polished case is water resistant to 50 meters. Inside is an automatic chronometer-rated automatic movement (visible through the exhibition caseback) with a 40-hour power reserve.
“The AC I has proven to be an incredibly popular timepiece since we launched it last year and has led to lots of enquiries by women who were after a ladies version so this seemed like a natural extension to the line,” explained Bremont co-founder Giles English. “It is of course also very well timed with Bremont having just launched our first women’s watches.”
About Bremont Located in Henley on Thames, England, Bremont often draws inspiration from aviation past. Bremont was founded in 2002 by brothers Nick and Giles English. Since then, their timepieces have been featured in a number of films, television shows and more.
Michael Thompson Among the many recently released racing-influenced timepieces, two stand out for me this week as we look forward the 100th anniversary Indianapolis 500 competition this Memorial Day. Each of the watches offers terrific technical specs and an appealing design that would look great on the wrist of any winner atop a post-race podium. But my two choices this week also appeal to me because I had the pleasure recently of speaking with two of the passionate individuals who make these watches come alive.
The first watch is Baume & Mercier’s newest Capeland Shelby Cobra 1963 chronograph, particularly the latest limited edition model with a prominent number 96 on its dial. The number 96 is the racing ID of Allen Grant, one of Shelby American’s original employees and team driver on the 1965 World Championship team. He was a key contributor to the success of the Shelby American racing program and its incredible upset victory at the FIA World Championships. By season’s end, Grant personally earned twenty percent of the points needed for Shelby American to win the championship, which was the first and only time an American car has won the FIA Sports Car World Championship.
Grant, a lifelong friend and confidant of Carroll Shelby, recently spoke at Baume & Mercier’s U.S. debut event celebrating this latest Capeland Shelby Cobra. Hearing Grant recall the heady early days of Shelby racing is a real treat. His love for racing is obvious and his high-regard for the designers, builders and racers at each stage of competition shines in each story he relates from that pioneering era. (Did you know Grant’s partner at the time was now famous writer and director George Lucas?)
Just a few weeks ago, Grant joined Baume & Mercier once again, this time in France at the Castellet Circuit for the unveiling of the watch bearing his number 96, as well as three additional Capeland Shelby Cobra watches dedicated to famed racecar drivers Dan Gurney (#15), Ken Miles (#50) and Dave Mac Donald (#97).On the case of the watch dedicated to Grant, Baume & Mercer has engraved “Allen Grant, one out of 15.” Each new model will be sold in a limited edition of fifteen.
These new 44mm editions are each automatic timepieces (with an ETA Valjoux 7753 inside) with cases in polished satin–finished steel or steel-ADLC and straps in vulcanized rubber or alligator. Each of these four Capeland Shelby Cobra 1963 Legendary Drivers Edition watches features a variation on black, white and yellow: the dial, tachymeter scale and straps are inspired by color combinations on the CSX2128's bodywork. These collector items will be released in October 2016, each priced at $4,850.
My second choice is perfectly time, so to peak, for next week’s 100th green flag at Indianapolis. I mention the flag because at last year’s race racer and actor Patrick Dempsey dropped it to launch the 99th Indy 500, which he spoke of with obvious glee when I interviewed him at the recent Timecrafters public watch show in New York.
It’s clear that Dempsey enjoys racing, though his team is without his services behind the wheel this year as he takes a break from the on-track aspect of this passion. (Read more from Dempsey in my interview here). Likewise, he’s a fan of watches with a true racing patrimony, and there are few brands, if any, with the storied racing history as impressive as TAG Heuer, the brand Dempsey is now representing as an ambassador. TAG Heuer has partnered with the race at Indianapolis since 2004, and Dempsey’s appearance in New York was in part linked to the launch of the brand’s two Indy 500-themed timepieces for 2016, one of which is my second choice as a favorite race watch.
While one of the two watches, a specially marked Formula One Indy Limited, looks fine enough, my pick this week is the 100-piece TAG Heuer Carrera Heuer 01 limited edition is the firm’s 45mm titanium-coated steel chronograph with the flagship in-house Heuer 01 automatic chronograph caliber inside, here skeletonized.
For this edition TAG Heuer as added INDY 500 in red on the bezel, a red INDY 500 engraving on the back, and has also printed the Indianapolis Speedway logo atop the running seconds subdial at 9 o’clock. In addition to the top-notch column-wheel engine, perhaps the star of the watch is its modular nature. The steel case features alternate finishings, including polished and fine brushed steel lugs, fine brushed black titanium carbide coated steel middle case and a black titanium-carbide-coated steel bezel with grey tachymeter scale. This special TAG Heuer Carrera Heuer 01 limited edition is a bold racing watch perfect for any spectator –or participant– in this Monday’s Indy 500. Price: $5,700.
Tim Mosso Cars and watches are the most natural union of special interests conceivable. Among watch collectors, the correlation of one infatuation to the other must be exceptionally close to one. But while major luxury watch brands are eager to associate with their road-going counterparts, a select few co-branded efforts transcend the appearance of pandering cynicism rife in this segment: Jaeger-LeCoultre’s Amvox 2 chronograph and the F.P. Journe Octa Automatique Reserve Sport Indy 500 Jean Alesi vie for pole position among the best of the breed.
Jaeger-LeCoultre’s 2005-2015 partnership with Aston Martin was a fully-committed effort that deserves a comprehensive retrospective, but the 2006 Amvox 2 chronograph was the creative high-water mark of this relationship. More than a styling exercise – and a great one at that – the Amvox 2 represented a blue-sky reimagining of how a user should interact with a motorsports chronograph.
Before the Amvox 2, the “driver’s chronograph” had changed little since the 1957 Omega Speedmaster 2915 debuted in its first life as a proposition to racers. Jaeger-LeCoultre started with the assumption that gloved hands and tiny pump pushers were a bad match; the case of the Amvox 2 acts as the chronograph triggers and pivots on ball bearings. While small pushers – especially the screw down variety – frustrate use of a chronograph while wearing gloves, the 44mm case of the Amvox provides a big target for fat fingers.
JLC’s system was ingenious. Push the crystal at 12 to start and stop; press the crystal at six to reset. A sliding function selector at nine o’clock could provide lockout to prevent accidental resetting out of sequence or to disable the chronograph functions entirely. Revolving discs with fixed indices tracked the hours and minutes, and a skeletonized lower 90-degree sweep from four to eight o’clock revealed the red anodized chronograph hammers. The JLC chronograph caliber 751E combined traditional column wheel function selection with the efficiency of a modern vertical clutch engagement, and 65 hours of power reserve ensured that a certain 24 hours in southern France was no challenge at all.
Deft styling and subtle co-branding sealed the Amvox 2’s status as a class champion. The 270-degree sweep of the hour track recalled the vintage Jaeger dashboard instruments still in service aboard thousands of mid-century Aston Martin automobiles. Impressive use of bare metal, depth effects, and contrasting finish ensured that the revolutionary chronograph looked the part. An internal compromise between Jaeger-LeCoultre management and its design teams ensured that the Aston Martin winged logo was visible only in severe lighting and only at the right angle of incidence.
Despite five official models, innumerable variants, and several Aston Martin-themed watches from the regular Jaeger-LeCoultre model lines, the Amvox 2 stands apart even from this illustrious crowd. When JLC designed the Amvox 7 – the final watch in the series – the Le Sentier watchmaker revived the Amvox 2 chronograph concept as the ultimate sendoff to a memorable partnership.
On the eve of America’s 2016 Memorial Day Classic – the 100th Indianapolis 500 – there is no better time to recall F.P. Journe’s Octa Automatique Reserve Sport Indy 500 Jean Alesi. Four years after it’s brief run, the 29-piece limited edition remains one of the least likely and most memorable entrants in the sub-genre of watch/auto crossovers.
Ask any collector to name athlete-themed or automotive co-branded luxury watches, and a litany of Hublot, Richard Mille, Audemars Piguet, and Omega references are likely to follow. As a rule, Geneva boutique brand F.P. Journe tends to avoid both marketing angles. And that’s only the first reason why the Sport Indy 500 Jean Alesi is such an outlier.
Naturally, Jean Alesi is the other reason. If the name doesn’t register with the immediacy of hero-watch namesakes Juan Pablo Montoya, Michael Schumacher, or Rubens Barrichello, it’s because Alesi’s prime years coincided with the Bad Old Days of early 1990s Scuderia Ferrari. Despite over 200 grand prix starts, Alesi’s career highlight was his solitary victory at the 1995 Canadian Grand Prix. That’s not to say he was slow, because 32 career podiums achieved in marginal racecars is a serious resume.
It gets stranger; Alesi’s F.P. Journe tribute launched in 2012 – over a decade after the driver’s last F1 start. Alesi became the oldest driver to take the Indy rookie test one month before his 48th birthday. The veteran racer retired in the fall of that year following a low-key 500 in yet another uncompetitive machine. But if Alesi’s unique Octa launched at the close of his career, it marked a coming-of-age moment for the Journe brand.
By the 2011 launch of the regular Linesport series, F.P. Journe could recall nearly three decades of watchmaking and over a decade of doing so under his own name. The all-aluminum 42mm Linesport cemented Journe’s status as a risk taker and an iconoclast. After crafting comparatively petite 36-40mm watches in formal styles, Francois-Paul had the confidence to cut loose with an adventurous materials-science project of ambitious size and style. Conservative devotees of the brand were served a take-it-or-leave-it proposition.
And the 99-piece Indy 500 series went even further by embracing the “black watch” movement better associated with the likes of Hublot, Panerai, and Audemars Piguet. Within that limited series, the 29 “Jean Alesi” examples issued another provocation in the form of “Indy 500,” “Lotus,” and “Jean Alesi” logos blazon on the dial. While mechanically daring from inception, the Journe brand had never trod this turf, and since the “Alesi,” Journe hasn’t revisited these heights of graphical exuberance.
As with all Linesport models, the Octa Automatique Reserve Sport Indy 500 Jean Alesi featured an aluminum case, aluminum movement, and optional aluminum bracelet or rubber strap. At its core, the watch was part of the Octa automatic family of models launched in 2001, and it packed the same 120-hour power reserve caliber 1300 base movement. The “Alesi” included a power reserve gauge, a day/night indicator, and a grande date to animate its stark dial. Curious signage and theme aside, the watch remains a phenomenal example of artisanal horology.
F.P. Journe – the man, not the brand – is known to have crafted watches with friends in mind. Journe’s French compatriot, Jean Todt, the former Scuderia Ferrari chieftain and current FIA President, is credited by Journe as the godfather of the Centigraphe model. Was Alesi, as the premier French F1 pilot of his generation, equally inspiring to Journe? If nothing else, the watch that bears Alesi’s name is remarkable for celebrating an unlikely hero in a most unconventional fashion.
Nancy Olson Zenith El Primero Chronomaster 1969 Tour Auto Edition Partner of the “Tour Auto Optic 2000” for the past two years, Zenith presented an exclusive series of 500 El Primero chronographs dedicated to this classic car rally, which this year stretched from Paris to Cannes. From April 18 to 24, 240 contestants drove through the most beautiful regions of France, testing their mettle on closed roads and circuits dotted along the five legs of the race. Only car models having taken part in the historical race between 1951 and 1973 are eligible for the competition and must not have undergone any modification of their engine or bodywork.
Inspired by these exceptional automobiles, the El Primero Chronomaster 1969 Tour Auto Edition timepieces are driven by the El Primero 4061 automatic chronograph movement. Fitted with a silicon lever and escape wheel, this 282-part wonder drives central hours and minutes hands, along with chronograph and tachymeter functions, while ensuring a 50-hour power reserve. The 42mm brushed stainless steel watch has a gray dial and a transparent sapphire crystal caseback with the Tour Auto logo. The tri-color detail on the dial is echoed on the gray fabric strap.
Chopard Superfast Porsche Motorsport 919 Earlier this year, Chopard presented a Superfast COSC-certified chronograph in a limited series of 17 pieces dedicated to the victory of the Porsche Motorsport team in the 2015 World Endurance Championship. The German racing team for which Chopard has been serving as Official Timing Partner since 2014 won its 17th title, marking a triumphant return to endurance competition. This trophy was won at the wheel of the Porsche 919 Hybrid – of which the Superfast Porsche Motorsport 919 limited edition takes its design codes.
The watch’s 45 mm-diameter stainless steel case is water-resistant to 100 meters and its tachymeter-equipped bezel is crafted in 18-karat rose gold, secured by eight blackened screws. The screw-lock crown is adorned with a black rubber-molded “steering wheel,” while the striped sides of the case recall the cooling vents on racing engines augmented by the linear dial motifs and the open-worked movement bridges. The silver-toned dial is inspired by Porche’s famous metallic gray, while its stripes evoke the rear diffuser of the Porsche 919 Hybrid.
Inside is the Chopard Caliber 03.05-M, equipped with a flyback function, and featuring an open-worked oscillating weight visible through a sapphire crystal engraved with the inscriptions “Official Timing Partner Porsche Motorsport” and “Winner World Endurance Championship 2015.”
“Simplicity is the ultimate sophistication." -Leonardo Da Vinci
Today iW revisits a classic, Ressence’s Type 3 was first released in 2013. The watchmaker has only released one other model, the Type 5 since the Type 3’s introduction. With its discs displaying hours, minutes, seconds and days that continuously revolve the watch made a mark at Baselworld 2013, where it was released. The patented module alone contains 287 components, and the total number is 407.
What sets the watch apart is the mechanism that is enclosed in an upper compartment filled with a naphtha-type (hydrocarbon mixture) liquid that has a more similar index of refraction to the sapphire crystal than air does. With this dial, refraction is greatly minimized, which tricks the brain into eliminating the impression of depth. A thermal valve automatically adjusts for any expansion or contraction of the fluid.
The watch retails for $42,200.
About Ressence Ressence stands for the rebirth of what is essential to a watch: the display of time. The avant-garde design distinguishes itself through minimalist design and time module partly mounted inside the sapphire glasses that are flush mounted with the case. The Ressence design is founded on the observation that, when trained, reading time on hand dials is faster than reading digits. Beniot Mintiens introduced Ressence at BaselWorld in 2010 with three functional prototypes.
History lessons aside, the Vacheron Constantin Overseas has always been a strong suit in Vacheron’s repertoire. Yes, Jorg Hysek, inspired by Gerald Genta, penned the original and yes, its first formal overhaul was hugely well received.
Here we are in 2016 and the Overseas has seen a fairly comprehensive, albeit polarizing redesign once again. Now I’m always a sucker for a bright blue dial, and I love a good clean and legible chronograph, so the chance to wear this watch offered me hands-on time that I couldn’t possibly turn down. I’d been hearing a handful of gripes and groans over some of Vacheron Constantin’s design decisions, but as with countless times before, I couldn’t help but wonder how valid the criticisms would prove after a proper week of wrist time.
Design
There’s no denying that the Overseas is a stunning sports watch. Its somewhat angular and lug-less case, gearlike bezel, and beautifully integrated bracelet make the Overseas well worthy of comparison against the likes of the Audemars Piguet’s Royal Oak and the Patek Philippe Nautilus.
One of the first complaints I heard upon the launch of the new Overseas was the abrupt end of its case edge versus the softer curving end links of its predecessor. I’d initially agreed that on paper this change gave the case a much harsher aesthetic, however it also draws a closer parallel back to the original 222 model from 1977. The original design sported the same pronounced drop, and I’ll say I’m not bothered by this one bit. I also prefer the switch to six notches (or teeth) to the bezel design. Having the eight on its predecessor made sense as a means of carrying its bracelet design up and onto the case. I rather like the fact that the six notches make the piece feel a little less busy and cluttered.
On that note, this brings us to the other design change that stirred up quite a bit of unrest.
One of the big design details that many enthusiasts (myself included) were keen on with the previous Overseas was its big date at the twelve o’clock position. Your typical 369 chronograph will often forgo a date, or drop it in between the 4 and 5 indices, as we see with this new version of the Overseas. The past model’s big date window helped it stand out further from the pack, and I’m pretty bummed out over the change.
There’s so much I do love about the new Overseas, including its new in-house 5200 caliber movement, it gloriously deep blue dial, and its quick change strap system, which I’ll touch on a little bit later. Moving the date and evening out the diameter of its subdials adds to the overall simplicity, clarity, and legibility of the piece, I’ll give them that much. Even now as I flip back through the imagery from my week on the wrist, part of me wants to be annoyed about its date window position, but the more I flip back and forth between the old and new models, the more I’m willing to concede that this new Overseas is just a hands down nicer timepiece.
In the Field
One of the greatest elements that Vacheron Constantin brought to the table with this new Overseas is the clever new quick-change strap system. Every Overseas is sold with a steel bracelet, a soft rubber strap, and a leather strap. Of the many “quick change” bracelet-to-strap setups I’ve seen, this is the easiest. A small tab on the backside of the strap simply needs to be pulled back to release the strap from the case, and because the latching mechanism of the strap is spring loaded, you just slide the strap into place until you hear it click.
Experience has proven that one challenge of this configuration is the risk of scratching the case during installation. As delicate as one can be, the battle of sharp edge versus sharp edge can be tricky at the best of times. In addition, the fact that the strap only attaches to roughly half an inch of the case is a little disconcerting at first. However I have to consider the fact that Vacheron Constantin required years to develop this quick-change system. I still have to wonder about the durability of the strap attachment bits (especially with a wearer like me who has a propensity for changing straps daily). Only time will tell how well this system will last after years of wear.
On the plus side, this ability to swap straps so easily makes the Vacheron Constantin Overseas and incredibly versatile timepiece. Its bracelet is one of the most comfortable I’ve worn to date, and the same can be said for its rubber strap. On bracelet or on leather the Overseas can easily be passed off as a much more dressy timepiece than it really is. With rubber, on the other hand, it can easily be paired with casual denim or shorts and runners depending on the occasion.
For the most part — being the “captain casual” that I am — the rubber strap was easily my default, providing me the ability to dress the watch up or down all while maintaining a great level of comfort. If there’s one critique I can make in regards to the strap setups on the Overseas, it’s the lack of consistency between the strap holes on the rubber versus the leather. For some strange reason the rubber strap fit me like a glove, whereas the leather’s hole spacing proved to be a little off. I only had the option of it being a little too loose or a little too snug. With both straps as standard equipment I would expect their dimensions to be standardized.
Final Notes
Of the handful of timepieces I’ve worn for On The Wrist reviews, I’d be quick to argue that this Vacheron Constantin Overseas was one of the hardest to hand back. While I didn’t particularly jive with its more dressy leather strap, both its rubber strap and integrated bracelet were a remarkably comfortable fit worthy of wrist time in all sorts of occasions. Sure, I got my nose out of joint over the date window shuffle, but all kidding aside this is one of the most visually appealing blue dials you can get your hands on right now, let alone the fact that this is coming to us via none other than Vacheron Constantin.
If you’re looking for an A-Game chronograph with a bit of casual flair, I’d be quick to argue that the Vacheron Constantin Overseas is one of the best options you’ll find.
Price: $28,900
Specifications: Vacheron Constantin Overseas Chrono
References:5500V/110A-B075– silver-toned dial 5500V/110A-B148– blue dial Hallmark of Geneva certified timepieces
Caliber: 5200, self-winding with 22-karat gold Overseas oscillating weight. Approximately 52 hours of power reserve and 4 Hz (28,800 vibrations/hour)
Indications: Hours and minutes, small seconds at 9 o’clock, date, column-wheel chronograph (30-minute and 12-hour counters)
Case: 42.5mm stainless steel, 13.7 mm thick, soft iron casing ring ensuring anti-magnetic protection, screwed-down crown and quarter-turn screw-lock push-pieces. Transparent sapphire crystal caseback. Water-resistant to approximately 150 meters.
Dial: Translucent silver-toned/blue lacquered, sunburst satin- finished base with velvet-finished flange, snailed counters,18-karat gold hour-markers and hours & minutes hands highlighted with white luminescent material.
Bracelet/Straps: Steel bracelet, half Maltese cross-shaped polished and satin-brushed links; Delivered with a second strap in black/blue Mississippiensis alligator leather featuring a black nubuck lining with a micro-perforated effect, hand-stitched, large square scales. Delivered with a third strap in black/blue rubber
Clasps: Stainless steel bracelet secured by a stainless steel triple-blade folding clasp with push-pieces and comfort-adjustment system. Delivered with a second stainless steel triple-blade folding clasp with push-pieces and interchangeable system (patent pending) compatible with both additional straps.
Citizen Watch Co. said Thursday that it plans to acquire Frederique Constant Holding, the Geneva-based watchmaker that owns and operates the brands Frederique Constant, Alpina, and DeMonaco. The Japanese company, which already owns several Swiss watchmaking concerns (La Joux-Perret and its affiliated brands Arnold & Son and Angelus) as well as Bulova, seeks to expand its own presence in stores that carry the mid-price-range timepieces made by Frederique Constant and Alpina.
“This particular acquisition will enable Citizen Watch Co., Ltd. to strengthen its brand portfolio, offering consumers a variety of products ranging from accessible timepieces to accessible luxury watches,” said Citizen Toshio Tokura, chief executive officer of Citizen Watch Co., Ltd. “We have a great opportunity to expand the sales of Frederique Constant through our current distribution channels of Citizen branded watches, particularly in Japan and the U.S,” he added.
Peter and Aletta Stas founded Frederique Constant in 1988. Since then it has expanded into a full-fledged manufacturing watchmaker, making about 135,000 watches annually, including fully nineteen different iterations of its in-house calibers, including tourbillons, as well as a recently announced ‘affordably priced’ ($8,995) perpetual calendar. In addition to selling its in-house collections, the firm offers a wide range of quartz and mechanical timepieces supplied with Swiss-sourced calibers and its own Swiss-developed smartwatch. The Geneva headquarters also acts as the manufacturing facility for the high-end hand crafted DeMonaco collection.
“As we feel a tremendous commitment to the Frederique Constant Group and its people, we started to explore a potential collaboration to secure the company beyond ourselves,” Peter and Aletta Stas said in a press release. “We have become increasingly impressed by the innovative technologies of the Citizen Group. We see the opportunity of Swiss-Japanese partnership to develop and market accessible luxury watches for the 21st century and beyond.”
The watch’s ARM16 caliber features unusual geometric and angular components. Spider-shaped crown wheels visually dominate the dial, complemented by large Arabic numeral hour indications and the 60-second register with the power reserve indicator. Functions include hours, minutes, small seconds and a power reserve indicator.
The watch’s design marks a new era for the watchmaker. ”The time is right for Armin Strom to step out with a stronger aesthetic. We've grown in confidence and are ready to be bolder about our vision and design," explained ARMIN STROM director and chief horologist Claude Greisler.
The watch is a limited edition of 100 pieces and is priced at $24,900.
About Armin Strom After completing his watchmaking apprenticeship, brand namesake Armin Strom, gained recognition as a successful independent business owner. In 1967, Strom opened his own shop in Burgdorf. Here, he sold and restored timepieces. As his passion evolved, Strom began working on his own creations in the workroom behind his establishment. Strom’s first creation was a gold pocket watch featuring an engraved dial with a polished blue lapis lazuli. His growing popularity in the watchmaking industry allowed Strom to explore different watchmaking techniques and eventually, he settled in the specialty of skeletonizing. Discover more about Armin Strom.
As noted in an earlier post, Jaeger-LeCoultre in Le Sentier has re-designed the workflow and physical department spaces for several of its major manufacturing departments and plans to expand its already extensive historical displays.
One of the most impressive reconfigured departments is the firm’s Rare Crafts Atelier, where eleven gem setters, seven enamellers, five engravers, a guilloché specialist, three artisans dedicated to chamfering, as well as a polisher, exert their skills. In total, the new space unites more than thirty artisans. The floor’s central area, enclosed by glass, includes an impressive multi-media visual display that transmits a close-up look at the work of any of several artists as he or she works on a dial or case.
During a recent visit to the always impressive Le Sentier facility, where 1,300 people design and manufacture Jaeger-LeCoultre’s timepieces, I watched within the Rare Crafts Atelier as the new visual display system projected an image, at forty times the real size, of a dial being painted by enameller Yoan Descollonges, who was adding color to a stunning enamel dial depicting the famed Birth of Venus by Botticelli. Visiting his bench minutes later we saw the actual dial, which, despite its finalized appearance (to my eye) is actually a practice palette.
Jaeger-LeCoultre’s enameled dials have become a primary example of the brand’s focus on traditional artistic dial renderings ever since Miklos Merczel re-founded the company’s enameling workshops in the 1990s. Janek Deleskiewicz, the Maison’s Artistic and Design Director, continues to pursue the full range of traditional artisanal watchmaking at the Rare Crafts Atelier. Among his most recent additions to the department are three early 20th century hand-operated rose engine engraving machines used to create richly detailed patterned dials.
We spoke to Jaeger-LeCoultre CEO Daniel Riedo about his company’s newly configured artisanal crafts workshop. In the post below he discusses why the change was made and how well it’s working. Riedo also discusses updates at the much-revered historical collection on the manufacture’s top floor and tells us more about this year’s focus on the Reverso collection.
Can you tell us about the recent updates at Jaeger-LeCoultre’s Le Sentier headquarters?
The updates are all part of what we do to show our customers how we work at the manufacture and what we do to restore pieces even if they are more than fifty years old. We had four different workshops for these four métiers d'arts, and I think when we put these four together they can all find new ways to re-interpret their ideas. Since we’ve joined the artists together it feels as if they are already coming up with new ideas. Before the move many we’re apprehensive, but now they are open about how they can work together. We will see new ideas, especially for the dials.
Can you offer an example?
We are working with placing lightly colored enamel on top of guilloché. This creates a variety of reflection, just based on the purity of the light. When you look at these dials you see certain colors, and then with the light and reflection you see more. One day we will have to raze the old small workshop (where enamellers used to be located) because we’ll need to expand the manufacture. Soon, we will also move the apprentices within the manufacture.
We have also moved the Grand Complications workshop. This fixes the anomaly that we had final assembly in a clean room, but not for the high-complications, which were in a traditional high-floor space. They now have more open space and more light.
In the past few years we have modified the final assembly workshops with certain teams dedicated to certain product segments. This means we have more autonomous teams there with less overall management and more independent teamwork. Each team is twelve to fifteen people, and the entire workshop is organized this way. As with métier d’arts department, in a few months we will also move the Atmos facility. Finally, we will update the historical collection. I don’t like to say museum because it’s not open to the public (though by arrangement visits can be made) and that will be re-opened later this year.
You’ve also expanded your facility in Porrentruy, correct?
We expanded a second production area in Porrentruy (three hours away from main offices in Le Sentier) next to the watchmaking school. We have a strong connection to the CEJEF watchmaking school. We opened a new workshop there, expanding from the ten watchmakers we had when we opened it ten years ago. With only a few calibers being made there it could be boring for the watchmakers, so we now have fifty watchmakers there.
Altogether there we have twelve autonomous teams to assemble movements, and we just opened a micro-mechanic workshop there, in association with the watchmaking school. Since we now have more calibers being made there, the workshops are more attractive to the students, so we can get the best ones. Some will join there and some will join us here in the Valley De Joux. We also have some watchmakers sent to the United States from the Valley De Joux for our after-sales service. We like to keep it interesting for them.
Why was the focus on Reverso this year more than simply an anniversary celebration?
Reverso is the main icon for our brand, for sure. It is the oldest collection we have and it was uninterrupted as a collection for eighty-five years, which is astonishing. Some collections are re-established from the past, but they were likely not in production. But that is not the case for Reverso. However, the collection has changed this year.
We had many Reversos over the years, and many sizes. It was time to re-establish the codes of Reverso, which is like what we did with the Classic collection. We asked ourselves ‘what is Reverso?” This is what this simplification represents. We’re now offering small, medium or large, a mono-face or duo-face collection. It’s also very simple for the customers to see it all. We used to have many different sizes and dial styles and different styles of hands because there were evolutions and side projects. Now, our side projects are dedicated to the feminine universe, which means one size strictly dedicated to ladies. Reverso One is not just a reduced size of the men’s watch. They are thinner and clearly feminine and not with the same case as the Reverso Classic.
Can you tell us about new complicated watches?
We have also introduced some complications we are very proud of, particularly the Gyrotourbillon 4, which we have worked on many years to make a very complicated piece but with a more wearable size. We now have the technology for more precise components as well, making ultra-thin watches, so these aspects come together with this dressier version of the Gyrotourbillon. If you look carefully at the new Gyro 4 you’ll see that it’s not just the size, but also there is almost no more cage. The tourbillon is almost floating.
We have also introduced some new pieces in the Master collection and in October we introduced the Geophysic. It’s funny but last year someone in the press asked about seeing more Reversos, and this year with fifty new Reversos, they are asking about seeing more Masters. We have six main product lines, which means we cannot focus on all of them every year. The number of novelties is not something we want to expand. We have to keep a balance between creativity and what the market needs. We want to be more focused, more cautious about the novelties. Still we introduced fifty new watches and six new calibers this year. That’s the reality this year.
Is Jaeger-LeCoultre offering a wider range of customized timepieces?
We think that luxury will be more exclusive in the future, with personalization. You don't have to change the watch face, so you can have something classic on top and have something more fun on the other side. This is part of the demand we hear from many customers, which means more limited editions for certain dials. The personalized dials (on the new Reverso Atelier) will change every year or two. It’s part of the development that keeps this entire collection alive. The idea of the Reverso is that you can reverse the watch. You can engrave or personal it with an emblem or initials, but with the Duetto, with two dials, that was not the case.
How extensive is Jaeger-LeCoultre’s focus on ladies’ timepieces?
In terms of volume, not turnover, ladies watches are about forty-five percent of our business. We always had a segment with ladies watches in Reverso, but five years ago when we introduced the Rendez-Vous line we found a big demand, and it continues to expand---with double-digit growth. We hope that with the Reverso One now, and with the personalization with the Louboutin dials, we will reach a fifty percent balance. Those Louboutin dials were a buzz for us at SIHH definitely. It’s just a part of the Atelier Reverso however, not the final target. The message is exclusivity and personalization of Atelier Reverso. Again, this is a limited edition by time, not numbers, available for a year or eighteen months.
The Patek Philippe 5159G-001 is within the Grand Complications collection and the 38-millimeter white gold watch features the Caliber 324 S QR.
This model features a contemporary design with a hand-guilloched dial and a perpetual calendar with a retrograde date hand. Watch functions include day, month, leap year in apertures. The day and month are placed directly opposite each other, which adds to the entire symmetry of this Patek Philippe timepiece. Although there is a lot to see within the watch, the watchmaker still allows all of the functions to be easily deciphered.
The movement is the mechanical self-wound Caliber that has a diameter of 28 millimeters and is 5.35 millimeters tall. There are 361 parts and a minimum power reserve of 35 hours and a maximum of 45 hours.
About Patek Philippe The unparalleled renown and prestige that Patek Philippe has acquired amongst connoisseurs is not due solely to the perfection of the watches and the resources of knowledge and skill contained in the workshops. This undisputed supremacy also stems from the consistency with which the company has applied its philosophy of excellence ever since it was founded in 1839. That spirit is embodied in ten values that have always represented the very essence of Patek Philippe and will continue to do so for generations to come.
Melding Apple’s product innovation with the heritage and craftsmanship of Hermès, the Apple Watch Hermès Collection, introduced last fall, offers the best of both worlds. It features cutting-edge technology and an attention to aesthetic detail borne from the Hermès history of artisanal excellence.
“Apple and Hermès make very different products, but they reflect the deep appreciation of quality design,” said Jonathan Ive, Apple’s chief design officer. “Both companies are motivated by a sincere pursuit of excellence and the desire to create something that is not compromised.”
The passion and soul of Hermès is inextricably tied to the time-honored savoir-faire of handcrafting luxury leather, and at La Montre Hermès, this expertise is incorporated into the straps that complement the timepieces. Inside an intimate leather workshop at the manufacture, the traditions that originated with the construction of equestrian tack and saddles in Paris many years ago live on.
This collection of stainless steel watches features finely crafted Hermès Single Tour, Double Tour and Cuff leather straps, each respecting the design and functionality of the Apple Watch. Across the collection, the 38mm or 42mm cases reveal an etching of the Hermès signature and the watch may be customized with three typefaces on the face, three numeraldisplays and three complications.
“At Hermès, we strive to provide our clients with elegant, creative and functional objects for their everyday lives,” said Pierre-Alexis Dumas, executive vice president in charge of artistic direction at Hermès. “What more contemporary and relevant expression of this principle could there be than this collaboration with Apple.”
For spring the collection includes bold new strap colors and acontinuation of customer favorites. Existing colors of bands, including Fauve, Noir, Capucine, Bleu Jean and Etain are being sold, for the first time, separately and are augmented by awhole new collection of Single Tour and Double Tour bands that are also sold separately. These new straps are offered in “Hermès colors,” including Bleu Paon (Green), Bleu Saphir, Blanc (White) and the iconic Hermes color, Feu (Orange).
Apple Watch Hermès is currently available online and at select Apple retail stores, Hermès boutiques, specialty stores and department stores.
The Engineer Master II Diver Worldtime is the world’s first diver world time day date watch. To provide improvement and innovation like this timepiece, Ball established its first spin-off company, Patrick’s Labs. This new division’s sole focus is Research and Development.
The 45-millimeter stainless steel case is powered by the automatic caliber BALL RR1501. Functions include hours, minutes, sweep seconds, day, date and world time. The watch also has a bidirectional multi city rotating bezel that is actuated by a screwed-in crown at 2 o’clock. The watch has been made with a 300-meter water resistance.
About Ball Watch Known for crafting chronometers, Cleveland watchmaker Webster Clay Ball was appointed chief time inspector to the federal railroads. Here, Ball performed timing tests on all railway watches and implemented a time standardization system. The Ball standard became so well known that in 1973 the Swiss society of chronometry based its COSC certification system on many of Ball’s recommendations and still applies them today. More than a century after that railway incident, Ball Watch is at the height of its popularity and its name remains synonymous with accuracy and dependability.
