When watch houses reinvent their iconic designs in jewelled form, the results can be sublime, joyous, and downright outrageous. We single out five classic watch designs that have been given a precious spin for 2024.

Jewelled watches for 2024

Audemars Piguet Royal Oak

Its reputation was forged in pure, gleaming steel, yet the Royal Oak’s super-clean lines take surprisingly well to a gem-set guise. But then, as one of the original super-thin mechanisms, this superstar watch – it was the first design to use steel like precious metal – has a naturally slender profile, allowing for the added volume that precious-stone setting dictates. Audemars Piguet has been involved in the business of jewelled timepieces since the late 19th century, when it provided mechanisms for houses such as Cartier and Tiffany & Co. Having established an in-house jewellery studio in 1980, it has developed a jewelled-watch style all its own. This year’s Royal Oak automatic variation is a fine example: a combination of 861 baguette-cut black sapphires, intense and light tsavorites and smoky quartz combine to create a moody camouflage effect.

audemarspiguet.com

Bulgari Octo Roma

Secret watches, timepieces with a jewelled dial cap and so designed to look like a bracelet, were originally created for women in the 1920s, who, keen to keep a social diary on track, might discreetly consult their watch without insulting their host. Today, watch brands increasingly use them as a form of storytelling, with fantastical narratives all the better to display in-house jewellery design and setting skills. And, when it comes to crafting fables around the intricate technological skills that jewelled watches require, Bulgari is a master. This year’s high-jewellery Fenice Octo Roma Secret Watch is made possible by the impossibly thin BVL 268SK Octo Roma movement. It allows for an intricate mechanical skeletonised dial and the decorative dial cover. Here, it is a phoenix rising up across the sizeable 44mm dial in a precious sweep of blue sapphires, aquamarines, and a tourmaline Paraiba.

bulgari.com

Patek Philippe Aquanaut Luce

While the 1976 Nautilus design is currently Patek Philippe’s most sought-after sports-luxe design, the Aquanaut, a more casual variation launched 20 years later, in 1996, gets my vote. Probably because its streamlined profile and casual rubber bracelet, reflecting the checkerboard pattern of the dial, is less boardroom CEO and more St Tropez weekender. This year’s high-jewellery model boosts the gem factor with a beautifully considered combination of two setting techniques: rectangular baguettes and snow-setting, where variously sized smaller brilliant-cut white diamonds are tightly clustered into a glinting surface. Here, their addition softens the stark lines of the 72 baguette-cut blue sapphires and 38 baguette-cut diamonds, creating a rich jewel for the wrist and a glamorous promise of surf-bound, summer pursuits.

patek.com

Piaget Polo

The watchmaker-jeweller is celebrating its 150th birthday this year, and the star of the party is the Piaget Polo designed by Yves Piaget in 1979. Yves was a dedicated art lover who counted Andy Warhol as a friend, and there’s something of a Howard Hodgkin influence in his original watch design, where the watch case, bracelet and sleek gadroon decoration were fully integrated in a sublimely pure combination of the jeweller’s and watchmaker's crafts. The Polo was ‘carved, link by link from a single block of 18ct gold’, according to an ad campaign at the time and is, you might argue, the original sports-luxe watch. In the intervening 45 years, it has been redesigned almost beyond recognition, but some elements remain, including its super-skinny form, which lends itself to this celebratory deep-red ruby iteration with baguette-cut rubies and diamonds. The skeleton dial is also a recurring Piaget motif. However, at a whopping 49mm wide, this version of the Piaget Polo is out of bounds for slender wrists.

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Rolex Daytona

Two new, jewelled versions of Rolex’s 1963 Oyster Perpetual Cosmograph Daytona are launched this year, each incorporating mother-of-pearl dials and markers. The luminous coating found in molluscs, such as oyster shells, has long been a favourite dial material for watch houses, because it can be cut into super-thin sheets. Profile volume is a prime consideration in watch design, and Rolex has been using mother-of-pearl as a decorative material for years. Both new Daytonas have white-gold cases, and the first features the slick, black Oysterflex bracelet with white mother-of-pearl dial and chrono subdials in black. The metal bracelet edition, however, sees the details reversed, with a black mother-of-pearl dial and white mother-of-pearl counters. Thirty-six brilliant-cut diamonds circle each dial, while the chunky diamond dial markers add a sporty frisson.

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The smartphone once signalled the end of the wristwatch but, as Watches and Wonders 2024 proves, the seriously smart wristwatch has entered an era of its own. So much so that this once-exclusive salon will open its doors to the general public for the first time over three days this weekend (from April 13 to 15). Aficionados, curious tech bros and girls, and unsuspecting types who didn’t even know how much they could love a watch design so much will delight at the chance to see new designs up close from Rolex, Patek Philippe, Tag Heuer and scores of other leading luxury watch houses. Here’s where to get tickets, and our guide to what to see and do:

The Architecture

If you’re a spatial designer of any sort, it’s worth making the trip to Geneva just to see the full Watches and Wonders 2024 exhibition streetscape. It’s literally a luxury village, the pathways lined not with houses or shops but with futuristic architectural capsules. For here, the pavilion designs by Rolex, Chanel, Cartier et all are not simply shopfronts. Rather, they are brand mission statements in architectural form.

The Expert Tour

The Watches and Wonders exhibition is vast, and it’s hard to know what you are looking for, or at, unless you understand a little of how to navigate it. Guided tours of around 10-15 people, hosted by watchmaking industry experts are on offer on a ticketed basis. Escorted tours may not be sound appealing, but here you’ll be glad you signed up as you become quickly acquainted with the labyrinthine layout. That allows dedicated time to get a first look at new designs from brands you know (which don't usually appear in boutiques until September) and some names that you've never even heard but will start to wonder about, quite a lot, later.

The LAB

What will the watchmakers of tomorrow create? Will we even be using smartphones or tech linked to them? Will AI have turned us all into robots? It’s no joke - the history of watchmaking includes seriously spooky automatons that could write letters and play instruments. So, if you’re worried about this kind of thing, the LAB area serves to allay your fears, illuminating new thinking around centuries-old micro-technology.

The ECAL school – the École cantonale d'art de Lausanne – famed for its supremo designer-engineers, hosts a show of 15 students' works, some of who will be on site to chat you through their ideas.

There’s also an area dedicated to watch bracelet design, which is a brilliant topic to dive into, whether you’re a jeweller, engineer or watch collector. A start-ups and brands area includes 12 new horological ideas to ponder, while the ‘Agora’ section hosts casual discussions. Swiss chef Dany Khezaar is also on hand to rustle up Swiss-cheese treats and more. Yes, chef!

The Science Bit

Designed to host an up-to-the minute programme in a style that befits a luxury subject, the newly created auditorium offers a roster of panel talks with leading brands, speakers and watch geeks on specific subjects. This year, they include: What does AI mean for the watchmaking industry? How to start a watch collection? Craftsmanship and the human value in watchmaking To be honest, the programme needs a shake-up. Let's hope they get a few more style-savvy subjects in next year beyond a focus on just 'trends'. Where are the social media names who are doing so much to stir up interest in watch design and style? Why did Bad Bunny kickstart an appetite for vintage jewelled watches? Why is Chanel creating a crazy Victorian-curio style clock with dressmakers' dummies inside? Watches and Wonders can still feel a bit too biz-focused and academic but its new look is ever evolving. And, for those who want to see exquisite craftsmanship up close, this is the place to be.

The Must-see Photography Exhibition

By choosing to approach his subject as objects ‘frozen in time’ Luc Debraine has created an intriguing photographic essay of everyday architecture we’d otherwise likely ignore. This Watches and Wonders 2024 exhibition opens the pages of his book Les Garde-Temps. Through photography and text, Luc Debraine composes a fresco of these silent witnesses of history. These timepieces are clocks that keep ‘the time of memory, stopped dead in their tracks by natural or human disasters, from the Titanic to Hiroshima, from Buchenwald to the World Trade Center towers. They still display fateful moments. Some were stopped voluntarily to mark a revolution, a liberation, a singular event.’ The fact that Debraine is a former director of the Swiss Camera Museum in Vevey brings a compelling point of view to what might otherwise have been a highly niche subject.

Beyond the walls of the fair, Geneva is a full-on watch fest, with a city-wide programme of watch-focused cultural and educational activities. From Watches and Wonders' new Watchmaking Village on the Pont de la Machine to brand boutiques staging their own in-store exhibitions, there’s plenty to see downtown. Here are our highlights:

The Satellite Events

Time To Watches, now in its 3rd year, is the biggest draw outside the main event. Located in Geneva’s HEAD art and design school, Time to Watches is halfway from the airport to the lakeside hotels, and hosts a selection of niche brands, from Antoine Preziuso to Sinn and British Bristol-based Fears watches, debuting on the international watch scene.

The early modernist designs of the school buildings make it an architectural destination worth the visit alone. The main building was built in the industrial Les Charmilles area in the 1910s and reworked in 1944 by architect Jean Erb. It once housed the Tavaro factory assembly line for Elna sewing machines, and was renovated in 2006.

Masters of Horology, organised by the AHCI (Académie Horlogers des Créateurs Indépendants) is showing at Ice Bergues, just off the lakefront. Here you'll find a stellar list of makers that includes Philippe Dufour, Svend Andersen, Vianney Halter and Louis Vuitton prize winner, Raúl Pagès. Other small-scale exhibitions include Swiss Pavillion and Watchmakers United, while a number of brand showrooms are mounting exhibitions, including FP Journe, Jacob & Co, MB&F and Urwerk.

Don’t forget that the not-to-be-missed Patek Philippe museum near the Pleinpalais is open as usual – it’s worth a trip to Geneva in itself but offers a welcome respite from too much ‘novelty’ at the main fair.

Tickets for Watches and Wonders 2024 Public Days (13-15 April) are on sale now

With its date disc at three o’clock replacing the use of traditional markings around the dial indicated by an extra hand, the release of the Rolex Datejust model in 1945 marked a radical rethink of how we check the day of the month on a watch. Defying the conventional parameters of watch design, the model became the first self-winding waterproof chronometer to have this display.

New Rolex Datejust 41

It is a history retold in the new Rolex Datejust 41, which imbues these references with a modern twist. A textured golden dial riffs on the classic fluted silhouette of the bezel; highly polished lugs and case sides add a brilliant play of light. They join classic Datejust particulars such as the Jubilee bracelet, created exclusively for the original 1940s model, which here knits together Oystersteel (a stainless steel alloy exclusive to Rolex) and yellow gold.

Wearers today can choose from three sizes, in 31mm, 36mm and 41mm, and from a range of colours and materials. Yellow, white or Everose gold bezels – whether smooth, gently textured or speckled with diamonds – circle diamond-set, mother-of-pearl or fluted dials. As well as the distinctive Jubilee bracelet, the Datejust can also be paired with the Oyster bracelet, composed of flat three-piece links, and the President bracelet with three semi-circular links which is available on 18ct gold versions of the watch. 

INFORMATION

A version of this article appears in the September 2022 issue of Wallpaper*, available in print, on the Wallpaper* app on Apple iOS, and to subscribers of Apple News +. Subscribe to Wallpaper* today!

rolex.com

It may have been a little while since we have needed or been able to straddle multiple time zones, but luckily, watch brands are a step ahead, and a host of new world timer models are ready to meet the needs of today’s traveller. For Patek Philippe, substance comes at no compromise to style in the Ref 5326G-001 Annual Calendar Travel Time, which encompasses an unprecedented combination of two complications.

Patek Philippe Annual Calendar Travel Time

The annual calendar, which only needs to be corrected once a year, and the travel time display system, which shows a second time zone, will together make life easier for the wearer thanks to an automatic adjustment of the date when the time is changed.

The piece is contained inside a refreshed Calatrava case with an intricately embellished outer rim – the textured charcoal dial is circled with a black gradient, nodding to the effects of vintage photography in a subtle marriage of the classic and the contemporary.

The watch forms a key part of the brand’s 2022 releases, sitting alongside new pieces that continue to explore multiple time zones through a technical lens. Three new World Time models intertwine this horological feat with a considered aesthetic, incorporating both enamelled and guilloche dials. Other new pieces, including the Ref 5205R-011, Ref 4910/1200A-011 and Ref 7130R-014, play with a gradient of colours, and are characterised by a distinctive olive green.

Exquisite artistry is celebrated in the remaining models, with intricate gem-setting on the Ref 5374/300P-001 encompassing a hypnotic loop of baguette-cut diamonds and sapphires, which circle the dial in a nod to the house’s heritage with the technique. The double circle of brilliant-cut diamonds on the Ref 7121/200G-001 model is offset by its blue sunburst dial and moonphase. Meanwhile, 59 pieces in this year’s Rare Handcrafts collection celebrate intricate skills in a tribute to the house’s artistry traditions.

INFORMATION

A version of this article appears in the June 2022 issue of Wallpaper*. Subscribe today

patek.com

Cartier is celebrating the beauty of craftsmanship at this year’s Homo Faber, a celebration of artisans and their creations taking place in Venice. The open event unites luxury houses in an exhibition curated by Judith Clark, in a setting that encourages visitors to observe master artisans at work. The design, in its open-plan informality, is reminiscent of Renaissance workshops, where gem-carvers, embroiderers, sculptors and goldsmiths worked on pieces together.

It is an ethos Cartier encapsulates with the unveiling of a unique piece exclusively for Homo Faber, which merges jewellery, glyptics (the engraving or sculpting of gems or hard stones) and straw marquetry while also paying tribute to Homo Faber’s guest of honour, Japan.

‘When you are artisans, you have to master your technique first,’ says Cartier image, style and heritage director Pierre Rainero of the brand’s championing of the spirit of collaboration. ‘It's only when you master your technique that you can think about challenging the creative part. And it's very interesting because when we work with different artisans, we like to face initiatives – if it was just focusing on the execution, I think it would be a very poor result. There is a big difference between artisans who will only execute, and an artisan who is a master, who has mastered the technique enough to have the strength to propose new ways and to go beyond the traditional boundaries.’

The unique piece, which is at once jewellery and objet d’art, pays tribute to this philosophy. A delicate box in white opal features a flower with hand-carved petals of pink chalcedony that rests on the lid and can be detached and worn as a brooch; the box’s outer curves, meanwhile, are hugged by a diamond bracelet, sprinkled with pink diamonds, that can also be worn around the wrist.

Artisan engraver-sculptor Philippe Nicolas brings his years of experience to the delicate process of glyptics. After receiving the title of maître d’art from the French Ministry of Culture in 2008, Nicolas is dedicated to passing on his extensive knowledge, and since joining Cartier in 2010, has headed a workshop where he trains apprentices.

‘Being a maître d’art means that I have made a moral and ethical commitment to pass on my know-how, art and a cultural tradition,’ he says. He brings patience to the delicate art form, with the engraving of a gem taking anything from five months to two and a half years. ‘Our tools are no longer those of humankind’s first steps in the world of sculpture,’ he adds. ‘The biggest advancements in the past 50 years have come from the introduction of diamond tools and the micro-motor.’

Cartier’s unique piece for Homo Faber also celebrates the art of straw marquetry, where dry stalks of rye are cut, dyed and glued to flat surfaces to make decorative panels. In this piece, a geometric pattern in the pastel hues of cherry blossoms adorns the box, visible once the bracelet has been removed.

‘It is interesting to show that the creation can be a collective work if there is respect on each point,’ Rainero says. ‘Sometimes we see constraints, but we love challenges and we love to create new things.’

INFORMATION

Homo Faber is taking place until 1 May 2022

homofaber.com
cartier.com

A menagerie of animals combines to make fantastical forms in the new Cartier high jewellery watches. Crocodiles, panthers, zebras, giraffes and tigers playfully wrest a diamond-studded dial in the Indomptables de Cartier collection, which draws on Cartier’s rich history of incorporating animals into humorous and intricate designs.

‘Two animals or the same animal’s head facing another head is tradition in ancient jewellery from Greece or China and even the Middle East, so it is really as old as jewellery is,’ points out Cartier director of image, style and heritage Pierre Rainero. ‘So it’s an allusion to the essence of the roots of jewellery, but also a play with the Cartier way of representing animals, because we always had that kind of representation in rings, necklaces, and bracelets, but this time we went further, opposing or creating encounters between different animals, and Cartier animals because all of them belong to the traditional Cartier Bestiary: the crocodiles, the tigers, the panthers, the giraffes, the zebras. So we also have that playfulness here, and it’s intentional.’ With the animals embracing unexpected patterns, the pieces not only subvert traditional representations but also encompass playful design codes.

The depiction of the animals themselves is a naturalistic one, reflected in the glistening of the crocodile’s scales and the graphic stripes of the zebra. ‘There is a refinement linked to the naturalistic approach, which is in the design,’ says Rainero. ‘The design on paper is an intention to show the effect or the field in which we want to put the creation, but then there’s a step which is very important, which is the sculpture itself. In fact, we can only be satisfied when the sculpture, which is a piece of art in a way, is achieved. The scales, fur or even expression of the head of each of the animals is decided at the stage of a sculpture.’

He adds: 'It is a spontaneous creation, and the motivation is there to push further in the way Cartier creates and that sense of humour is something we discussed with the designers because it was very present, for instance, in the 1940s, 1950s and 1960s. We thought that today we needed that again.’

INFORMATION

cartier.com

Vacheron Constantin has unveiled a timely reminder of its role in pioneering luxury sports watches with a re-edition of the legendary 222, marking 45 years since the model’s launch.

The new timepiece reflects the era of its birth, a time when the Swiss watch industry was adapting to the arrival of quartz while customers for its luxury timepieces were looking for something more indicative of an active lifestyle (reflected by modish new advertising campaigns).

Launched in 1977 to mark the 222nd anniversary of the company’s founding, Jorg Hysek’s design for the 222 featured many of the elements set forth in the original luxury lifestyle watch – the Audemars Piguet Royal Oak of 1972, by Gérald Genta (revisited in the designer’s execution for the Patek Philippe Nautilus in 1976). These included a boldly executed bezel, an integrated bracelet and a robust, monocoque case water-resistant to 120m (within which could be found an ultra-thin self-winding movement). Available in yellow gold and measuring 37mm, the 222 earned the nickname ‘Jumbo’ (as did its regal forbear). It was later joined by 34mm and 24mm models in a variety of materials.

The 222 was discontinued in 1985, and in 1996, Vacheron Constantin launched its current line of luxury sports watches, the Overseas. Still, Christian Selmoni, director of style and heritage at Vacheron Constantin regards the 222 as crystallising ‘the spirit of the 1970s, marked by an evolution of design towards something more authentic, more personal or even more “disordered”, as well as endowed with character and organic shapes’.

Now, in common with earlier models in the Historiques collection, such as the recent reanimation of another celebrated archive piece, the Historiques American 1921, the ‘new’ 222 offers a handsome reminder of the maison’s rich cultural and aesthetic heritage to those in search of a contemporary iteration.

To this end, the Historiques 222 delivers enhanced precision thanks to the in-house self-winding Calibre 2455/2 movement, Super-LumiNova coating to the hands and hour-markers (which glow off-white by day and lime green by night) and a date window that’s further offset from the dial’s outer rim than the original (thus aiding legibility) thanks to the slightly smaller diameter of the calibre. Its emblematic bracelet is now fitted with a triple-blade (rather than double-blade) clasp, and has been subtly refashioned to hide previously visible pins and aid comfort on the wrist.

Finally, the dedicated oscillating weight (visible through a clear caseback) is engraved with the original 222 logo surrounded by a fluted motif echoing the bezel – a subtle reminder of its place in the pantheon of ‘sports chic’ watches.

INFORMATION

vacheron-constantin.com

Bulgari: The rectangular form of baguette-cut diamonds presents the gemsetter with a graphic tool, here adding depth to Bulgari’s white-diamond spirals and figurative definition to the ‘Serpenti’ brooch. Pictured, ‘The Magnificent Inspirations’ brooch (far left) in platinum with 60 round brilliant- (29.28ct) and tapered baguette-cut diamonds (7.02ct); the ‘Magnificent Inspirations Serpenti’ brooch (top) in white gold, with baguette- and tapered cut diamonds (6.92ct) and standout square- (2.01ct) and pear-cut diamonds, both by Bulgari.

De Beers: Baguette-cut diamond spokes form an abstract framework for De Beers’ diamond medallion. Pictured, brooch (bottom), detachable from the ‘Elizabeth Tower’ necklace, in white gold with 356 diamonds in four cuts – round, princess, baguette, pear – including the central round brilliant (3.03ct), by De Beers. Jacket, by Christian Wijnants.

Fashion: Jason Hughes. Watches & Jewellery director: Caragh McKay

The brooch as a jewel form has been somewhat undervalued in recent years. Commonly perceived as being out of sync with contemporary tastes, its often-baroque nature is often dismissed as being too narrative rich for simpler, cleaner tastes. But brooches are best viewed beyond fashion, in high jewellery terms, as three-dimensional sculptures that push expectations of the materials used. Unlike like rings or earrings, they are not restricted to a particular part of the body – brooches allow designers and makers broader artistic scope. Toying with scale, perspective and traditional notions, as our story (first published in Wallpaper’s October 2016 issue) shows, when designed and crafted at this level, the brooch can become a powerful art object in its own right.

Harry Winston: A spray of knife-set diamonds forms this meditation on two classic stone cuts – round- brilliant and pear. ‘Cascading Drop’ brooch in platinum with 169 round brilliant and 16 pear-shape diamonds (totalling 35.21ct), by Harry Winston. Dress, by Boss

Tiffany & Co: Legendary Tiffany jewellery designer Jean Schlumberger was drawn to the irregularities of natural forms, slight ugliness being a necessary 
foil for an overtly romantic outcome. In turn, their intricate twists and turns allow gemsetters to display their own talents, as with 
this re-edition of a 1950s Schlumberger brooch. ‘Jean Schlumberger Guadeloupe’ brooch (top), from the 2016 Masterpieces collection, in 18ct gold with 79 round pink spinels (11.21ct) and eight round spessartites (1.37ct), by Tiffany & Co.

Cindy Chao: The freedom to express 
her sculptor’s instincts 
in various jewelled forms 
makes brooches the standout design in each Chao collection. Her 
fine art approach manifests 
in the ‘Rose Petals’ brooch, created in four parts. ‘Rose Petals’ brooch in silver and 18ct yellow gold (only two pieces shown), with central oval-cut diamonds (1.51ct and 2.05ct) and various cuts totalling 48.12ct, by Cindy Chao. Jacket, by Cédric Charlier

Chaumet: a pear-cut exclamation point highlights the vivacious character of Chaumet’s summer wheatsheaf. Its elegant nature is distinguished by exquisite craftsmanship. La Nature de Chaumet ‘Offrandes d’Été’ brooch (on collar) in white gold and brilliant-cut diamonds, with 2.21ct pear drop.

Dior Joaillerie: Interior details from the Château de Versailles are translated into tangled, sculpted jewels shimmering with sizeable velvet-hued stones. Designing the pieces as if viewed by candlelight led designer Victoire de Castellane to consider alternative materials, such as blackened silver.
Dior à Versailles ‘Salon de Diane’ brooch (left) in white, yellow and pink gold, and darkened silver, with 154 round- (6.21ct) and three pear-cut diamonds (1.51ct; 1.01ct; 0.70ct) and pear-cut emerald (2.18ct), by Dior Joaillerie.

Piaget: the watchmaker-jeweller’s distinct house engraving techniques add a lush, organic feel to this fan of red-gold palm leaves, pinched artfully together with a 2.51ct green tourmaline baguette.
Brooch (right), detachable from The Sunny Side of Life ‘Golden Palm’ necklace, in 18ct red gold with green tourmaline baguette (2.51ct), and 60 white diamonds (15ct), by Piaget. Cape; coat (worn underneath), both by Agnona

Suzanne Syz: Her pop art background and craftsman’s approach are
 the fundamentals in Suzanne Syz’s postmodern creations, 
as this grotesque mélange 
of rare materials and cartoon-
like references reveals. ‘Kermit on a Lilypad’ brooch (top) in yellow gold with chrysoprase, spessartite garnets (38.03ct), tsavorites (45.89ct), cabochon rubies (0.66ct) and diamonds (0.29ct), by Suzanne Syz.

Chanel Fine Jewellery: The ancient symbolism 
of wheat inspired Chanel’s 
Les Blés de Chanel collection, which is why 
it is quietly, beautifully rooted in Classicism. Moisson Ensoleillée’
brooch (right) in 18ct white and yellow gold, with 19 marquise-, seven pear- and 168 brilliant-cut diamonds, 209 brilliant-cut yellow sapphires and one central octagonal-cut African yellow sapphire (10.22ct), 
by Chanel. Jacket, by Victoria Beckham

Louis Vuitton: the new era of brooch designs reflects 19th-century tastes, where the highly precious nature of materials did not inhibit scale, nor restrict a brooch to a particular area of the body, as in Louis Vuitton’s ‘lace’ garland of diamonds. ‘Diamonds’ brooch (top) in white gold with diamonds (10.74ct), from the Dentelle de Monogram collection, by Louis Vuitton.

Boucheron: Designer Claire Choisne’s plush peacock plume of diamonds is crafted in two pieces, designed to create the illusion of bird feathers transforming into a flock. ‘Plume de Paon’ brooch (below) in 18ct white gold with one pear-cut diamond (0.08ct) and 499 round brilliants (3.33ct), by Boucheron
Top, £395, by Pringle of Scotland. Skirt, by Marni

Amrapali: Polished perfection is not typical of the traditional Indian fine jewellery aesthetic, where the 
visceral power of stones 
is paramount. This white-gold wreath design of 
non-uniform pearls and tumbled 45.64ct rubellite tourmaline underlines 
the organic Indian style. Brooch in 14ct gold and sterling silver, with 
128 round brilliant-cut diamonds (0.76ct); 
oval-cut emerald (1.15ct) and 14 South Sea pearls (9.46ct), with central tumbled rubellite tourmaline briolette (45.64ct), by Amrapali.

Cartier: The French jewellery house’s creative links to India 
and its particular jewellery design codes are reflected 
in the compelling nature 
of this carved rubellite. ‘Caresse d’Orchidées’ brooch of rubellite tourmaline (414.45ct), 
with one diamond pear- (0.73ct) and 186 round brilliant-cut diamonds (2.08ct), by Cartier. Jacket, by MaxMara

Graff: Gradating tiers of marquise-cut diamonds add a natural sense of movement to Graff’s magnificent ‘Bird of Paradise’ and its everlasting delivery of a 2.02ct pear drop. Pavéd brilliants add volume and texture to its narrative form. ‘Bird of Paradise’ brooch 
in 350 diamonds (27ct), including pavé set, 
pear- and marquise-cut, with central 2.02ct pear, 
by Graff. Top, by Bally

Timex Watches is marking the 50th anniversary of its first quartz watch range with the Q Timex 1972 Reissue. The new watch comes complete with retro design codes of the original, including a vintage gold-toned stainless steel case and floating hour markers.

For Timex design director Giorgio Galli, it was important to faithfully recreate every detail from the original watch. ‘It was essential to pull from our archives for the details of the attachment, dial, and battery hatch. More so, we wanted to keep the integrity and authenticity intact as well, so that it feels like it would have in that era.’

Q Timex 1972 Reissue

The watch was originally created as a response to the quartz crisis of the 1970s, when affordable quartz watch production raised questions about the future of the mechanical watch industry. It encouraged the brand to embrace this accessible new direction for watches, with the design and reliability of the Q Timex Collection proving enduringly popular.

‘The quartz movement has broad global appeal – [the watches] are well known for being accurate, reliable, affordable. Aside from a battery change they don’t require much servicing,’ Galli adds. ‘The Q collection brings back an era of nostalgia. For us, our teams work hard to bring to life each watch through storytelling unique and specific to that time period. We want the user to feel part of the story, the era, the conversation.’

This new Q Timex 1972 Reissue encompasses the design codes of that time, from the deep red hue of the dial to the domed acrylic crystal and the coin slot battery hatch on the underside. ‘The major challenge was to maintain all the details of the original watch, and not just reproduce them. We wanted to make sure the soul of each watch was maintained as if it was just discovered in a drawer, left there intact since the 1970s. Production techniques have changed over time, and it's easier to produce the authenticity of the original product than to reproduce it. Our goal was to give the same vintage flavour and patina as the original. We had to look carefully at each component in a special way.’

INFORMATION
timex.co.uk

German watch brand Nomos Glashütte imbues a classic watch design with a coolly contemporary hue in the new Tangente Neomatik models, with two new sizes offering a modern reinterpretation of the company’s most popular piece.

For Nomos Glashütte chief branding officer Judith Borowski, the key design elements of the watch – from the clean typography to the facets and flat sapphire crystal glass – meant that only minimalist hues would suit this new edition. ‘This watch is an icon that should be changed only cautiously in terms of design. Black and white, silver and grey suit it best. Plus, drawing colours in homoeopathic doses,’ says Borowski. ‘Now grey – platinum grey. For me, this watch fits our times. We no longer long for fast- moving fashions, but for values, for things that last. A mechanical watch from Glashütte is a companion for life, not just something for a few years. The Tangente is perhaps predestined to last forever like few other watches from Glashütte. It gets better and more beautiful with every glance. And with its elegant, understated platinum grey dial: even more so.

The platinum metal makes a rich foil both for the gold lettering on the dial and the slender typography with discreet serifs that was created in the 1920s; design codes inspired by the Bauhaus still appear ultra-modern a century later. ‘Tangente is first and foremost a consummate Glashütte watch,’ Borowski adds. ‘And that is exactly what its design expresses: it is about precision, about longevity and about underlining the personality of the wearer.

‘The design is not in the foreground, but serves the essence and function of the product. We refrain from stereotypes, from the creative exaggeration of masculinity or femininity, and the colour (almost always) comes from the material, as is the case here with Tangente Neomatik platinum grey.’

INFORMATION

nomos-glashuette.com

Girard-Perregaux is paying tribute to the 1970s with the re-release of quartz watch the Casquette. The newly launched Casquette 2.0 encases the original neo-futuristic, elongated design and updated quartz movement in sleek ceramic and titanium.

‘This is something we have been wanting to do for some time, given the revolutionary design of this watch, and its enduring appeal since it was last produced in the late 1970s,’ says Girard-Perregaux’s chief product officer, Clémence Dubois. ‘Original versions remain highly desirable but hard to find on the secondary market, and in that we saw a major opportunity.’

The original watch, although not officially called the Casquette, quickly received its nickname from a loyal following who were enamoured with the watch’s aesthetic. Produced from 1976 to 1978, it was vastly different from the classic two-handed watches usual for the time.

Girard-Perregaux Casquette watch rebooted

The new piece nods to this history while incorporating contemporary technology, inspired by the unique special edition the brand created in partnership with Bamford Watch Department for the Only Watch charity auction in 2021. ‘We had managed to create a new and improved movement with extra capabilities, but just needed the right moment to relaunch it – it wasn’t a question of if but indeed, when,’ says Dubois. ‘Our thought was to start out with a [one-off] Casquette kitted out with this new movement on the occasion of Only Watch late last year. But the results of this auction far surpassed our expectations, [the watch] fetching almost 10 times the initial estimate, which only further confirmed we were on the right track with this major reboot.’

This new piece adds new functions to the traditional hour, minutes and seconds display, with a secret date feature that lets the wearer choose a memorable or sentimental date that can then be displayed at a specific time each day. ‘We quite liked the idea of information only you (and your Casquette) are privy to, only reinforcing the relationship of watch and wearer, as well as playing into the gadgety/geeky aspect that is undeniable with this relaunch,’ adds Dubois.

‘We affectionately refer to the changes in this new piece as “hardware and software upgrades” within the team. On the “hardware” side, the case has gone from Makrolon on the vintage version to high-performance ceramic, rubber and titanium elements. On the “software” side, we have added a plethora of new functionalities, namely a second timezone, chronograph, low battery indicator and secret date, in addition to time and date functions.’

INFORMATION

girard-perregaux.com

G-Shock has collaborated with London’s Museum of Youth Culture on a limited-edition watch. The Museum of Youth Culture examines the relationship between young people and modern society through an archival examination encompassing more than 150,000 photographs and texts, an extensive body of research that informs the new G-Shock watch – the GW-M5610MOYC-1ER (available now at £149).

The new piece nods to the design codes of the original, with the rectangular case shape of the GW-M5610U-1ER a familiar feature. The classic watch design is juxtaposed against sporty new accents, such as the resin band that features work from photographer Gavin Watson, best known for his documentation of the skinhead, rave and punk scenes.

G-Shock and Museum of Youth Culture watch

‘We are super excited to collaborate with G-Shock and celebrate the amazing history of the brand, showcasing the importance of it within youth culture,’ says Jon Swinstead, founder of the Museum of Youth Culture. ‘Being able to delve into our archive and unearth a massive variety of subcultures who wore G-Shock has been fascinating. Throughout the various subcultures, from street to punk, to the emerging subcultures in the modern day, the significance of G-Shock over the last 40 years within youth culture and [for those] growing up in Britain, evidently, is immense.’

The watch doesn’t compromise on functionality, with an emphasis on a slick technicality seen in the radio-controlled technology that ensures ultimate accuracy. Solar power increases reliability, while a stopwatch, timer and world time mode are handy extras.

‘This collaboration with the Museum of Youth Culture boasts attitude that is of a certain time,’ states Casio, the watchmaker behind G-Shock. ‘It is instantly identifiable and celebrates a shared experience of growing up in Britain and never giving up.’

The new release is currently being marked with an exhibition at the museum, on London’s Shaftesbury Avenue, until 4 March 2022, which explores the history of G-Shock since its inception in 1983, with a look at rare models and memorabilia.

INFORMATION

g-shock.co.uk

High jewellery meets horological expertise in the Cartier Clash [Un]Limited mitten watch, which envelops a Baignoire Allongée timepiece in a sensual gold and diamond mitten. The mitten, crafted from supple rose gold mesh and set with nearly 1,600 diamonds, was created in collaboration with a master glove-maker to ensure it drapes fluidly over the hand, making for a precious second skin. Created using 3D printing, the intricate design proved challenging for watchmakers and jewellers, who meticulously assembled thousands of microscopic pieces of gold using lasers and small pliers more commonly used for microsurgery. The diamond-pavéd dial of the Baignoire Allongée watch inside, the crown of which is cleverly concealed under the dial, ensures a seamless silhouette between the glove and the watch.

Cartier glove watch continues tradition of technical innovation

The Cartier mitten watch, which took almost two years to develop, is the latest in a long line of technically innovative jewels and watches, which first began to appear in 1847. Inspired by cultures around the world, the maison has produced intricate and exquisite pieces of high jewellery that utilise both unusual materials and intricate techniques. Tiaras knitted in onyx, natural pearls and diamonds join scarab brooches and the ubiquitous panther, perching on a Kashmir sapphire in one mischievous brooch. Precious objects, including crystal and enamel perfume bottles, an Egyptian sarcophagus vanity case in gold, platinum, engraved bone, onyx and enamel and a sword designed for Jean Cocteau – complete with an emerald donated by Coco Chanel – also subscribe to avant-garde design codes.

Watchmaking, too, has pushed the boundaries of classic design to create pieces that are extraordinary objets d’art in their own right. From enamelled watches on chains created in the 19th century to clocks in platinum and rock crystal and others in mother-of-pearl, lapis lazuli and enamel, each piece incorporates both a high jewellery aesthetic and dazzling artistry.

INFORMATION
cartier.com

A version of this article appears in the Design Awards February 2022 issue of Wallpaper* (W*274). Subscribe today

Men’s digital style destination Mr Porter has announced collaborations with ten watch brands in a timely tribute to mark its tenth anniversary. Baume & Mercier, Bell & Ross, Cartier, IWC Schaffhausen, Jaeger-LeCoultre, Oris, Panerai, Ressence, Roger Dubuis and Vacheron Constantin have each worked with Mr Porter to create a special watch design available in small limited editions, inspired by the number ten.

Vacheron Constantin and Jaeger-LeCoultre have developed the concept into a series of watches – for Jaeger-LeCoultre, five engraved Reversos pay tribute to cities around the world, while Vacheron Constantin has looked to its Les Collectionneurs archive to source ten vintage pieces curated for the anniversary.

Mr Porter watch collaboration

‘We enjoy the many special occasions and anniversaries that people tend to gift a luxury watch for, so we thought to ourselves, what better way to celebrate our own and signify each year with an exclusive watch?’ says senior buyer fine watches and jewellery at Mr Porter, Maxim De Turckheim, on the thinking behind the collection. ‘Mr Porter strived to create something our customers would value and keep forever. It was important for us to work with a variety of brands, price points and concepts, so what we have created for our ten years, ten watches campaign is truly unique to us. From special editions to special projects, you won’t find this anywhere else.’

The pieces in the collection encompass a special iteration of the Clifton model from Baume & Mercier and the aviation-inspired Bell & Ross BR05 Chrono Steel MP10. The extra-large, platinum Santos de Cartier Limited Edition Hand-Wound comes with matching cufflinks and an exquisite lacquered wooden case, while the IWC Limited Edition Pilot Automatic Chronograph draws its familiar silhouette in bronze. The Oris Diver Sixty-Five timepiece features a green ceramic bezel, while the Panerai Submersible Azzurro Limited Edition Automatic comes with a matte black dial. Ressence brings the avant-garde modernity we would expect to the Type 1 Slim MP2. For Roger Dubuis, it is the tourbillon which is the star of the sporty Excalibur MT Flying Tourbillon Hand-Wound.

‘We are thrilled to end our tenth anniversary celebrations with such a unique blend of timepieces, all exclusively for Mr Porter,’ adds managing director Fiona Firth. ‘Throughout this year, we have focused on craftsmanship and discoverability, bringing our customers a highly curated mix of products and brands which embody these pillars. Our 10th Anniversary Watch Collection is a perfect example, showcasing both small and larger manufacturers, each with an individual story to tell.’ 

INFORMATION

mrporter.com

Atelier Oï and a minimalist quest

Architectural and design studio Atelier Oï has marked its 30th anniversary with a collaboration with watch brand Louis Erard. The Switzerland-based studio, which has announced new collaborations across the art, architecture and design fields, has rethought the Louis Erard Le Régulateur watch in a limited edition of 178 pieces.

For founders Aurel Aebi, Armand Louis and Patrick Reymond, it was a chance to reinterpret the details of the piece. ‘We had the opportunity to work on selected parts of Le Régulateur for this limited edition and decided to focus mainly on the watch dial and arms,’ they say.

‘The main challenge was to find the best shape, angle and depth of the engraving on the dial in order to get the perfect and desired light effect,’ they continue. ‘At this scale, the only way to go through the process was to prototype several dials with the final material and finishes in close collaboration with the manufacturer. Once the design was developed, we challenged Louis Erard by asking them to avoid any additional graphics, such as logo, index or numbers, on the front side of the watch, in order to keep the design as minimalist as possible.’

The watch design is inspired by a sundial in the way it plays with light, with the asymmetrical facets engraved into the dial, creating a sense of continuous movement. ‘While the reflections of light don’t show the time as a classical sundial, metaphorically the watch shows us the continuous passage of time through the effects of light,’ the team add. ‘The aim was to enable the perfect combination between the user’s movement, the light source provided by the sun and – last but not least – time.’

Reduction was the key for Louis Erard, whose team were careful to limit the technicality of the watch so as not to distract from the design. ‘The result is a surface engraved with asymmetrical rays, which reveal reflections and contrasts – echoing the passion of the members of Atelier Oï for the material and the play of light,’ they say. ‘The art of engraving is being expressed here in its essence: drawn lines. These lines create a space, to which the hands add the dimension of time.’ §

INFORMATION

atelier-oi.ch

Cartier Pasha de Cartier watch in steel with chronograph mechanical movement, £8,350, cartier.com

Cartier

The hypnotising circles that make up the Pasha de Cartier collection nod to the distinctive design of the original 1980s pieces, here rethought in stainless steel. Technically accomplished and athletically inclined, the rotating bezel and sprinkling of blue cabochon gemstones recall the traditional aesthetics of a diver’s sporty watch.

Hermès

Hermès Carré H watch on a natural Barenia calf strap, £5,770, hermes.com

The Carré H, created by furniture designer Marc Berthier in 2010, brings an architectural sensibility to the traditional curves of a classic watch face. Here, understated sporty touches are glimpsed in both the utilitarian forms of the numerals and in the natural Barenia calf of the refined strap.

Bell & Ross

Bell & Ross BR 05 GMT with integrated steel bracelet, £4,500, bellross.com

Bell & Ross has put functionality at the heart of its aviation-inspired watches since the brand’s inception in the early 1990s. This new piece stays faithful to the company’s established design codes – the square case and luminescent details are present and correct – but a stripped-back aesthetic and cool steel hues lend a modern edge of sports luxe.

Tag Heuer

Tag Heuer Carrera with steel bracelet, £2,400, tagheuer.com

The Carrera has epitomised classic motorsport design since its release half a century ago, and this new addition to the collection builds on this minimalist heritage with its clean dial and gleaming body of polished stainless steel. A streamlined silhouette brings an elegance to a traditionally sporty piece, with pared-back lugs ensuring a fluid loop between the case and strap.

Omega

Omega Speedmaster Chronoscope, Co-Axial Master Chronometer, £7,410, omegawatches.com

Among those looking for new watches for men, athletes or those are partial to a punt at a new personal best will appreciate the technically savvy timings of the new vintage-inspired Omega Speedmaster. The loops and whorls of the dial reveal three different measuring functions, from the tachymetre measuring speed, to the pulsometer recording your pulse, and a telemeter, which lets you know how far away you are from an event.

Blancpain

Blancpain Fifty Fathoms Bathyscaphe in titanium, £9,600, blancpain.com

Blancpain’s diver’s watch collection, the Bathyscaphe, has been rethought in tough titanium, a material the brand originally used in a series of special models produced for the US Navy bomb disposal teams in the 1960s. Here, the satin-finished titanium makes a sleek foil for the Fifty Fathoms Bathyscaphe’s anthracite-coloured dial.

INFORMATION

A version of this article appears in the December 2021 issue of Wallpaper* (W*272), on newsstands and available to subscribers.

Nomos has rethought its popular Autobahn watch in three special editions, in the favourite colours of designer Werner Aisslinger. The new Nomos Autobahn Director’s Cut Limited Edition models, named after German motorways A9, A3, and A7, nod to German car design of decades gone by.

‘Autobahn is a symbiosis of design concepts and Glashütte’s cutting-edge technology,’ says Aisslinger, referring to the watchmaking excellence of Nomos’ hometown in Saxony. ‘Its sophisticated, extremely slim movement is what enabled us, as designers, to conceive of tantalising aspects, such as the concave rehaut with dial and the inclined seconds. Only the mastery of Nomos Glashütte was capable of reproducing the grace of the graphic elements and hands.’

Aisslinger brings a background in furniture design and architectural units to the watches, which stay faithful to the stripped-back aesthetic familiar to fans of the German brand.

‘Our Autobahn dial is inspired by the instruments of legendary sports cars from the 1970s and 1980s,’ he adds. ‘The zenith of automotive design gave us not only spectacular vehicle bodies and silhouettes, but also interior designs and dashboard instruments that remain the templates and archetypes for the development of transportation to this day.’

The new watches are a colourful rethink of the original 2018 Autobahn model. They encompass various hues, from the minimalist black and grey of the A9 to the sporty dashboard aesthetic of the A3, and the vintage appeal of the blue and yellow A7. The thinness of the movement allows for greater curves, which hug the raised dial, complemented by a luminous ring that makes for effortless legibility in the dark.

‘They are slightly unusual in their choices of colour,’ says Aisslinger. ‘The colours are vibrant, striking and yet extremely wearable. A confident statement on good design.’

INFORMATION
nomos-glashuette.com

The Jaeger-LeCoultre Reverso, created in 1931, characterised the art deco period in its streamlined, rectangular silhouette. It was famously designed to withstand the rigours of a polo match. The answer was a dial that flips right over, out of harm’s way, leaving the caseback showing instead.

A pinnacle of technical accomplishment and clean design, the Reverso epitomised the principles of both form and function.

Now, a new book released to coincide with the 90th anniversary of the Reverso looks at the watch’s history, tracing its journey through more than 50 movements and several hundred dial designs. The timepiece’s blank metal reverse side allows for bespoke adornment and, over the years, has been embellished with gemstones, engravings and enamel, for example. This scope for personalisation, one of the Reverso’s key attributes, continues to add to its popularity today. As author Nicholas Foulkes points out: ‘Much has changed since the 1930s, but for owners, now as then, the Reverso caseback remains a place where stories are told, emotions are expressed, and memories are stored.’

INFORMATION

Jaeger-LeCoultre Reverso, by Nicholas Foulkes, is published by Assouline
jaeger-lecoultre.com
assouline.com

‘The Cherry Blossoms are about beauty and life and death. They’re extreme – there’s something almost tacky about them,’ says Damien Hirst, describing the series of paintings created for his first museum exhibition in France, devoted to, you guessed it, cherry blossoms. 

The show began with an invitation from Hervé Chandès, general director of the Fondation Cartier, during a 2019 meeting with the artist in London. Over the following three years, Hirst lived and breathed Cherry Blossoms. In his Thames-side London studio, the artist describes ‘diving into the paintings and completely blitzing them from one end to the other’. Just in time for cherry blossom season, the show has now moved to The National Art Center, Tokyo marking the artist’s first major solo exhibition in Japan, which runs 23 May 2022.

Hirst dominated the Jean Nouvel-designed Fondation Cartier exhibition space with 30 paintings selected by Chandès and the artist. These vast canvases, divided into single panels, diptychs, triptychs, quadriptychs, and even a hexaptych, are saturated with vivid colours, and dizzying clusters of erupting buds that attract viewers, but also consume them. 

The celebration of the blooming of cherry trees (or ‘sakura’) in Japan is centuries-old – a deeply-rooted cultural and philosophical symbol. Set against a clear blue sky, they are a vision of ultimate beauty, a phenomenon in their physical magnificence, their ephemerality, and also in their almost-parodic ability to tempt anyone with a camera and an Instagram account to stop in their tracks.

‘They’re decorative but taken from nature,’ says Hirst. ‘They’re about desire and how we process the things around us and what we turn them into, but also about the insane visual transience of beauty – a tree in full crazy blossom against a clear sky. It’s been so good to make them, to be completely lost in colour and in paint in my studio.’

Damien Hirst: from formaldehyde sharks to Cherry Blossoms

At first glance, Cherry Blossoms feels like quite a shift for an artist once dubbed British art’s enfant terrible – the Turner Prize-winning Young British Artist (YBA) was just as well known for the sharks he pickled as the jaws he dropped. But this series is different: it’s beautiful, explosive, garish, yet conceptually shocking in its lack of shock factor. 

But these works are consistent with Hirst’s insatiable appetite for experimentation and with his long-term devotion to painting. ‘I’ve had a romance with painting all my life, even if I avoided it. As a young artist, you react to the context, your situation. In the 1980s, painting wasn’t really the way to go,’ he says. Within the thickly applied brushstrokes is a meeting of modes and movements: the traditional constructs of landscape painting; the gestures of Impressionism and Pointillism, and the physicality of Action Painting; the immediacy of representation, and the zest of abstraction. 

In 1986 he began a series known as Spot Paintings, where coloured dots, which appear to have been painted by a machine, are devoid of all traces of human intervention. Similarly, his famed Spin Paintings are created by pouring gloss paint onto a mechanically rotating canvas.

The Cherry Blossoms feel human, as though Hirst is introducing us to a new concept, and himself. ‘They’re garish and messy and fragile and about me moving away from minimalism and the idea of an imaginary mechanical painter and that’s so exciting for me.’ 

INFORMATION

Damien Hirst, ’Cherry Blossoms’, until 23 May 2022, The National Art Center, Tokyo. nact.jp

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damienhirst.com

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Watchmaking and aviation share a preoccupation with accuracy, precision and strong, light materials, so it is only natural the industries have long been closely intertwined, as evidenced by aviation watches through the decades. Now, the enduring relationship between the two has been put under the spotlight in a new book published by Rizzoli. Air Time: Watches Inspired by Aviation, Aeronautics and Pilots explores the watches inspired by flight, whether worn by intrepid adventurers or built for precision performance in the sky.

Mark Bernardo, the book’s author and the senior editor of WatchTime magazine, considers aviation-inspired watches from 1904 to the present day in an eclectic selection encompassing iconic pieces, such as Cartier’s first men’s wristwatch for Brazilian aviation pioneer Alberto Santos-Dumont, and the Omega Speedmaster, the first watch to land on the moon.

‘There is a large selection of watches purpose-built for pilots, watches actually used by astronauts for space missions, and dual-time and world-time watches that could be suitable for either pilots or simply for frequent air travellers,’ says Bernardo of the watches which made the cut. ‘There are also a handful of conversation pieces that don’t necessarily have a functional use in flying or travelling but pay tribute to them in some way.’

A fascination with pilot’s watches led Bernardo on an exploration into their history, where he alighted on the discovery that aviation watches can be traced back to a specific era for each brand: ‘Longines to the heyday of [aviator] Charles Lindbergh and early record-setting; IWC to the Second World War era of classic warplanes; Breitling to the 1950s ‘golden age’ of commercial aviation, and so on. Discovering this enabled me to establish a narrative thread through the book that I wasn’t initially expecting.’

In his all-encompassing research, Bernardo came across intriguing tidbits. What surprised him most? ‘I suppose the biggest surprise was learning that the watch Tom Cruise wore as Maverick in Top Gun was not really a pilot’s watch per se, but an auto racing-inspired chronograph made by Porsche Design. I included it, of course, because what more obvious connection can a timepiece have to aviation than being worn in one of the most famous pilot movies ever?'

INFORMATION

Air Time: Watches Inspired by Aviation, Aeronautics and Pilots is published by Rizzoli and released in July 2021

rizzoliusa.com

Rolex has announced that Felix Brooks-church, Hindou Oumarou Ibrahim, Rinzin Phunjok Lama, Gina Moseley and Luiz Rocha are this year’s winners of the Rolex Awards for Enterprise.

The awards recognise the projects that have the potential to transform the future, as part of the Rolex Perpetual Planet initiative, which supports those aiming to bring about change. The five winners of this year’s awards, hailing from all around the globe, will receive funding for their projects.

Each of the winners has addressed differing needs for projects that propose practical solutions to pressing issues. Felix Brooks-church, from the United States, has assessed the need for critical micronutrients in staple foods to combat serious cases of malnutrition in Tanzania. His machines in rural flour mills efficiently supply them.

Chad-based Hindou Oumarou Ibrahim is concerned with the prevention of climate conflicts in the Sahel – by connecting with indigenious people, she is able to use their knowledge to locate much-needed natural resources.

For Rinzin Phunjok Lama, from Nepal, local communities are also key; his work aims to protect the Trans-Himalayan ecosystems and at-risk mammals.

The United Kingdom’s Gina Moseley aims to gather information in a bid to create long-term solutions, and her plan to lead the first expedition to explore the world’s northernmost caves will unlock details of climate change in the Arctic.

For Luiz Rocha, from Brazil, mesophotic coral reefs in the Indian Ocean are the focus, his work aiming to discover and protect them.

The ten judges – technology specialist Meena Ganesh, law professor Toshiyuki Kono, palaeontologist and anthropologist Louise Leakey, astrophysicist Chris Lintott, environmentalist Wanjira Mathai, research scientist Sam Myers, physicist and Nobel Laureate Konstantin Novoselov, ecologist Jon Paul Rodríguez, humanitarian Norbu Tenzing, and professor Zhu Dajian – met virtually in November to decide on the winners.

The award is a continuation of the tradition established in 1976 by the CEO of Rolex at the time, André J Heiniger. Created to mark the 50th anniversary of the Rolex Oyster watch, the awards – originally intended to be a one-off – were so popular they became a regular event.

INFORMATION
rolex.org

The American Museum of Natural History is marking the opening of the redesigned Allison and Roberto Mignone Halls of Gems and Minerals with a new exhibition. Beautiful Creatures, curated by jewellery historian Marion Fasel, looks at how animals have inspired jewellers, from Cartier’s panthers to Boucheron’s 19th century stag beetle brooch.

Fasel’s curation encompasses contemporary jewellery dating from the last 150 years, in line with the museum’s recent celebration of their 150 year anniversary. Her criteria for inclusion ensures an eclectic selection: ‘All the animals included had to be full-bodied and appear somewhere in the museum,’ she says. ‘There are no barnyard or domestic animals or animals dressed as people, which is a whimsical subgenre of animal jewellery.’

Fasel was also keen to include jewellery which revealed its context, looking at what the jewellery can tell us about the wider world. ‘Perhaps most important of all, every jewel had to reflect a cultural tide, historical event, gem discovery or advancement in jewellery technology. For example, the wings on the dragonfly designed by Julia Munson under the direction of Louis Comfort Tiffany in 1904 is a virtuoso display of early platinum work in jewelry. The birds made by French jewellers during the World War II occupation of Paris were symbols of hope and freedom. Fish brooches created from the Twenties through the 1950s by American jewellers reflected the popularity of the sport.’

Pieces by Bulgari and Van Cleef & Arpels join more contemporary designers such as Bina Goenka in the exhibition which marks the opening of the new space. Alongside the temporary exhibition gallery, it will also encompass a gallery of gems including the magnificent 563-carat ‘Star of India’ sapphire and new pieces such as the two of the largest amethyst geodes which are on display.

Exhibitions will explore how the conditions of our planet have enabled such a vast array of mineral species - it is fitting, therefore, that Fasel’s preoccupation with the natural world is the first at the temporary exhibition space, a fascination she shares with the jewellers. ‘The insects act as a canvas for artistic expression,’ she says. ‘Looking at a kaleidoscope of butterfly jewels, all designs within essentially the same outline, beautifully demonstrate how jewellery techniques and the style for and available supply of gemstones have evolved.’ 

INFORMATION
amnh.org

Vacheron Constantin marks the centenary of its American 1921 watch with a faithful one-off recreation. The American 1921 Pièce Unique is an exact reproduction of the original, created using both historical and more contemporary tools.

The new watch adheres to the art deco design codes of the original, which was created mainly for the American watch market. Only 24 examples of the model were ever made, and just one remained in Vacheron Constantin’s private collection, adding to the complexity of the watchmakers’ task in reproducing it. Designed at a time when wearing a wristwatch was beginning to become more common, the watch encapsulates the brand’s ‘classic with a twist’ aesthetic in a teasing play on our perceptions. The unexpected placement of the numerals captures the optimism and experimentation that characterised the decade following the First World War. Coinciding with the release of more affordable cars, the offbeat placement was appreciated by drivers, who didn’t need to raise their hand from the steering wheel to view the time.

When recreating this piece, watchmakers in the brand’s heritage and restoration departments had to carefully adhere to the intricacies of the original, possible only with a return to the historical tools used then. The restoration workshop – an active department with more than 800 machine tools and watchmaking tools, all designed to bring the past back to life – worked on remaking the piece and keeping the original spirit. It marks the first time they have entirely reproduced an antique watch.

A facing lathe (to create a flat surface) from the late 19th century; an 18th-century upright drilling accessory to drill through the movement’s mainplate; and an early 20th-century staking tool used to set jewels were among the specialist vintage equipment utilised. Used in conjunction with contemporary tools created especially for this watch, such as custom-made milling-cutters and riveting tools, they ensured a faithful and detailed reproduction.

INFORMATION

vacheron-constantin.com

The latest iterations of the Rolex Cosmograph Daytona are defined by a metallic meteorite dial. The rare material, which comes from an asteroid that exploded millions of years ago, features a textured pattern formed as it cooled and crystallised over the years.

The material’s connotations of adventure and durability are apt for the Rolex Cosmograph Daytona, which traces its history back to the 1950s, a decade that marked the beginning of Rolex’s explorations into the potentiality of a watch beyond standard timekeeping.

Professional pursuits such as deep-sea diving and aviation began to be catered for with technologically savvy designs, an investment that paid off – when Sir Edmund Hillary and Tenzing Norgay reached the summit of Mount Everest in 1953, it was with their Oyster Perptuals at hand.

That same year, in celebration, Rolex unveiled both the first Oyster Perpetual Explorer and the first divers’ watch waterproof to a depth of 100m, the Submariner, cementing the brand’s new status as producer of professional watches.

A decade later, in 1963, the Cosmograph Daytona was launched, named after Daytona Beach in Florida, which had played host to more than a dozen world land speed records thanks to its firm sand. In the 1950s, the sand was replaced by the Daytona International Speedway, making location an integral part of motor racing history. The new watch nodded to this adrenaline-fuelled culture with its name and durable credentials, including a clear tachymetric scale for measuring speed, and a hardy case.

In the subsequent years, the Cosmograph Daytona has been rethought in multiple iterations, whether created with boldly coloured dials or cast in vivid yellow gold. Familiar design ticks, such as the emphasis on legibility, have remained consistent.

Now, Rolex has turned to a metallic meteorite dial. Mostly composed of iron and nickel, the material is cut into thin sections and subjected to a chemical treatment that uncovers its graphic internal structure. The three new versions – in white gold, yellow gold and Everose gold – all feature the familiar tachymetric scale, making this a useful tool for racing divers and watch aficionados alike.

INFORMATION
rolex.com

For Cartier, the Privé collection is a chance to revisit classic watch design and unusual models from the past. Now, the Cartier Privé Cloche de Cartier joins the Tank Asymétrique, Crash, Cintrée and Tonneau as the latest collection to be given a contemporary rethink. Unveiled this month alongside the Tank Must, Pasha and Ballon Bleu as part of Cartier’s 2021 watch launches, it blends the classic and contemporary in one subversive design.

First appearing in 1920, it was originally designed as a watch to be worn on the lapel as a brooch, its unusual silhouette reminiscent of a service bell when placed horizontally.

‘Like many other Cartier watch creations, such as the Baignoire, Tank or Tortue, the Cloche is named after its shape,’ explains director of image, style and heritage at Cartier International, Pierre Rainero. A lesson in design, it neatly combines both the rectangular and the round shape. ‘The Cloche de Cartier perfectly illustrates the Maison’s approach to shape, how it is considered for its aesthetic whilst exploring all possible evocations. It highlights the Maison’s talent at playing with simple shapes and revealing their aesthetic potential.’

Offbeat design ticks make for an elegant functionality - the watch, when placed flat and vertically, stands alone as a chic desk clock. ‘These six new models feature some of Cartier’s strong watchmaking codes,’ adds Rainero. ‘The ‘rail track’ and hour markings have been adapted to the dial’s asymmetrical shape, and the crown is beaded with a cabochon – a distinctive jewellery signature of the Maison.’

The new models come in two versions, with a classic version in pink gold, yellow gold or platinum staying faithful to the original, and a technically accomplished skeleton version, its openworked dial requiring an intricate reworking of the movement within.

INFORMATION

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Patek Philippe released the first Calatrava model in 1932. With simple legibility at the forefront of its design, it encapsulated the Bauhaus principles of function determining the form of an object. Simple hour markers and a sparse dial, now familiar components of watch design, were then unexpected, and in direct contrast to the ornate art deco designs that preceded the Calatrava. Originally created to broaden the appeal of the brand beyond niche watch enthusiasts, its uncluttered form continues to appeal to the mainstream nearly a century on.

Over time, the core design has been rethought in various iterations. We've seen new models studded with precious stones or guilloched, or streamlined with flat or rounded bezels tweaking the familiar silhouette.

Today, two new additions to the Calatrava family, the 6119G and the 6119R, continue to put timekeeping at the forefront, eschewing superfluous details. The round shape of the case neatly reflects not only the shape of the movement inside but also the circular nature of time.

These two new models nod to an iteration released in 1985, the 3919. Alongside a white dial and black lacquered Roman numerals, it featured an intricate Clous de Paris pattern decorating the bezel. Here, the bezel embellishment remains, although the numerals are now sleek markers in gold. The guilloched bezel is wider, in line with the increased proportions of the case itself, which is slightly larger than earlier models. The 6119R, in rose gold with an understated textured dial, and the 6119G, in white gold with a satin-finished dial, both feature a new movement. 

INFORMATION

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In the century since we began strapping the time to our wrists, classic watch design has evolved. Watchmakers, adept at intertwining historical references with accomplished technology, keep one eye on the past when drawing up plans for the future.

Rolex did just this with the Datejust, with the first iteration appearing in 1945 to mark the brand’s 40th anniversary. At the time of its release, it could claim to be the first waterproof chronometer wristwatch with the now ubiquitous date window at 3 o’clock. This newest piece retains the most familiar design codes with its fluted bezel, juxtaposition of knitted metals and dark grey dial.

For Hublot, understatement is key in the Classic Fusion. Released to mark the brand’s 40th anniversary, the Classic Fusion in titanium with a black lacquer dial stays faithful to the original with its then-groundbreaking amalgamation of rubber strap with a case in precious metal. The simple silhouette, inspired by a ship’s porthole, remains too, making for a chic dress watch.

The Tudor Royal also looks back to its heritage with a name the brand first used in the Fifties. In steel and yellow gold with a champagne-coloured dial, the newest iteration takes a sportier bent with a focus on comfort, with an integrated bracelet making for a smooth silhouette.

With the (Re)master01, Audemars Piguet chose to stay faithful to the design codes which inspired the piece with a champagne dial, round case and Art Deco-inspired numerals belieing the modern heart within. For Patek Philippe, simple design is also key, and the Calatrava is a quintessential example with its round case and clean ivory lacquered dial. A classic becomes disrupted for Richard Mille with the Manual Winding Tourbillon which brilliantly rethinks the familiar tonneau-shaped case in red gold and diamonds. 

INFORMATION

This shoot originally appeared in the December 2020 issue of Wallpaper* (W*260)

‘Our pieces are marked by a purity of line, a precision of form and precious details,’ says Arnaud Carrez, head of international marketing and communications, Cartier International, on the new campaign devoted to the maison’s iconic designs. ‘We wanted to celebrate them all together and show what they have in common.’

Cartier is shining the spotlight on classic collections from the last century, with the Santos, Tank, Trinity, Love, Juste Un Clou, Panthère and Ballon Bleu all celebrated as a lesson in lasting design.

The pieces are significant in acting as cultural markers, their designs reflecting the mood of the generation in which they were created. ‘It’s quite difficult to date a Cartier watch,’ Carrez adds. ‘Look at the Tank, dating from the beginning of the twentieth century, which is equally as contemporary as today’s version. First and foremost we respect our dynamic heritage, constantly enriching it by expanding it and pushing boundaries. We ensure all our creations transcend time. It is a challenge to reinvent and reinterpret a new collection – sometimes we say it is more challenging than creating a new design.’

A Cartier design is characterised by its simple lines and plays on geometry, seen in the gentle curve of the Love bracelet or in the depth of the Santos case. Stringent proportions ensure a piece is comfortable to wear. ‘Our pieces cater to all generations,’ says Carrez. ‘In the current climate, they can bring reassurance.’

Alongside the classic collections, Cartier will be releasing a new limited edition Tank Cintrée, three years after its relaunch (pictured below).

INFORMATION

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Louis Cartier’s gently subversive designs of the early 20th century added an innovative edge to classic watch design codes. Famed for designing the ‘Santos’ – reportedly at the request of French aviator Alberto Santos-Dumont, who wanted a timepiece for his wrist to leave his hands free in the cockpit – Louis was perpetually quick to tap into the zeitgeist.

The original ‘Tank’ watch was designed by Cartier in 1917 in response to the First World War. The angled architecture of the armoured vehicles used on the Western Front became the sharp silhouette of the ‘Tank’ case, a rare rectangle when watches were typically round. Two decades later, the ‘Tank Asymétrique’ built on this original design with a mischievous tweak. All components of the watch now shifted 30 degrees to the right, purportedly because the angle made the time easier to view when you raised your wrist, putting functionality at the heart of the dress watch.

Last year, Cartier re-released the ‘Tank Asymétrique’ as part of its Privé collection, which reworks its classic watch collections for a new generation. The face of the reworked model nods to the original 1936 design with Arabic numerals (a rare stylistic device for Cartier), but their elongated serif forms add a more modern take to the rounded curves of the original font. Three new versions, in yellow gold, rose gold and platinum, imbue this rich design heritage with a contemporary twist. 

INFORMATION

This article appears in the February 2021 issue of Wallpaper* (W*262) – download the latest issue here

Cartier has long been fascinated with the quotidian, creating functional items – fragrance bottles, powder compacts, inkwells, stationery – since the late 19th century. In keeping with Cartier design codes, they put an ornamental spin on the purely functional, making for chic objets in their own right.

‘Since 1880, Cartier has been interested in everyday objects,’ says Pierre Rainero, director of Image, Style and Heritage at Cartier International. ‘In 1925, with the creation of the S for Silver department, entrusted to Jeanne Toussaint, Cartier developed more accessible accessories and objects. These practical, playful, joyful and elegant items were perfectly in tune with the celebratory spirit and chic portability of the Café Society in the 1930s. The materials used to create these precious wood, porcelain or enamel objects met the criteria of elegance and durability, with today’s collections continuing the Cartier tradition,’ he adds.

In the post-war period of the 1920s, these more accessible items, including a gold pocket corkscrew and a silver cocktail shaker with hidden cocktail recipes, were enhanced with precious metals and sculpted silhouettes.

It is a philosophy reflected in this new collection composed of useful everyday items given a precious twist. A stamp, a tea box, stationery and Christmas decorations incorporate the tradition of skilled artistry which lays at the heart of both the jewellery and homeware, putting an elegant spin on the everyday.

INFORMATION
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A host of rare timepieces are set to go under the hammer this weekend in Geneva as Phillips, in association with Bacs & Russo, present a selection of timepieces from a private collection.

‘This sale’s theme takes us through the first twenty years of the 21st Century – a time that has seen watchmaking and the industry change more than in the past 100 years put together,’ says Alexandre Ghotbi, head of watches in continental Europe and the Middle East. ‘One of the most important and exciting changes of the new millennium has been the rise of independent watchmaking that has offered us a wind of fresh air. These independent makers have paved a path for themselves with unbridled creativity and technical mastery.’

As well as established watch brands, classical pieces from recognised horology masters F.P. Journe, Philippe Dufour and Kari Voutilainen are on sale alongside cutting edge pieces from the likes of De Bethune, MB&F and Urwerk.

Patek Philippe ref 2523/1

‘Patek Philippe has come to be associated with the world time. Launched in 1953, the reference 2523/1 featured a new two-crown system, one for winding the watch and the other at 9 o’clock controlling the city disc. When introduced to the market this new double crown world time was not a commercial success resulting in very few pieces manufactured – in fact, the movement of the present watch was made in 1954 but only cased in 1966 and finally sold in 1973. The present piece is one of the most breathtaking specimens of the iconic reference 2523/1. It is not only completely unpolished, but it is one of only four known models in pink gold with a beautifully guillochée dial.’ – Alexandre Ghotbi

Movado Oval  

‘A certain suave coolness just oozes out of this incredibly visually arresting extra large oval timepiece from Movado. The shape and size of the case make the watch incomparable to its peers. It is incredible to think that such a timepiece was made some 90 years ago: its innovative and nomenclature defying design is like no other and a must have for the collector of truly rare and unusual watches.’ – Alexandre Ghotbi

Rolex 6241 ‘John Player Special’

‘The Rolex Daytona doesn’t need an introduction. Launched in the early 1960s, it was a ‘tool’ watch made to time sporting events and thus made in steel. However, Rolex made a very few versions in gold and this reference is among the rarest Daytona models ever produced. A so-called ‘John Player Special’ due to its gold and black colour scheme, the present watch is an exceedingly rare variant of the Paul Newman model. It is notably one of a few handful of known ‘John Player Specials’ cased in 14K yellow gold and most probably made for the American market.’ – Alexandre Ghotbi. 

INFORMATION

‘The Geneva Watch Auction: XII and Retrospective: 2000-2020’, 6 – 8 November 2020.
phillips.com

The 1960s and 1970s were characterised by a surge in creativity for watchmakers, who experimented with avant-garde designs at a time when the quartz crisis threatened the industry.

‘There were the aesthetics of new forms, new displays, new technologies and everything in between,’ says Mitch Greenblatt, co-author of Retro Watches: The Modern Collectors Guide. ‘Many were likely prototypical and never produced in large numbers, hence the extreme rarity and relative obscurity.’

The new book, co-authored by Josh Sims, looks at the rare and unusual watches that defined three decades of watch design, when both new and more established watch brands played with rewriting traditional design codes.

‘Watches and their shapes were at their most adventurous during the 1960s and 1970s – mirroring the mid-century and the space-age with implied aerodynamics, intentional asymmetry, restrained minimalism and new technologies. A chronograph from this era often looked as cool as the cars they were intended to ride in,’ adds Greenblatt. ‘A rare new technology like LED (light emitting diodes) were inside stainless steel or solid gold casing and likely cost more than a Rolex of the era.’

Greenblatt and Sims celebrate everything from the more unusual design tweaks to the mechanical Swiss digital watches which spearheaded a new time-telling movement in the book. ‘I think if these watches are united in any way, design-wise, it’s in the willingness of the designers behind them to experiment,’ says Sims. ‘Comparatively, watch design today is so much safer – possibly because that’s what’s dictated by the dynamics of a market in which there are fewer brands than there were in the pre-quartz era.’

INFORMATION

Retro Watches: The Modern Collector’s Guide, published by Thames & Hudson

Sleek, sensuous and fierce, panthers have prowled their way around Cartier’s designs for over a century. Ebony spots and a diamond hide were first glimpsed on a wristwatch in 1914; three years later, Louis Cartier’s gift to director of jewellery, and his lover, Jeanne Toussaint, was a panther depicted on a diamond, onyx and platinum cigarette case. Toussaint – affectionately nicknamed La Panthère – was enamoured with the creature and it became a familiar motif in Cartier’s jewellery over the subsequent decades.

Now, Cartier revisits this rich history, and the spectacular new high jewellery collection unveiled this month rethinks familiar symbols. The Panthère Tropical watch bracelet pays tribute to Toussaint’s love of brilliantly bold colour combinations, nodding to her designs in the Thirties which laced the panther’s spots in vivid coral. This new piece takes these juxtapositions further, adding an amalgamation of tourmaline and aquamarine into the mix.

‘Introducing a camaïeu colour play of blue with the tourmalines and the aquamarines is an entirely new colour combination for the Maison,’ says Pierre Rainero, director of image, style and heritage at Cartier International. ‘This new panther iteration is very soft and feminine through the use of materials, evoking the strength of the panther at the same time.’

The hybrid mix of colours and textures is an unparalleled technical accomplishment; the coral alone is notoriously fragile, its tremendous size increasing the risk of it cracking under the gem-cutter’s hands. Its inclusion is typical of a Maison whose risk-taking in the past has defined a wholly new set of graphic jewellery codes. ‘This piece is emblematic of Cartier in its style: how different stones and shapes are pieced together without any metal assembling or paved diamonds. It is a real Cartier signature in terms of volume,’ says Rainero.

INFORMATION

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A large collection of Cartier clocks will be going up for auction as part of Christie’s online sale running next month. ‘101 Cartier Clocks’ is a collection created over three decades and spans over 80 years of clockmaking at Cartier, tracing the progression from Belle Epoque to Art Deco to pieces dating from the 1950s.

‘This is the only collection of its type in the world, collected over three decades with passion, knowledge and the desire to possess the best that Cartier’s clock workshop has ever produced,’ says Marie-Cecile Cisamolo, jewellery specialist at Christie’s. ‘I do not believe that such a collection will ever be formed again – and how timely it comes to the market now, when time has received a new meaning to many of us and we might start looking at it differently.’

The collection is testament to Cartier’s originality and skill evident at the beginning of the 20th century when Louis Cartier collaborated with master clockmaker Maurice Coüet. Coüet, inspired by the magician Jean Eugène Robert-Houdin, created the technologically groundbreaking Mystery clocks, which hid their mechanisms in the frame and appeared to run as if by magic.

Other pieces, such as the planet clocks dating from 1912, also assimilated magical elements. By superimposing dials – with the lower dials usually in blue enamel and constantly rotating – they depicted not only the passing of time but also, in some pieces, a diamond-encrusted crescent moon or a comet rotating within the dial.

‘These clocks were made in several materials, like nephrite, agate, onyx and even rutilated quartz, to show the great variety and artistry of this period of time,’ says Cisamolo. ‘The colours (red, blue, black) as well as the shaped corners (called ‘japanese corners’) are often to be found and indicate the strong Asian influence in Cartier’s designs in the 1920s.’

INFORMATION

‘101 Cartier Clocks’, 7 – 21 July. christies.com

In this time of upheaval, brands across the design spectrum are recognising the mood, offering both charitable endeavours and creative respite.

Cartier UK's Over the Rainbow challenge, launched last month, is a case in point. The initiative sees the brand show its support for the NHS by inviting participants to interpret the now ubiquitous rainbow. The challenge, which accompanies Cartier’s NHS Charities Together, saw a host of artists and designers including Stephen Jones, Joel-Peter Witkin and Curtis Kulig keen to get involved. The winner will see their submission exhibited at New Bond Street, once reopened.

Roksanda Ilincic, who incorporated a prism of colour into her show for London Fashion Week earlier this year, says: ‘It felt fitting to include the collaboration I did with artist Rana Begum for my A/W 20 show, entitled No. 976 Net, given the spirit of partnership in which it was created.’ Her submission, pictured above, celebrates colour in all its graceful fluidity. ‘For me, it represents the sense of togetherness and solidarity we have witnessed in supporting the NHS over the last few months, and with the added vibrancy, it creates a beautifully abstracted rainbow – a symbol which is now synonymous with feelings of hope and positivity and all the amazing frontline workers.’

Laurent Feniou, managing director of Cartier UK, agrees: ‘These colourful displays of solidarity are a wonderful tribute to the tireless work carried out by the NHS.’ Cartier will continue to support their community into next year with the Cartier Women’s Initiative, which provides female entrepreneurs with the financial, social and human capital necessary to grow a business. Applications for 2021 are open now until 31 July.

INFORMATION
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The idea of transforming every day, found objects into something a little more precious is common enough in watch and jewellery design. Take the Panerai dials that descend directly from machine gauges the company made for the Italian Navy, or Cartier’s Juste un Clou – a design directly descended from the common, household nail. But for sheer surprise value, Bulgari’s Tubogas takes the crown.

Quite literally derived from a flexible covering designed to protect gas pipes, Bulgari adopted the idea from a technique that had gained traction with jewellers in the 1940s, returning to it more wholeheartedly in the early 1970s. Today, Tubogas is an integral element of Bulgari’s design identity.

The springy bands that define the Tubogas style are created by wrapping profiled strips of gold (and sometimes steel) around a wooden form so that the edges interlock in a continuous, unsoldered curve, with the result being that the design is both incredibly flexible and strong. It’s a technically demanding operation that requires a jeweller’s complete control over the temperature, particularly when more than one metal is involved.

The Tubogas concept quickly proved to be as flexible and adaptable as the name implied, with Bulgari’s jeweller-technicians creating suites of bracelets, chokers, cuffs and collars, frequently using different coloured metals and contrasting the modernity of the form with ancient coins and intaglios.

But as a wristwatch, in the open-coil style that determines the better-known Bulgari Serpenti, the Tubogas retains its early avant-garde nature, with designs featuring contrasting finishes that capture the spirit of the times in which they were made, and others that allow the watch head to take precedence.

The Bulgari Tubogas, then, is the perfect mix of distinctive design and artisanal skill, entirely in keeping with a design culture that seemed never to acknowledge a division between the beautiful and the practical.

INFORMATION

bulgari.com

The 100th anniversary of the Bauhaus this year got us thinking about classic watch design. For, as the Jaeger-LeCoultre ‘Reverso’ shows, the creation of both remains firmly rooted in Walter Groupius’ dicate that form must follow function.

Launched at the turn of the 1930s, when the wristwatch was the ultimate in personal technology, the ‘Reverso’ was conceived as a way of protecting the dial during polo matches.

A gentle push and the engineered case rotates to conceal the face, revealing an enigmatic blank true to the timepiece’s industrual, art deco character. While functions have been added along the way, the Reverso’s form remains unchanged, as this year’s re-edition proves.

As originally featured in the May 2019 issue of Precious Index

If ever a watch comes with truly significant design history built in, then it is Braun’s AW 10 from 1989. Braun’s designs – from audio equipment to pocket calculators – have been lauded everywhere from MoMA catalogues to Jony Ive interviews, but it is arguably in the wristwatch that Braun’s design language found its most concentrated expression. Dietrich Lubs joined Dieter Rams’ design team at Braun in 1962 and worked on many of its classic watch design and clock designs. Lubs’ horological thinking has become the template for what a wristwatch should be – so much so that it’s spawned a legion of imitators.

But now, 30 years later, the AW 10 is back, Lubs has returned to Braun and he is keen to explain the launch of a larger-size model. The new watch is a direct response to last year’s re-edition of the original 33.35mm AW 10. According to Lubs, ‘People told us: “I love it, but it’s too small.” And 30 years ago, watches were small; they weren’t fashion instruments, they were a product to tell the time.’

The original AW 10 was a distillation of Braun’s minimalist, geometric designs for alarm clocks and radios dating back to the 1970s. Allied to the superior materials that were available in the 1980s, the distinctive monochrome (but for the yellow second hand) dial was paired with a bezel ring made with a newly available reinforced plastic. An extremely slim, 8mm profile was created by seating the crown as low as possible in the case. The watch’s one bit of exuberance was the boxy lugs, a nod towards the integrated bracelet watches that were still dominating watch design in the 1980s. Despite its success, the AW 10 (and the later, even more minimalist AW 50) disappeared from sight in the 1990s as watch design moved towards smoother, organic shapes.

In the new design, detail changes are subtle but essential: ‘We couldn’t just make a bigger version of the original. The design had to change to quite an extent.’ Lubs describes the new watch as having ‘all the character of the AW 10’ with elements such as the angle of the lugs and the size of the date window changing to accommodate the new scale. ‘With the black version, the font is made bold – it looks more masculine, and we found the fine lines were disappearing and it lacked presence because the black visually compresses the other design aspects,’ explains the designer. ‘Balance is key, so the graphics and printing all had to change. The black ring around the dial masks out the light and looks more compact.’ Other minor adjustments, such as the ventilated strap, reflect Braun’s obsessive attention to detail.

This larger-size AW 10 is Lubs’ first new watch design in almost two decades. But it’s clear that the design process remains rooted in the hand-drawn culture that underlaid Braun’s decidedly forward-looking aesthetic. ‘I like the computer and don’t like the computer,’ the 81-year old designer confesses. ‘It’s very quick for changes, but it’s reductive. You must have a very strong character as a designer not to be seduced by it and end up with random design.’

Lubs is pleased with his return. ‘I like the geometry of the new design,’ he says. ‘The way it works is that my drawings are scanned into the Braun computers. The CAD software then makes its own suggestions. It said my lug angle would not work, so I redesigned it rather than letting the computer do it, but we work in parallel – the designers and engineers. It’s 17 years since I last designed a watch. I cannot lose the desire; it’s my life.’

INFORMATION
braun-clocks.com

Wristwatches were still a relatively novel idea in the 1930s, and the absence of established forms meant designers had free rein to experiment. Vacheron Constantin’s touring ‘Les Collectionneurs’ exhibition, which focuses on a century of its heritage designs, offers a chance to see – and acquire – a century’s worth of some of the finest watch designs ever conceived.

Each eponymous piece has been restored by the brand and brought back to life with such care as to reveal period design quirks as if for the first time. Take the 1949 yellow gold wristwatch: the glass that covers the dial appears regulation smooth, but when viewed at a new angle, a teasingly faceted design emerges. This sly optical illusion is barely imperceptible when photographed. But, when given a second glance on the wrist, the dial appears to splinter.

‘It’s a good design trick,’ says Vacheron’s heritage and style director Christian Selmoni. ‘The designers wanted the design to be twisted – they weren’t at all inhibited back then.’

Other designs date from decades earlier – the jumping-hour calendar pocket watch from the 1920s is Art Deco to the core and continues to inspire Vacheron Constantin’s design team. ‘Sometimes, we adopt an element that has come from one of our watches of the past,’ Selmoni says. ‘Or, when we were looking at inspiration for modern watches we consider some of the heritage pieces and imagine what they might look like now.’

Other models can be dated by their distinctive colour tones: the champagne dial of the rose-gold chronograph wristwatch sees the two metal tones combine to create a rich, vintage warmth of a kind that would be hard to achieve today. ‘These days our marketing department would say no to a lot of these heritage watch designs,’ Selmoni adds. ‘The magic of seeing them altogether in the exhibition is that they let us reconnect with our past and rediscover things we didn’t realise we had already done.’

INFORMATION

vacheron-constantin.com

Don Cochrane has taken a very considered line in reviving Vertex, the watchmaking business his great-grandfather started in 1916, focusing, for now at least, on the watches it produced for the War Office during and after the Second World War. Made to an exacting specification, these original Vertex models have found a growing audience of collectors for the combination of their quality, provenance and absolutely no-frills functional design. The ‘W.W.W.’ (watch, wrist, waterproof) government procurement order demanded watches with black dials, Arabic numerals, luminous hour and minute hands, luminous hour markers, a minute track and subsidiary seconds with the ‘broad arrow’ mark on the dial to indicate government property.

The revived Vertex watches stick closely to the formula: its M100 (and a black-coated version, the M100B), a re-imagined W.W.W. edict for the 21st-century. The brand has now followed this up with another watch based on a War Office commission. Intended as an ‘Ordinance Timer’, the watch was developed with Swiss manufature, Lémania but, as Britain’s post-war economy tightened, it never went into production. The MP45 shares the same combination of asymmetric case (the extra bulk is there to protect the crown and pusher) and monopusher chronograph movement as the original design intended and even shares the curiosity of having the chronograph reset through the crown.

As with the M100, the new watch is a little larger at 40mm than was standard in the 1940s and 50s and has a dial that’s just a little punchier thanks to the Super-Luminova numerals.

INFORMATION

vertex-watches.com

Bremont’s latest limited edition is the Supersonic, a tribute to Concorde. The watch was designed to celebrate Concorde’s maiden flight and this, British Airways’ centenary year. BA donated spare aluminium from G-OAB, known as Alpha Bravo, to be used as the watch movement’s positioning ring – the Supersonic uses a new hand-wound movement produced for Bremont by La Joux-Perret.

Concorde was a promise of progress, stretching the limits of contemporary technology to fly faster and higher than anything but military aircraft could match. It nearly failed at birth thanks to the oil-shocks of the 1970s, and finally succumbed to spiralling safety costs following the Paris crash of 2000.

But while it flew, it epitomised a certain idea of the future through its distinctive silhouette that had an angularity and finesse that was in stark contrast to the Boeing 747 that also saw its first flight in 1969.

The aircraft design was determined almost purely by performance requirements but, as can happen, the combination of slender fuselage, ogival delta wings and long, conical nose attained a grace that few aircraft ever approached. Even the steep angle of attack and ‘drooped’ nose cone as it landed had a drama that conventional planes could never match.

The Bremont Supersonic’s design cues include the sunburst white dial, recalling the highly reflective paint used to help control the temperature when flying at supersonic speeds; long, slender hands blued to match British Airways’ livery, and a Concorde silhouette as the 12 o’clock marker. Bremont are producing limited editions in steel, rose gold and white gold.

INFORMATION
For more information, visit the Bremont website

The new GMT-Master II – far from being a new design, is an existing model that’s been subtly upgraded. These tweaks have caught the watch world’s attention, never mind that this ‘Batman’ (blue/black bezel) GMT-Master II has been given the same upgrades as the ‘Pepsi’ (red/blue) version had last year. The changes are straightforward enough, the movement inside being upgraded to the Calibre 3285 which provides better efficiency and durability thanks to new materials and internal architectures, while the bezel is now made with Cerachrome – Rolex’s proprietary ceramic – and the watch has the more vintage-feel Jubilee bracelet. While these are all worthwhile and, even, desirable upgrades, the most immediate effect for Rolex collectors will be its impact on pre-owned values for the previous model – the collectability factor rising, as that watch is now a finite quantity.

The new Yacht Master 42 shows that not every remix is as understated as the Batman: Rolex can usually be relied on for something a little more radical. Also featuring a next-generation movement, the watch is defined by the combination of black ceramic bezel, black lacquer dial, chromalight luminous treatment and white-gold case (it’s the first Yacht Master to be created in precious metal) – all together the mix gives the watch an overtly technical, contemporary feel.

Yellow-gold accents take the new Sea Dweller in a different direction. Rolex’s most extreme dive watch is water-resistance rated to 4,000 ft, but the addition of luxurious gold details to the dial, bezel and bracelet make the 2019 Sea Dweller more than the simple tool watch its predecessor was – though it’s performance in all conditions is still the defining feature.

INFORMATION

For more information, visit the Rolex website

The unique nature of Swiss watch design – strongly defined by technical and decorative handcraft – has always allowed maverick ideas to flourish and endure, even against the backdrop of growing mass production in the horological industry during the 1950s and 1960s.

The Patek Philippe Golden Ellipse, launched in 1968, embodies a collision of eras. The original dial of blue-gold, a specially created alloy, looked back to goldsmith techniques of the 1950s: the slim case, hands and indices emit 1960s suave, yet the piece's substantial, lozenge-like form hints at early 1970s futurism. Three decades of iterations have rendered the design a true classic; Patek even launched accessories, including Golden Ellipse lighters, pendants and cufflinks.

Debate abounds as to the Golden Ellipse's origins – one idea is that its shape was inspired by an aerial view of a US highway junction, while its form points to a golden ratio philosophy. This latter theory has merit; the women's versions are as handsomely proportioned as the men's, their form undiminished on a smaller wrist.

In its 50th year, the Golden Ellipse serves as a classic dress watch and symbol of taste. The 2018 update, the 573R-001, a jumbo – grande taille – edition with a 34mm x 39.5mm rose-gold case, survey black-dial and typically superfine rose-gold hands and indices, pays homage to its legacy. It is accompanied by a special-edition set of cufflinks for the true horology connoisseur. §

As originally featured in the October 2018 issue of Wallpaper* (W*235)

INFORMATION

For more information, visit the Patek Philippe website

Of all the brands that do their utmost to ensure a tense build-up to Baselworld, Rolex is probably the most close-lipped. Indeed, a great time-waster for enthusiasts is trawling the web to see what the various pundits have predicted. 

Given that Rolex is among the more consistent of brands for keeping its models in continuous production, and given that just about all of their ranges have had recent makeovers – even less-common lines like the Milgauss and the Explorer II – there is little in the way of a clue there. The pundits are confounded.

Rolex’s evergreen DateJust enjoyed a refresher course last year with the DateJust 41, bringing its size up to current norms, while the company’s magnificent ceramic bezels have gone beyond the diving models to include the Daytona. 

One observer anticipates a revitalising in another direction, based wisely on the improvements Rolex has made to its bracelets: the dressy Jubilee is overdue for a re-think, and it’s a natural to be fitted to the colourful GMT-Master II or the refreshed Explorer II.

Rolex has added blue and green dials and bezels to its much-loved Submariner, and they have been embraced by the cognoscenti with such fervour that prices have skyrocketed along with waiting times. 

It ain’t gonna happen, but I’ll bet there are enthusiasts out there who would like to see the Submariner offered with a burgundy scheme like Rolex’s sibling brand, Tudor. I rather doubt Rolex would even consider bright red.

If wishful thinking is permitted, this enthusiast would love to see some sort of homage paid to the Bubbleback. That series featured ‘California’ dials with their mix of Roman and Arabic numerals, ornate hooded lugs and other design touches redolent of the era. 

As Rolex has blissfully ignored the industry’s battle for ‘Who makes the thinnest?’, this little plumper would prove a tonic to horological anorexics.

INFORMATION

For more information, visit the Rolex website and the Baselworld website

Pilot Ref. 768, by Breitling, from private collections
The first new collection, the Navitimer 8, under Breitling’s new leadership looks straight back to pioneering pilot’s watches produced in the company’s 'Department 8' during the 1930s, such as the Ref 768, from which derive the knurled bezel and simple, direct and uncluttered dial.

Cosmonaute AOPA All-Black, Ref. 809 Wide-Bezel, by Breitling, from private collections
The Navitimer remains Breitling’s most distinctive design and the watch that defines the brand more than any other. While the slide-rule bezel was originally intended for engineers, its value to pilots became quickly apparent. US astronaut, Scott Carpenter, requested a 24 hour dial version, which became Ref 809 Cosmonaute. 

Co-Pilot Ref. 765 ‘AVI’ MK2.1, by Breitling, from private collections
Breitling’s heritage is bound up in the technical development of the chronograph and was a key supplier to militaries around the world. The 765 was Breitling’s top spec chronograph, built around a Venus movement that was the best of its time, it was anti-magnetic and was designed to be precisely legible, particularly in low-light conditions. Stylishly utilitarian, the 756AVI Mk2.1 was worn by Raquel Welch in her 1967 film, Fathom.

Superocean Ref. 1004, by Breitling, from private collections
Breitling have promised to give the SuperOcean diving watches a refresh. The design for 1957 Ref 1004, the company’s first divers’ watch balanced serious functionality with a details such as the hour markers and bezel profile that captured the 50’s spirit of technological change. 

Premier 18K Ref. 760, by Breitling, from private collections
Breitling’s recent past has leant towards the overtly technical, almost machismo, but the pink gold Ref 760 Premier from 1943 shows that Breitling didn’t only produce high-value dress watches, but could do so with a sparse elegance that’s still relevant now. Note, for example, the simple treatment of the logo and the way the hour markers line up with the roman numerals.

Precision cuts and non-precious metals are the contemporary take on classic styles
‘Ca Cartonne’ cuff in coated aluminium, titanium and diamonds, by Suzanne Syz. ‘Aria Passionata’ brooch in gold, lacquer, rubies, garnets, diamonds and central 22.51ct rhodolite garnet, from the Chaumet est un Fête collection, by Chaumet. ‘Tiare’ earrings in blackened gold, diamonds and rubies, by Reza. ‘Soothing Lotus’ necklace in gold with rough and polished diamonds and central 6ct diamond drop, by De Beers. ‘Piccadilly’ fabric, £100 per m, by Nya Nordiska. Jewellery prices throughout, on request

Beading and lattice work add a sense of lightness to hard materials
Left, ‘High Jewellery’ necklace in white gold with turquoise, emeralds and diamonds, by De Grisogono High Jewellery. ‘Feather 0011’ fabric, £70 per m, by Kinnasand. Right, necklace in white gold with diamonds and central 19.79ct Ceylon sapphire, from the Resonances de Cartier collection, by Cartier. ‘Diamond River’ earrings in platinum with diamonds, by Harry Winston. Ring in white gold with diamonds and central 4.29ct fancy vivid yellow diamond, from the Swirl collection, by Graff. ‘Feather 0012’ fabric, £70 per m, by Kinnasand

Expert gold techniques add texture to create a beautifully contemporary finish
Left, ‘Blue Shore’ cuff watch in white gold with lapis lazuli dial, from the Sunlight Journey collection, by Piaget. ‘Sailor Tattoo’ cuff in white gold with diamonds, from the Flying Cloud collection, by Chanel Fine Jewellery. ‘Feuille’ brooch in white gold with diamonds, from the Hiver Imperial collection, by Boucheron. ‘Scratch 6787/0001’ fabric, £70 per m, by Kinnasand. ‘Kito CS’ fabric £250 per m, by Nya Nordiska. Right, ‘Cachette des Coccinelles’ clip in gold with diamonds, spinels and central 10.17ct Zambian emerald, from the Le Secret collection, by Van Cleef & Arpels. ‘Divissima’ bracelet in pink gold with diamonds, amethysts and rubellites, by Bulgari. ‘Feather 0010’ fabric, £70 per m, by Kinnasand. ‘Batumi Uni CS’ fabric, £59 per m, by Nya Nordiska

Metal and stones take on the guise of fine fabrics in intricate mesh and ribbon designs
Left, ‘Les Merveilles Meche’ necklace in white gold with diamonds, rubies, pink sapphires and central 10.06ct white diamond drop, by Boghossian. ‘Feather 0011’ fabric, £70 per m, by Kinnasand. Right, ‘Elixir of Youth’ brooch in titanium with diamonds, rubies, sapphires and central 42.39ct jadeite cabochon, by Anna Hu. ‘Bosquet de l’Encelade’ bracelet in gold with rock crystal, diamonds, emeralds, spinels, spessartite and tsavorite garnets, sapphires, Paraiba-type tourmalines, turquoise and central 12.38ct black opal, from the Dior à Versailles Côté Jardins collection, by Dior Haute Joaillerie. ‘Tesori del Mare’ bracelet in white gold and titanium with diamonds, sapphires, rubies, spinels, spessartite and tsavorite garnets, Paraiba tourmalines, and pearls, from the Mediterranea collection, by Giampiero Bodino. ‘Feather 0011’ fabric, £70 per m, by Kinnasand

1987: Première 

The dial of the Première references the geometric architecture of the Place Vendôme. With no dial markers and a casual, boyish charm, it is a functional jewel for the wrist with a timelessly contemporary character.

‘Première’ watch, gold plated with a chain bracelet interlaced with leather, by CHANEL Watches.

2017: Code Coco

With its somewhat pixelated appearance, the belt-like ‘quilted’ bracelet of the Code Coco creates a futuristic look and an entirely contemporary design take. Code Coco is fitting testament to the new thinking that Chanel is bringing into 21st century watch design.


‘CODE COCO’ watch in steel case, bracelet and bezel, with diamonds, by CHANEL Watches.

1987: Première

The dial of Chanel’s first watch design, dreamed up by the great Jacques Helleu, a long-term artistic director at the house, is notable for its cut glass dial shape. It was Helleu’s idea to mimic the emerald-cut N°5 bottle stopper, which in turn references the geometric architecture of the Place Vendôme. With no dial markers and a casual, boyish charm, it is a functional jewel for the wrist with a timelessly contemporary character.

Vendôme Place in Paris.

The classic symbols  

Pearls, camélias, comets, quilting, chains, lace, and that unmistakable black and white colour code: Chanel’s most recognisable motifs have inspired or directly informed its watch designs. If that seems run-of the-mill in modern brand terms, whether an exquisitely crafted camelia dial or a clasp detail lifted from the 2.55 handbag design, there’s a stylish wit at play that injects classic horlogerie with a covetable fashion sensibility. 

Première Camellia Skeleton’ watch with white gold case and bezel,  diamonds and black satin strap, by CHANEL Watches.

2000: J12 

At the turn of the last century, ceramic was still used sparingly in watch design – though Swiss watchmaker Rado had also embraced the new high-tech material as a creative driver. But when the audaciously sporty, non-gender specific black ceramic Chanel J12 was launched, its success was such that it became clear that Chanel had started an entirely new horological conversation in watch design. In 2003, the opalescent white edition added a shot of glamour and proved that Chanel’s deep fashion roots, coupled with its new horological insight, amounted to a rare combination that struck a chord with new generations. Various J12 editions have followed.

'J12’ watch with black ceramic and steel case, undirectional rotating bezel and black ceramic bracelet, by CHANEL Watches. 

2015: Boy∙Friend

One of our favourite designs of recent times, the Boy∙Friend design plays with scale, shadow and detail to create a covetable timepiece for today. The rectangular form sits almost entirely across the wrist, while the dial, which creates the Boy∙Friend’s modern Deco character, is a masterclass in subtle relief. Subsequent iterations have followed, including the Boy∙Friend Tweed, but we prefer the classic simplicity of the debut designs.

‘Boy∙Friend’ watch with beige bold case, bezel, crown, onyx cabochon, opaline guilloché dial and black alligator strap, by CHANEL Watches.

2012: Première Flying Tourbillon

Chanel once again re-imagined a highly complicated Swiss movement and presented it in a decidedly feminine way. Its slightly oversized case only ups the Première Flying Tourbillon’s presence on the wrist. But then it’s the main act – in the form of a spinning camélia or a comet – that underlines its importance as a compelling piece of jewelled tech.

‘Première Flying Tourbillon’ watch in black gold case, bezel, crown and tourbillon cabochon with diamonds, white ceramic dial and black alligator strap, by CHANEL Watches. 

2016: Monsieur de Chanel

A deliberately masculine watch, the Monsieur de Chanel marked a key moment in Chanel’s short history of watchmaking: its first in-house created movement. The CALIBRE 1 with jumping hour and retrograde minute functions was a big step in the right direction for the house, signalling a strong future for its fine horological strand.

‘Monsieur de CHANEL’ watch movement, first CHANEL in-house movement – Calibre I.

2012: Mademoiselle Privé 

With its rare-craft strand, Chanel mines its own couture heritage to create a technique story that is a natural fit with the house character. From embroidery to marquetry, enamelling and glyptic techniques, Chanel has as strong an eye for fine watch artisans as it does for named designers and couturiers. In the grand jeweller tradition of decorative everyday objets, the artistic craft pieces also include limited-edition clocks.

'Mademoiselle Privé’ watch in white gold case with diamonds, Coromandel dial in ‘Grand Feu’ enamel and black alligator strap, by CHANEL Watches.

2010: J12 Mysterious Retrograde


A respectful nod to the rare skills of its Swiss manufacture neighbours, Chanel has taken surprising risks by entering the world of haute horlogerie, consulting with local horological think tank Renaud et Papi. As much as we’d love to tell you all about the finer details of the J12 Mysterious Retrograde, it’s so complicated, we’d need a whole lot more time. In short, this concept design incorporates: a tourbillon (a mechanism designed to counter the effects of gravity when the timepiece moves on the wrist), a digital minutes display, a retrograde minutes hand, a 10-day power reserve and a highly-satisfying-to-operate retractable vertical crown.

‘J12 RMT’ watch with white gold case back, buckle and bezel with 12 ceramic inserts and matt black ceramic bracelet, by CHANEL Watches.

2016: Monsieur de Chanel

A deliberately masculine watch, the launch of the Monsieur de Chanel also marked a key moment in Chanel’s short history of watchmaking: its first in-house created movement. 

‘Monsieur de CHANEL’ watch in beige gold case and crown, ivory opaline dial and black alligator strap, by CHANEL Watches. 

2016: Monsieur de Chanel

The CALIBRE 1, Chanel’s first in-house created movement, - with jumping hour and retrograde minute functions - was a step in the right direction for the house but the big-date dial and sizeable case was a tad clumsy, signalling room for improvement. 


‘Monsieur de CHANEL’ watch in beige gold case and crown, ivory opaline dial and black alligator strap, by CHANEL Watches.

2017: Code Coco

An everyday bracelet-watch, Code Coco is a sleek riff on the secret watch concept (traditionally, a high jewellery bracelet engineered to hide a surprise timepiece element). The clasp of the 2.55 bag is created in miniature, so that it can also be twisted to sit along the dial, hiding it in the process. 

‘CODE COCO’ watch in steel case, bracelet and bezel, with diamonds, by CHANEL Watches.

2012: Mademoiselle Privé

In the grand jeweller tradition of decorative everyday objets, the house works with the world’s top horological enamellists to create one-off watch and limited-edition clock designs. Here, decorative details from the coromandel screens that dominated Chanel’s Paris apartment, are realised in miniature on the watch dial. 

Making-of the Mademoiselle Privé Coromandel watch.

2017: Première Camélia Skeleton

Another great technique story realised in a seriously stylish way. Having launched its skeleton movement, the Calibre 2, this year, Chanel’s horological design team smartly settled on the camelia motif as the narrative instigator. It’s a naturally graphic design fit for the see-through technology typical of the technique. The baguette-set diamonds are a powerful extra.

Première Camellia Skeleton’ watch with white gold case and bezel, diamonds and black satin strap, by CHANEL Watches.

We’ve always had a good thing going on with Maurice Lacroix. Earlier this year, the Swiss watchmaker invited Wallpaper* Bespoke to reimagine its classic ‘Pontos’ design. We added Jean Nouvel and Oki Sato to the mix. Here’s what happened next…

‘Just as an architect will establish a style in his or her work that is immediately recognisable, the ‘Pontos’ has particular characteristics that make it instantly identifiable as a Maurice Lacroix design,’ says David Sanchez, the Swiss watchmaker’s product director.

‘With Jean Nouvel and Oki Sato we have two highly respected names, from different generations, with two very different approaches to their work,’ says Sanchez. This year, the pair have been invited to reimagine the Maurice Lacroix Pontos ‘Day Date’ model.

A classic combination of craftmanship and design, the ‘Pontos’ model has been at the centre of Wallpaper’s previous collaborations in the Maurice Lacroix Bespoke series, which began in 2009. Back then, we asked product and interior designer Gwenaël Nicolas, industrial designer Arik Levy and fashion designer Neil Barrett to reconsider the 'Pontos Décentrique GMT' model. By 2011, architects and designers Rodolfo Dordoni and Patricia Urquiola, and fashion designer Kris Van Assche had contributed to our design collaboration.

‘Design is key to everything we do and we don’t want to be limited in any way,’ says Sanchez, who is based at the watchmaker’s manufacture in Saignelégier. Jean Nouvel was similarly inclined to push Maurice Lacroix’s ‘Pontos’ archetype ‘to its limits, making it clearer and more substantial by employing a single material, stainless steel’.

Nouvel says he wanted to highlight the Pontos’ design’s inherent simplicity, using the plainest numerals, most slender hands, and glass with as little shine and reflectivity as possible. ‘When you achieve this balance of tension, you will succeed in giving an object character. It’s all about the scale of the watch in relation to the size of the individual, and the scale of the watch in relation to the strap, which needs to be relatively abstract to give more presence to the object itself. These are all the parameters you use to integrate an object into a context. The context in this case is a man’s wrist', says Nouvel.

Oki Sato’s approach was to view the watch ‘like a white canvas’. ‘The “Pontos” is not standard. It’s not basic. But it’s inspiring in a very pure way,’ he explains. Sato also wanted to give the design a life that wasn’t about simply wearing a watch: ‘I think we have to think differently about watches now. The next role for the watch is more about the notion of objects that you live with.’ He placed the ‘Pontos’ within a domestic interior: ‘I came up with the idea of a cuckoo clock. The watch lives and functions as part of a clock, then you remove it and wear it on your wrist.’ The colour and finish were paramount considerations. ‘Because I wanted something that really blends into a room, I chose a matt white with a bit of pink gold as detailing.’

As Sato points out: ‘A watch is composed of so many small components that are beautifully linked to each other and create a single, harmonious story. Beautiful architecture is the same. So, for me, the Pontos project wasn’t so much like designing a watch, more like designing a small piece of architecture.’

A version of this article originally appeared in the December issue of Wallpaper* (W*225)

INFORMATION

For more information, visit the Maurice Lacroix website

OSNI 1 is not a scent launch. It’s an installation that Mathilde Laurent has instigated as a ‘window to olfactory art’. Maison Cartier’s noted perfumer-creator has joined forces with the architecture-based Munich climate engineers Transsolar to create the piece.

It takes the form of a habitable glass cube, perched on The Pavillion at the Palais de Tokyo, a stone’s throw from the Seine. Inside, a single staircase twists through a floating cloud, beckoning visitors up. As you emerge with your head above the fog, the air is clear but perfume-filled. ‘You don’t know what to expect,’ says Transsolar engineer Sabine Gröger. ‘The experience is so personal that everyone has a different feeling about it.’

It’s just the response Laurent wanted. Billed as ‘Unidentified Scented Object’, the project is the first in a potential series and the perfumer, whose studio is also a glass box – at the Jean Nouvel-designed Fondation Cartier – has long harboured the idea of producing a scent-driven art work.

‘I’m not an artist,’ she says, ‘but it’s good to remember that Cartier has always considered and been close to contemporary art – from the creation of the Cartier Fondation in the 1970s. I feel that to create a piece like this is our duty as a house because it’s important that we sustain olfactory art like all others. Sense of smell is very important.’

OSNI 1, then, is not a commercial endeavour. There is no new perfume to launch. Instead, the air at the top is infused with an existing Cartier scent for men and women, L’Envol (The Flight). It was while researching that fragrance that Laurent and her team were inspired by the idea of a sense of elevation, imagining ‘the smell of the sky’.

They had heard that Transsolar was creating artificial clouds and got quite excited about the idea of highlighting the technological aspect of what they do, the chemistry that makes it possible. ‘It works around the transition between cold and hot air,’ says Gröger of the installation’s pleasantly eerie effect. ‘The cloud sits exactly in the middle, making the transition visible.’

Somewhat surprisingly, the project also reveals a natural correlation between perfumer and engineer: ‘We realised we shared a similar vision,’ says Laurent. ‘Transsolar is in charge of the environment you are in, while we can be in charge of what that smells like. What we both offer are wonderful ideas of the space around you.’

INFORMATION

‘Unidentified Scented Object’ is on view until 23 October. For more information, visit the Cartier website and the Palais de Tokyo website

ADDRESS

Palais de Tokyo
13 Avenue du Président Wilson
75116 Paris

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