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In conversation with Christoph Grainer-Herr, CEO of IWC
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In conversation with Christoph Grainer-Herr, CEO of IWC

Watches We had a deligt speaking with the CEO of IWC, Christoph Grainer-Herr.       Tell us about your experience in several different departments and divisions at IWC. Where did it all start and how were the transitions like into new departments?   Well, that's an interesting thing. You know, I think I had probably 13 or so jobs, but I've always done the same. So to the present day, it hasn't really changed. I've started in trademarketing on the exhibitionsand boutiques. Back in the day, I’ve really just been hired as a project manager. And then I started to design the stuff from a laptop and drive our creative directorabsolutely crazy, because I started to change things. I did thisa couple of years, and then the trademarketingthings,whichreally is all of that plus visual merchandising, architecture, exhibitions and so on. What I’ve learned from all of that, I'd be seeing different countries, different cultures, what our clients are looking for, the building specifics in all of these different countries, which is super interesting. And also you get to meet all of the global teams. After that, I did a little bit of a stint in marketing. This was basically everything apart from Corp comms, but all of the print marketing, consumer marketing, catalogues, websiteand all that. And from there, I started to work quite heavily on other brands within the group. We did the retail concept, we would agree to BM concept for merch. Then in the end, I returned to retail here in Switzerland, did that for about two months. Then I did the sales director role for about 10 days, four to six weeks or something. And then the announcement came. So it was quite linear in the end and quite fast and quite scary. But, here we are.   And I think really, what have I taken from it? I think, it's when you work transversally, it's very, very, very interesting because you get to learn the entire organization inside out, including different countries. I think that gives you a really good head start to then pick up all sorts of different tasks and challenges. But once you understand what production takes, you know I worked for six years on the manufacturer design here for the new manufacturing building, that really gives you the inside out view of how, what comes together. And after that you see the whole commercial side for the boutiques and the exhibitions and that in the end gives you quite a good understanding of the global picture.   And you learn. I mean, at the end of the day you learned that in luxury brand you're telling an aesthetic story and that story has to be consistent across all the different touch points. And the more you are able to combine the unique different requirements of social media versus physical stores versus production facilities into a consistent story that both your colleagues, as well as your clients and everybody can buy into mentally, the easier job you have to explain what your brand stands for and what is on brand and what is not on brand. And I think one of the most difficult things is if you have brands that are completely inconsistently implemented and then have like a front of house in the back of house, it sometimes becomes confusing to take the right decisions. Whereas I think if you have this consistency, then after that, it's much easier for people to make their own judgmentson what's the right thing to do or not, because we're not in a business that's based on purely data and research. I mean, it is increasingly luckily based on some data inside, but you know, the best creations in the world of luxury are not derived by data analytics or marketing briefing or anything like that. It takes a moment of creativity and then you have to do a call whether this is something that fits your brand or not. And that's the decision between hopefully a hit product and something that ends up in the door.     When you say creativity, how important do you think is innovation in the luxury segment, particularly for watches?   Well, if you think about the fact that we're basically in a moment central business, we don't make something that is based on purely functional need, on just functional characteristics. So that moves it away from the ins and outs of checklists, right or wrong assessment of what you're doing. And you're into an area where it's all about the emotion you evoke, it's about things like scarcity, it's about things like perceived hotness and exclusivity and that you can only do by creating. I wouldn't necessarily always call it purely sort of innovation in terms of technical content, but it is really in the entire brand universe, from products to communication, to retail experience, to the way you talk about the brand,of what it activates.Creativity is absolutely key. And keeping that fascination, that’s not killing off the brand into something too predictable or even too boring, it's always this balancing act between newness and the sort of preserving the icons that we've been familiar with for the last 18 years or longer. And that's at the end of the day heritage and DNA versus newness and supply versus scarcity. That's kind of the leavers, which we have to play in our industry to keep our brands relevant and keep our fans.     When did your first interest for watches arise?   The first time I showed interest for watches was kind of a forced situation. My dad was buying his first Patek Nautilus back in the eighties. It felt to me like it took all day and I was sitting there looking at all these watches and I apparently knew this was a quality of mine when I was younger. I must've lost that, I was incredibly patient and waited there for hours on end. And in the end they bought me a Bernese dog cuddly toy. That was kinda my first contact with watches. Then I think I really picked it up again at the university. In my gap year I had the chance to work not only in fashion stores about men's jewelry and accessories, but also in the heart of London.   I think that's the first time when I really started to look into the beauty of these objects, when the shop kind of becomes an art gallery. And I think this is the thing with hard luxury. It's almost like a sculpture museum space rather than just a shop. It's very different from a fashion store. And I started to like that because the complexity that goes into something very simple, it's all about presentation, lighting, quality, etc., but you have all of the requirements of security materials, automation, all of this stuff behind. I really started to enjoy that sort of work. And I walked past the jewelersnear my university in Bournemouth. And I started to really feel quite interested in IWC back in the day, because I loved the purity of detail.   I love that engineering approach to the design, that understated confidence in the brand quite a lot. And then it will only be a couple of years later when I moved to Switzerland and I started to go privately to shows like Baselworldand become actually interested in IWC and the first watch that really caught me at the end was 2004 generation of the Aquatimer, which was made about the time when I moved to Switzerland. And then a couple of years into my university and professional experience here, there was a phone call whether we wanted to design an IWC museum.I loved that idea and jumped at itand that was it. I walked into the door here and thoughtI like it and that's never changed.     I’ve also read and found quite interesting that you were a former military athlete. How do you manage to stay in shape nowadays, with such a time consuming job?   I think you have to define at some point what do you mean by staying in shape for yourself. Because in the beginning, when you're at university, you have the time to properly train for competitions and so on. And especially when you're in the world of mountain running, trail running, any series of skiing. Whatever it is, it takes a tremendous amount of prep time. And at some point in your professional life you have to realize that can't be objective anymore. I mean, I admire all of the CEOs that do oneIronman after another. Literally, I'm not that angry at myself that I would get up at three o'clock every morning and do triathlon training. I think once you're in this mode in your life, it never goes away, but you have to realize at some point that you're going to be mildly ambitious. These days, I do about one bigger thing a year, be that a competition or a ride or something else. But I do this for the fun of it and not for beating the world record. It's changed quite a bit.    I don't know how I do it. Well, actually when you're traveling outside of the current lockdown,it's easy. Cause I only have myself to look after when I'm traveling. I enjoy running, whether it’s in Central park, Hong Kong, Red Rock Canyon or Vegas. There's plenty of stunning runs in South beach, Miami. I often pick my hotels in a way that they're convenient for exercising. Just recently, on the last trip before lockdown, it was my first time to Dallas. And we really needed to look at hotels so that they're close to the most promising running routes. Here at home, I try and fit it in whenever I can.      What are your thoughts on sustainability in the watch industry? Is there anything particularly that you are doing to do more sustainable and responsible to the environment?   I think itstartsreally with the product itself. When I look today at what we have done as humankind over the last 30, 40 years, we we've gone into quite a questionable cycle of throwaway consumption, times where things are being bought and replaced really frequently. We buy clothes and devices and we replace some of them and throw them away. And I think that mechanicalwatcheshave always made quite a powerful statement about sustainability, because you creating something that a is not in fashion, but that is timeless beauty. You build it in a way that it's designed to last forever and you maintain it for sometimes hundreds and hundreds of years. There’s really trust in where they’re made in, in one place in the heart of Europe that is preserving jobs, preserving craftsmanship and skills.    At the same time, you are not shipping products 16 times around the planet before they get to end consumers. When you come to Schaffhausen, we were set up right here where I'm sitting in my office. Florentine Ariosto Jones came from America and he set up IWC here and we're still here today, taking the same power from the river that Jones took directly via boats. We take it from the hydroponic station, but it's still the same thing.   When you come to Chicago, I can show you everybody from the initial watch designer to every step of the process of construction, to every step of manufacturing and even to the people who write the advertising headline, who create the movies and design the boutiques. I don't think that today there's many industries in many businesses, where you can still go to a single place and see the creation of something from start to finish.And when you buy it, you have something which really is absolutely unique to that process.    And then on top of that, I think my approach to sustainability is always that for us, it's a mindset. And that's a constant striving for trying to do things better than we did before. Nobody is perfect, but if we can improve our sourcing like we did with the gold sourcing, where we came out on top of the WWF study a couple of years ago, if we start launching sustainability reports, if we reduce the packaging that we ship around, eliminate plastic and non-recycled materials, eliminate plastic as much as we can from the supply chain in the brand globally, then bit by bit you're creating a product that people can feel genuinely good about.    One of the key things for us is that I don't run a front of house, back of house operations. So we welcome up to 10.000 people a year here in Schaffhausenand we show them everything and they can meet the people behind the process. And there's no double floors or hidden dark room. That's really important, because I think increasingly consumers demand, rightfully, to know where things are coming from, how things are being made and what the impact is.   It's something that is also coming out of the current situation. If we question a little bit the way we consume and the way we focus on things that really mean something to us and that we enjoy every time we use them. We wear them and we look after them and we repair them and fix them and maintain them. I do think that there is something to be learned from a throwaway consumption culture. When you think about the fact that all humans on the planet can probably fit into one cubic kilometer, if we pack them in tightly, it the end we deplete all of the resources on that very quickly. It's something to reconsider. And I think making things that are designed to be beautiful in hundreds of years and designed to last, can only be a good thing in that context.     Have you ever been to Amsterdam and if so, how would you describe the experience?   Yes, I've been to Amsterdam a few times. It looks like it has abeautiful quality of life and the right balance between urban density, sort of design, art, expression and instill kind of energy, which I like. Our e-com shipping center for Europe actually sits right in the heart of Amsterdam and there are some practical challenges when you are in an old, historic building in the heart of the city and you're trying to adapt that to modern automated warehouse standards. It’s a beautiful city to be in.    But I would change your airport, I think the distance between the runway and the terminal at Schipol is just ridiculous.To get from your gate to the exit ofSchipol youcan probably easily walk for 40minutes. The craziest spread out airportterminals anywhere on the planet. Zurich is literally, and I'm not saying that because we use it here, one of the most efficient airports where you can fly direct to almost anywhere, but you can get from the aircraft door to your car in literally seven minutes, if you don't have checked luggage, so it's ultra efficient in and out.      What do you have planned in the future, not after Corona really but in general?   As you know and as you're experiencing yourself, we just had a crash course in all sorts of video, remote technology. And that's really driven a whole range of innovation projects very quickly. So we're excited about all the possibilities that we've discovered through remote events and streaming and being able to extend sort of everything that we do or have done traditionally physically into the digital space, where we're suddenly creating a much broader reach and a much better experience for people who weren't able to travel halfway around the globe to take part in something previously. I think there's a lot of exciting things to come and the habits that have been formed in the last couple of months will surely stay with us and are really accelerating that process towards a more integrated world of physical and digital. And I'm very excited about that, because at the end of the day, that's just going to make our brands a better experience and we will be able to provide a betterservice.         We had a deligt speaking with the CEO of IWC, Christoph Grainer-Herr.       Tell us about your experience in several different departments and divisions at IWC. Where did it all start and how were the transitions like into new departments?   Well, that's an interesting thing. You know, I think I had probably 13 or so jobs, but I've always done the same. So to the present day, it hasn't really changed. I've started in trademarketing on the exhibitionsand boutiques. Back in the day, I’ve really just been hired as a project manager. And then I started to design the stuff from a laptop and drive our creative directorabsolutely crazy, because I started to change things. I did thisa couple of years, and then the trademarketingthings,whichreally is all of that plus visual merchandising, architecture, exhibitions and so on. What I’ve learned from all of that, I'd be seeing different countries, different cultures, what our clients are looking for, the building specifics in all of these different countries, which is super interesting. And also you get to meet all of the global teams. After that, I did a little bit of a stint in marketing. This was basically everything apart from Corp comms, but all of the print marketing, consumer marketing, catalogues, websiteand all that. And from there, I started to work quite heavily on other brands within the group. We did the retail concept, we would agree to BM concept for merch. Then in the end, I returned to retail here in Switzerland, did that for about two months. Then I did the sales director role for about 10 days, four to six weeks or something. And then the announcement came. So it was quite linear in the end and quite fast and quite scary. But, here we are.   And I think really, what have I taken from it? I think, it's when you work transversally, it's very, very, very interesting because you get to learn the entire organization inside out, including different countries. I think that gives you a really good head start to then pick up all sorts of different tasks and challenges. But once you understand what production takes, you know I worked for six years on the manufacturer design here for the new manufacturing building, that really gives you the inside out view of how, what comes together. And after that you see the whole commercial side for the boutiques and the exhibitions and that in the end gives you quite a good understanding of the global picture.   And you learn. I mean, at the end of the day you learned that in luxury brand you're telling an aesthetic story and that story has to be consistent across all the different touch points. And the more you are able to combine the unique different requirements of social media versus physical stores versus production facilities into a consistent story that both your colleagues, as well as your clients and everybody can buy into mentally, the easier job you have to explain what your brand stands for and what is on brand and what is not on brand. And I think one of the most difficult things is if you have brands that are completely inconsistently implemented and then have like a front of house in the back of house, it sometimes becomes confusing to take the right decisions. Whereas I think if you have this consistency, then after that, it's much easier for people to make their own judgmentson what's the right thing to do or not, because we're not in a business that's based on purely data and research. I mean, it is increasingly luckily based on some data inside, but you know, the best creations in the world of luxury are not derived by data analytics or marketing briefing or anything like that. It takes a moment of creativity and then you have to do a call whether this is something that fits your brand or not. And that's the decision between hopefully a hit product and something that ends up in the door.     When you say creativity, how important do you think is innovation in the luxury segment, particularly for watches?   Well, if you think about the fact that we're basically in a moment central business, we don't make something that is based on purely functional need, on just functional characteristics. So that moves it away from the ins and outs of checklists, right or wrong assessment of what you're doing. And you're into an area where it's all about the emotion you evoke, it's about things like scarcity, it's about things like perceived hotness and exclusivity and that you can only do by creating. I wouldn't necessarily always call it purely sort of innovation in terms of technical content, but it is really in the entire brand universe, from products to communication, to retail experience, to the way you talk about the brand,of what it activates.Creativity is absolutely key. And keeping that fascination, that’s not killing off the brand into something too predictable or even too boring, it's always this balancing act between newness and the sort of preserving the icons that we've been familiar with for the last 18 years or longer. And that's at the end of the day heritage and DNA versus newness and supply versus scarcity. That's kind of the leavers, which we have to play in our industry to keep our brands relevant and keep our fans.     When did your first interest for watches arise?   The first time I showed interest for watches was kind of a forced situation. My dad was buying his first Patek Nautilus back in the eighties. It felt to me like it took all day and I was sitting there looking at all these watches and I apparently knew this was a quality of mine when I was younger. I must've lost that, I was incredibly patient and waited there for hours on end. And in the end they bought me a Bernese dog cuddly toy. That was kinda my first contact with watches. Then I think I really picked it up again at the university. In my gap year I had the chance to work not only in fashion stores about men's jewelry and accessories, but also in the heart of London.   I think that's the first time when I really started to look into the beauty of these objects, when the shop kind of becomes an art gallery. And I think this is the thing with hard luxury. It's almost like a sculpture museum space rather than just a shop. It's very different from a fashion store. And I started to like that because the complexity that goes into something very simple, it's all about presentation, lighting, quality, etc., but you have all of the requirements of security materials, automation, all of this stuff behind. I really started to enjoy that sort of work. And I walked past the jewelersnear my university in Bournemouth. And I started to really feel quite interested in IWC back in the day, because I loved the purity of detail.   I love that engineering approach to the design, that understated confidence in the brand quite a lot. And then it will only be a couple of years later when I moved to Switzerland and I started to go privately to shows like Baselworldand become actually interested in IWC and the first watch that really caught me at the end was 2004 generation of the Aquatimer, which was made about the time when I moved to Switzerland. And then a couple of years into my university and professional experience here, there was a phone call whether we wanted to design an IWC museum.I loved that idea and jumped at itand that was it. I walked into the door here and thoughtI like it and that's never changed.     I’ve also read and found quite interesting that you were a former military athlete. How do you manage to stay in shape nowadays, with such a time consuming job?   I think you have to define at some point what do you mean by staying in shape for yourself. Because in the beginning, when you're at university, you have the time to properly train for competitions and so on. And especially when you're in the world of mountain running, trail running, any series of skiing. Whatever it is, it takes a tremendous amount of prep time. And at some point in your professional life you have to realize that can't be objective anymore. I mean, I admire all of the CEOs that do oneIronman after another. Literally, I'm not that angry at myself that I would get up at three o'clock every morning and do triathlon training. I think once you're in this mode in your life, it never goes away, but you have to realize at some point that you're going to be mildly ambitious. These days, I do about one bigger thing a year, be that a competition or a ride or something else. But I do this for the fun of it and not for beating the world record. It's changed quite a bit.    I don't know how I do it. Well, actually when you're traveling outside of the current lockdown,it's easy. Cause I only have myself to look after when I'm traveling. I enjoy running, whether it’s in Central park, Hong Kong, Red Rock Canyon or Vegas. There's plenty of stunning runs in South beach, Miami. I often pick my hotels in a way that they're convenient for exercising. Just recently, on the last trip before lockdown, it was my first time to Dallas. And we really needed to look at hotels so that they're close to the most promising running routes. Here at home, I try and fit it in whenever I can.      What are your thoughts on sustainability in the watch industry? Is there anything particularly that you are doing to do more sustainable and responsible to the environment?   I think itstartsreally with the product itself. When I look today at what we have done as humankind over the last 30, 40 years, we we've gone into quite a questionable cycle of throwaway consumption, times where things are being bought and replaced really frequently. We buy clothes and devices and we replace some of them and throw them away. And I think that mechanicalwatcheshave always made quite a powerful statement about sustainability, because you creating something that a is not in fashion, but that is timeless beauty. You build it in a way that it's designed to last forever and you maintain it for sometimes hundreds and hundreds of years. There’s really trust in where they’re made in, in one place in the heart of Europe that is preserving jobs, preserving craftsmanship and skills.    At the same time, you are not shipping products 16 times around the planet before they get to end consumers. When you come to Schaffhausen, we were set up right here where I'm sitting in my office. Florentine Ariosto Jones came from America and he set up IWC here and we're still here today, taking the same power from the river that Jones took directly via boats. We take it from the hydroponic station, but it's still the same thing.   When you come to Chicago, I can show you everybody from the initial watch designer to every step of the process of construction, to every step of manufacturing and even to the people who write the advertising headline, who create the movies and design the boutiques. I don't think that today there's many industries in many businesses, where you can still go to a single place and see the creation of something from start to finish.And when you buy it, you have something which really is absolutely unique to that process.    And then on top of that, I think my approach to sustainability is always that for us, it's a mindset. And that's a constant striving for trying to do things better than we did before. Nobody is perfect, but if we can improve our sourcing like we did with the gold sourcing, where we came out on top of the WWF study a couple of years ago, if we start launching sustainability reports, if we reduce the packaging that we ship around, eliminate plastic and non-recycled materials, eliminate plastic as much as we can from the supply chain in the brand globally, then bit by bit you're creating a product that people can feel genuinely good about.    One of the key things for us is that I don't run a front of house, back of house operations. So we welcome up to 10.000 people a year here in Schaffhausenand we show them everything and they can meet the people behind the process. And there's no double floors or hidden dark room. That's really important, because I think increasingly consumers demand, rightfully, to know where things are coming from, how things are being made and what the impact is.   It's something that is also coming out of the current situation. If we question a little bit the way we consume and the way we focus on things that really mean something to us and that we enjoy every time we use them. We wear them and we look after them and we repair them and fix them and maintain them. I do think that there is something to be learned from a throwaway consumption culture. When you think about the fact that all humans on the planet can probably fit into one cubic kilometer, if we pack them in tightly, it the end we deplete all of the resources on that very quickly. It's something to reconsider. And I think making things that are designed to be beautiful in hundreds of years and designed to last, can only be a good thing in that context.     Have you ever been to Amsterdam and if so, how would you describe the experience?   Yes, I've been to Amsterdam a few times. It looks like it has abeautiful quality of life and the right balance between urban density, sort of design, art, expression and instill kind of energy, which I like. Our e-com shipping center for Europe actually sits right in the heart of Amsterdam and there are some practical challenges when you are in an old, historic building in the heart of the city and you're trying to adapt that to modern automated warehouse standards. It’s a beautiful city to be in.    But I would change your airport, I think the distance between the runway and the terminal at Schipol is just ridiculous.To get from your gate to the exit ofSchipol youcan probably easily walk for 40minutes. The craziest spread out airportterminals anywhere on the planet. Zurich is literally, and I'm not saying that because we use it here, one of the most efficient airports where you can fly direct to almost anywhere, but you can get from the aircraft door to your car in literally seven minutes, if you don't have checked luggage, so it's ultra efficient in and out.      What do you have planned in the future, not after Corona really but in general?   As you know and as you're experiencing yourself, we just had a crash course in all sorts of video, remote technology. And that's really driven a whole range of innovation projects very quickly. So we're excited about all the possibilities that we've discovered through remote events and streaming and being able to extend sort of everything that we do or have done traditionally physically into the digital space, where we're suddenly creating a much broader reach and a much better experience for people who weren't able to travel halfway around the globe to take part in something previously. I think there's a lot of exciting things to come and the habits that have been formed in the last couple of months will surely stay with us and are really accelerating that process towards a more integrated world of physical and digital. And I'm very excited about that, because at the end of the day, that's just going to make our brands a better experience and we will be able to provide a betterservice.        

 My BOY∙FRIEND BY CHANEL
651

My BOY∙FRIEND BY CHANEL

Watches Since 2015, the BOY∙FRIEND watch holds within the art of twisting the elements from the masculine wardrobe so dear to Mademoiselle Chanel. With its enigmatic name it doesn't think twice about shaking up the classic, feminine watchmaking codes.   CHANEL, committed to no longer using exotic leather straps for its watches, presents MY BOY∙FRIEND with a large selection of straps to personalize your BOY∙FRIEND watch. The decision was based on the increasing complexity of sourcing exotic skins that meet CHANEL's high standards in terms of both ethics (traceability guarantee, breeding conditions) and quality.   Combine different watch sizes with colored straps in calfskin, alligator motif or quilted motif, tweed, and tweed motif in beige gold or steel. Play with MY BOY∙FRIEND.     #CHANELBoyFriend #CHANELWatches Since 2015, the BOY∙FRIEND watch holds within the art of twisting the elements from the masculine wardrobe so dear to Mademoiselle Chanel. With its enigmatic name it doesn't think twice about shaking up the classic, feminine watchmaking codes.   CHANEL, committed to no longer using exotic leather straps for its watches, presents MY BOY∙FRIEND with a large selection of straps to personalize your BOY∙FRIEND watch. The decision was based on the increasing complexity of sourcing exotic skins that meet CHANEL's high standards in terms of both ethics (traceability guarantee, breeding conditions) and quality.   Combine different watch sizes with colored straps in calfskin, alligator motif or quilted motif, tweed, and tweed motif in beige gold or steel. Play with MY BOY∙FRIEND.     #CHANELBoyFriend #CHANELWatches

IN THE SPOTLIGHT: BREITLING’S CHRONOMAT FOR WOMEN
632

IN THE SPOTLIGHT: BREITLING’S CHRONOMAT FOR WOMEN

Watches Lights, camera, double debut: we’re thrilled to present Breitling’s new Spotlight Squad as we launch our line of Chronomat 36 and 32 watches – for women of purpose, action, and style.     “Our inspiration for this new collection is the Breitling woman herself, as represented in our #SQUADONAMISSION campaign: a woman of purpose, action, and style who’s at the top of her game,” says Breitling CEO Georges Kern.     Some people have mastered the art of not only shining in the spotlight, but also shining their light on others and inspiring change in the world. Three of them are on our Spotlight Squad: Charlize Theron, Misty Copeland, and Yao Chen. These extraordinary entertainers are at the top of their game, and have shattered the stereo­ types clinging to their gender and respective fields. Originally from South Africa, Oscar­winner Charlize Theron has proven her versatility in numerous roles and genres. In 2004, she won the Academy Award for Best Actress after playing a serial killer in Monster. In 2019, she starred in and co­produced the dramaBombshell, for which she was nominated for another Academy Award. In 2007, dancer Misty Copeland was only the second African­American woman to be promoted to soloist with American Ballet Theatre (ABT); in 2015, she was the first African­American woman to become a princi­ pal dancer. That year, Time magazine named her one of the world’s 100 most influential people. Chinese TV and film actress Yao Chen has won many awards, including the Audience Choice category of China’s Golden Eagle Award (2010) and Best Actress at the Busan International Film Festival (2016, Asian Content). In 2019, she won the Golden Mulberry Award for Lifetime Achievement at the Far East Film Festival.     A Passion for More:   In addition to excelling on screen and on stage, these three are not afraid to take control of their own story­ lines while trying to improve the lives of others. Indeed, they form a tenacious squad of women who stand up for their beliefs and the issues closest to their hearts. Breitling CEO Georges Kern adds: “Who better than Charlize Theron, Misty Copeland, and Yao Chen to turn the spotlight on major global causes as they redefine what it means to be a strong woman? Three leading stars known for being fierce and pushing boundaries. What binds them together is the Spotlight Squad and Breitling’s dedication to change, diversity, and reshap­ ing the world we live in.” “And now – dedicated to women – the new Chronomat 36 and 32 collection embodies flair, confidence, and an active lifestyle.”     Ready for any Mission:   With its commitment to core values and innovation, Breitling is also about pushing boundaries, whether it is high above the clouds, on the ground, or deep below the ocean waves. As versatile and attractive as the Spotlight Squad, its latest collection – the Chronomat 36 and 32 series – takes women wherever they want to go. Breitling’s first­ever Chronomat designed for women is suitable for any mission. While its roots are in the 1980s, this forward­looking timepiece is dedicated to innovative women of today who are reshaping atti­ tudes and challenging stereotypes. Sporty yet elegant, this modern­retro­inspired watch easily takes its wearer from business meeting to the beach – and everywhere in between. It symbolizes competence and effortless style.     Dutch Ambassadors:   Igone de Jongh trained at the National Ballet Academy in Amsterdam and The Royal Ballet School in London. Subsequently, she is promoted to principal soloist at the age of 24. Trust, perseverance and optimism are her core values. Even when she ended up wrong at twelve with the risk of never being able to dance again, she has not given up on her dream. What followed was an impressive career, which, thanks to her unique way of movement, brought about packed houses and standing ovations.   “For me, time is being in the moment: honest, sincere. Train and practice until my coordination and timing are right - are one. Then you become weightless, as if time stood still. Moments that make everything worthwhile. ”     In addition to being an actress and film maker, Hanna Verboom is also a social entrepreneur. Hanna is the founder of Get It Done (2007), an organization that inspires and activates people to work for others. At the end of 2014, she founded Cinetree, an on-demand film platform that, together with experts, makes a selection of inspiring films and documentaries every month. In addition to her own businesses, Hanna is committed to local, sustainable brands and social initiatives. Big dreams, small steps, this is her entrepreneurial mantra.   “Time is everything, it's the one thing we can't hold on to. It's the one thing we can't control or buy. That is why I consciously choose to only do things that I really believe in. ”     Yootha Wong-Loi-Sing is an actress and singer. She starred in LOVE IS_, a series for the Oprah Winfrey Network, and in REALLY LOVE, for which she received a prestigious acting award at the American festival SXSW. Growth is the great motivator in her life. During the filming of the lead role in 'How expensive was the sugar', an impressive time arose in which she could use her great talent and learned the importance of gathering knowledge. She received a nomination for a Golden Calf for this role.   “For me, time is surrender, showing myself my most vulnerable side. Time is endless and has no beginning and no end. It's about how much you enjoyed something, with your heart, the purest compass. ” Lights, camera, double debut: we’re thrilled to present Breitling’s new Spotlight Squad as we launch our line of Chronomat 36 and 32 watches – for women of purpose, action, and style.     “Our inspiration for this new collection is the Breitling woman herself, as represented in our #SQUADONAMISSION campaign: a woman of purpose, action, and style who’s at the top of her game,” says Breitling CEO Georges Kern.     Some people have mastered the art of not only shining in the spotlight, but also shining their light on others and inspiring change in the world. Three of them are on our Spotlight Squad: Charlize Theron, Misty Copeland, and Yao Chen. These extraordinary entertainers are at the top of their game, and have shattered the stereo­ types clinging to their gender and respective fields. Originally from South Africa, Oscar­winner Charlize Theron has proven her versatility in numerous roles and genres. In 2004, she won the Academy Award for Best Actress after playing a serial killer in Monster. In 2019, she starred in and co­produced the dramaBombshell, for which she was nominated for another Academy Award. In 2007, dancer Misty Copeland was only the second African­American woman to be promoted to soloist with American Ballet Theatre (ABT); in 2015, she was the first African­American woman to become a princi­ pal dancer. That year, Time magazine named her one of the world’s 100 most influential people. Chinese TV and film actress Yao Chen has won many awards, including the Audience Choice category of China’s Golden Eagle Award (2010) and Best Actress at the Busan International Film Festival (2016, Asian Content). In 2019, she won the Golden Mulberry Award for Lifetime Achievement at the Far East Film Festival.     A Passion for More:   In addition to excelling on screen and on stage, these three are not afraid to take control of their own story­ lines while trying to improve the lives of others. Indeed, they form a tenacious squad of women who stand up for their beliefs and the issues closest to their hearts. Breitling CEO Georges Kern adds: “Who better than Charlize Theron, Misty Copeland, and Yao Chen to turn the spotlight on major global causes as they redefine what it means to be a strong woman? Three leading stars known for being fierce and pushing boundaries. What binds them together is the Spotlight Squad and Breitling’s dedication to change, diversity, and reshap­ ing the world we live in.” “And now – dedicated to women – the new Chronomat 36 and 32 collection embodies flair, confidence, and an active lifestyle.”     Ready for any Mission:   With its commitment to core values and innovation, Breitling is also about pushing boundaries, whether it is high above the clouds, on the ground, or deep below the ocean waves. As versatile and attractive as the Spotlight Squad, its latest collection – the Chronomat 36 and 32 series – takes women wherever they want to go. Breitling’s first­ever Chronomat designed for women is suitable for any mission. While its roots are in the 1980s, this forward­looking timepiece is dedicated to innovative women of today who are reshaping atti­ tudes and challenging stereotypes. Sporty yet elegant, this modern­retro­inspired watch easily takes its wearer from business meeting to the beach – and everywhere in between. It symbolizes competence and effortless style.     Dutch Ambassadors:   Igone de Jongh trained at the National Ballet Academy in Amsterdam and The Royal Ballet School in London. Subsequently, she is promoted to principal soloist at the age of 24. Trust, perseverance and optimism are her core values. Even when she ended up wrong at twelve with the risk of never being able to dance again, she has not given up on her dream. What followed was an impressive career, which, thanks to her unique way of movement, brought about packed houses and standing ovations.   “For me, time is being in the moment: honest, sincere. Train and practice until my coordination and timing are right - are one. Then you become weightless, as if time stood still. Moments that make everything worthwhile. ”     In addition to being an actress and film maker, Hanna Verboom is also a social entrepreneur. Hanna is the founder of Get It Done (2007), an organization that inspires and activates people to work for others. At the end of 2014, she founded Cinetree, an on-demand film platform that, together with experts, makes a selection of inspiring films and documentaries every month. In addition to her own businesses, Hanna is committed to local, sustainable brands and social initiatives. Big dreams, small steps, this is her entrepreneurial mantra.   “Time is everything, it's the one thing we can't hold on to. It's the one thing we can't control or buy. That is why I consciously choose to only do things that I really believe in. ”     Yootha Wong-Loi-Sing is an actress and singer. She starred in LOVE IS_, a series for the Oprah Winfrey Network, and in REALLY LOVE, for which she received a prestigious acting award at the American festival SXSW. Growth is the great motivator in her life. During the filming of the lead role in 'How expensive was the sugar', an impressive time arose in which she could use her great talent and learned the importance of gathering knowledge. She received a nomination for a Golden Calf for this role.   “For me, time is surrender, showing myself my most vulnerable side. Time is endless and has no beginning and no end. It's about how much you enjoyed something, with your heart, the purest compass. ”

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Kiton x Chopard
614

Kiton x Chopard

Watches With the L.U.C XP Il Sarto Kiton timepiece, Chopard is introducing its first partnership with the Kiton Ateliers, masters of Italian tailoring. This strictly limited edition of 100 ultra-thin watches in beadblasted DLC-coated steel is soberly attired with a houndstooth-patterned dial and a slate-coloured cashmere strap lined with red alligator leather. Mechanical excellence is guaranteed by the L.U.C 96.53-L mechanical movement with automatic winding, equipped with a tungsten micro-rotor and Chopard Twin technology ensuring a power reserve lasting more than two days. The best of Swiss Haute Horlogerie and Italian sprezzatura.     Expertise: Known for its elegance imbued with a spirit of purity and simplicity, the ultra-thin L.U.C XP timepiece is nattily attired in a ‘suit’ made to measure by the artisans of the Kiton Ateliers. The encounter between the Swiss watchmaker and the Neapolitan couturier appears to have been written in the stars. Both representing family Maisons committed to the same vision of craftsmanship and tradition, these two great names in masculine elegance have combined their know-how in creating the L.U.C XP Il Sarto Kiton watch. On the one hand, Karl-Friedrich Scheufele – Co-President of Chopard and the man behind the creation of Chopard Manufacture in 1996 – with his vision of traditional Haute Horlogerie firmly focused on the contemporary world and 21st century innovations. On the other hand, the fertile creativity of the disciples of Ciro Paone, the founder of the Kiton ateliers in 1968, who believed that: "Men are an inexhaustible source of inspiration, each of their steps is a call to creation".    "L.U.C. is a collection of Haute Horlogerie watches that stands out for its distinctive character. Our partnership with Kiton is an entirely logical move, in that over the years our two family Maisons have proven the excellence of their craftsmanship and their fertile creativity”, says Karl-Friedrich Scheufele. The result is a highly exclusive timepiece, produced in a numbered 100-piece limited edition.     Allure:   First and foremost, the L.U.C XP Il Sarto Kiton is perfectly proportioned thanks to a 40 mm diameter case that is a mere 7.2 mm thick. This ultra-thin look enables genuine wearer comfort and imposes an aura of simplicity, two imperatives that sum up the philosophy of the L.U.C collection and contribute to its elegance, thereby echoing Ciro Paone's motto: "Elegance must be associated with simplicity".    The allure of this timepiece also lies in its chromatic uniformity: a beautiful black silhouette, subtly carved out from the slate grey shades of the beadblasted DLC (Diamond-Like Carbon) steel case, dial and strap.   Achieved by galvanic treatment and lacquered finishes, the Kiton Ateliers’ signature is evident at first glance on the brass dial thanks to the Neapolitan tailor's houndstooth motif that has been a firm favourite since it purchased at auction the wardrobe of King Edward VIII of England, who was hailed, if not for his ephemeral reign, at least for his elegance as an acknowledged dandy.    Against this dark background, the golden Arabic numerals matching the hour-markers and fusée-type Dauphine hands make the hours and minutes perfectly legible. The quarter-hour indications and the Kiton logo at 6 o'clock add a subtle red touch that is picked up in the topstitching on the strap. Testimony to the same artisanal approach, the latter is handmade, free of any chemical treatment and comes in a soft blend of Mongolian cashmere, wool and flannel with a slight touch of elastane, ensuring enhanced wearer comfort. This opulent wristband is lined with red alligator leather as is a second black alligator leather strap also sold with the model.     Accuracy:   Because all the timepieces produced in Chopard Manufacture's watchmaking workshops are amply matched by mechanical perfection, the L.U.C XP Il Sarto Kiton incorporates an in-house movement, the L.U.C 96.53-L calibre. Ultra-thin at just 3.3 mm thick, this is an evolution of Chopard Manufacture's first L.U.C 96.01-L movement, synonymous with watchmaking excellence and applied in a multitude of new interpretations since it was first presented in 1996.    Like its illustrious ancestor, and thanks to Chopard Twin technology, the mechanical movement L.U.C 96.53-L with automatic winding is equipped with twin barrels ensuring a 58-hour power reserve. It is powered by a micro-rotor made of tungsten, a high-density alloy facilitating optimal winding. Featuring movement bridges finely decorated with "Côtes de Genève", the L.U.C XP Il Sarto Kiton watch is equally beautiful inside and out, which is precisely why its precious calibre is visible through a transparent case-back.     L.U.C: a collection for gentlemen:   The L.U.C. collection embodies the perfect blend of virility and sensitivity, humility and charisma that define the modern-day gentleman. It epitomises an ideal alliance between aesthetics and mechanics, celebrated by those who make their existence a quest for fine craftsmanship and regard inward and outward beauty as an art of living. It is for them that Chopard – an independent family Maison drawing upon the ancestral expertise of its master-watchmakers – performs all stages of production in its Geneva and Fleurier workshops: from movement design to quality control through product design, case stamping and machining, the manufacture of movement components, as well as their hand decoration, surface treatment, polishing, assembly and adjustment. With the L.U.C XP Il Sarto Kiton timepiece, Chopard is introducing its first partnership with the Kiton Ateliers, masters of Italian tailoring. This strictly limited edition of 100 ultra-thin watches in beadblasted DLC-coated steel is soberly attired with a houndstooth-patterned dial and a slate-coloured cashmere strap lined with red alligator leather. Mechanical excellence is guaranteed by the L.U.C 96.53-L mechanical movement with automatic winding, equipped with a tungsten micro-rotor and Chopard Twin technology ensuring a power reserve lasting more than two days. The best of Swiss Haute Horlogerie and Italian sprezzatura.     Expertise: Known for its elegance imbued with a spirit of purity and simplicity, the ultra-thin L.U.C XP timepiece is nattily attired in a ‘suit’ made to measure by the artisans of the Kiton Ateliers. The encounter between the Swiss watchmaker and the Neapolitan couturier appears to have been written in the stars. Both representing family Maisons committed to the same vision of craftsmanship and tradition, these two great names in masculine elegance have combined their know-how in creating the L.U.C XP Il Sarto Kiton watch. On the one hand, Karl-Friedrich Scheufele – Co-President of Chopard and the man behind the creation of Chopard Manufacture in 1996 – with his vision of traditional Haute Horlogerie firmly focused on the contemporary world and 21st century innovations. On the other hand, the fertile creativity of the disciples of Ciro Paone, the founder of the Kiton ateliers in 1968, who believed that: "Men are an inexhaustible source of inspiration, each of their steps is a call to creation".    "L.U.C. is a collection of Haute Horlogerie watches that stands out for its distinctive character. Our partnership with Kiton is an entirely logical move, in that over the years our two family Maisons have proven the excellence of their craftsmanship and their fertile creativity”, says Karl-Friedrich Scheufele. The result is a highly exclusive timepiece, produced in a numbered 100-piece limited edition.     Allure:   First and foremost, the L.U.C XP Il Sarto Kiton is perfectly proportioned thanks to a 40 mm diameter case that is a mere 7.2 mm thick. This ultra-thin look enables genuine wearer comfort and imposes an aura of simplicity, two imperatives that sum up the philosophy of the L.U.C collection and contribute to its elegance, thereby echoing Ciro Paone's motto: "Elegance must be associated with simplicity".    The allure of this timepiece also lies in its chromatic uniformity: a beautiful black silhouette, subtly carved out from the slate grey shades of the beadblasted DLC (Diamond-Like Carbon) steel case, dial and strap.   Achieved by galvanic treatment and lacquered finishes, the Kiton Ateliers’ signature is evident at first glance on the brass dial thanks to the Neapolitan tailor's houndstooth motif that has been a firm favourite since it purchased at auction the wardrobe of King Edward VIII of England, who was hailed, if not for his ephemeral reign, at least for his elegance as an acknowledged dandy.    Against this dark background, the golden Arabic numerals matching the hour-markers and fusée-type Dauphine hands make the hours and minutes perfectly legible. The quarter-hour indications and the Kiton logo at 6 o'clock add a subtle red touch that is picked up in the topstitching on the strap. Testimony to the same artisanal approach, the latter is handmade, free of any chemical treatment and comes in a soft blend of Mongolian cashmere, wool and flannel with a slight touch of elastane, ensuring enhanced wearer comfort. This opulent wristband is lined with red alligator leather as is a second black alligator leather strap also sold with the model.     Accuracy:   Because all the timepieces produced in Chopard Manufacture's watchmaking workshops are amply matched by mechanical perfection, the L.U.C XP Il Sarto Kiton incorporates an in-house movement, the L.U.C 96.53-L calibre. Ultra-thin at just 3.3 mm thick, this is an evolution of Chopard Manufacture's first L.U.C 96.01-L movement, synonymous with watchmaking excellence and applied in a multitude of new interpretations since it was first presented in 1996.    Like its illustrious ancestor, and thanks to Chopard Twin technology, the mechanical movement L.U.C 96.53-L with automatic winding is equipped with twin barrels ensuring a 58-hour power reserve. It is powered by a micro-rotor made of tungsten, a high-density alloy facilitating optimal winding. Featuring movement bridges finely decorated with "Côtes de Genève", the L.U.C XP Il Sarto Kiton watch is equally beautiful inside and out, which is precisely why its precious calibre is visible through a transparent case-back.     L.U.C: a collection for gentlemen:   The L.U.C. collection embodies the perfect blend of virility and sensitivity, humility and charisma that define the modern-day gentleman. It epitomises an ideal alliance between aesthetics and mechanics, celebrated by those who make their existence a quest for fine craftsmanship and regard inward and outward beauty as an art of living. It is for them that Chopard – an independent family Maison drawing upon the ancestral expertise of its master-watchmakers – performs all stages of production in its Geneva and Fleurier workshops: from movement design to quality control through product design, case stamping and machining, the manufacture of movement components, as well as their hand decoration, surface treatment, polishing, assembly and adjustment.

MONTBLANC UNVEILS THE 1858 GEOSPHERE LIMITED EDITION IN PARTNERSHIP WITH MOUNTAINEER REINHOLD MESSNER
617

MONTBLANC UNVEILS THE 1858 GEOSPHERE LIMITED EDITION IN PARTNERSHIP WITH MOUNTAINEER REINHOLD MESSNER

Watches Montblanc is now introducing a 1858 Geosphere Limited Edition entirely dedicated to Reinhold Messner, the legendary climber and explorer who is renowned for his pioneering ascents of the world’s highest peaks, and his variation of the Seven Summits Challenge, known as Messner’s List.    Montblanc 1858 collection:   Montblanc 1858 timepieces are designed and conceived as the tool watches for mountain exploration, taking inspiration from the Minerva pocket watches and chronographs from the 1920s and 1930s that were conceived for military use.   In 2018, Montblanc launched the 1858 Geosphere, a manufacture timepiece with a new way of displaying the indication of the worldtime in a bold way with two recognizable turning discs representing the northern and southern hemispheres. From the outset, the timepiece has been linked to the Seven Summits theme featuring Reinhold Messner’s version of the challenge. Referred to as “Messner’s List”, his route is one of four variations of how to climb the highest peaks on each of the seven continents and is considered the most difficult version of all.   Montblanc 1858 Geosphere Messner Limited Edition 262 pieces   Thanks to a creative and inspiring collaboration with Reinhold Messner, the Montblanc 1858 Geosphere Messner Limited Edition piece was born. The timepiece harmoniously combines bronze, blue, and rose gold-coated elements, giving it a true vintage aesthetic reminiscent of the mountaineering exploration tools from the past. In the dark almost all the elements of the dial and bezel are luminescent, with a splash of SuperLumiNova® in different colours.   Limited to 262 pieces, the timepiece is a nod to all the peaks over 26,200 feet that Messner climbed during his career.   About Reinhold Messner   Reinhold Messner is an Italian mountaineer, explorer, and author. He made the first solo ascent of Mount Everest and the first ascent of Everest without supplemental oxygen along with Peter Habeler. He was also the first person to climb all 14 peaks over 8,000 metres (26,200 feet). In 1989-1990, he and German explorer Arved Fuchs were the first to cross Antarctica and Greenland on foot without the use of dog sleds or snowmobiles. In 2004, he was the first to trek 2,000 km (1,250 miles) across the Gobi desert. He has published over 80 books about his experiences, has served one term (1999-2004) in the European Parliament, where he championed environmental issues, and in 2018, he received the Princess of Asturias Award in the Sports category, along with fellow mountaineer Krzysztof Wielicki. He is now overseeing the creation of a number of museums dedicated to alpinism and the mountains.   This limited edition will be available in Montblanc boutiques from October 23th, 2020.   www.montblanc.com Montblanc is now introducing a 1858 Geosphere Limited Edition entirely dedicated to Reinhold Messner, the legendary climber and explorer who is renowned for his pioneering ascents of the world’s highest peaks, and his variation of the Seven Summits Challenge, known as Messner’s List.    Montblanc 1858 collection:   Montblanc 1858 timepieces are designed and conceived as the tool watches for mountain exploration, taking inspiration from the Minerva pocket watches and chronographs from the 1920s and 1930s that were conceived for military use.   In 2018, Montblanc launched the 1858 Geosphere, a manufacture timepiece with a new way of displaying the indication of the worldtime in a bold way with two recognizable turning discs representing the northern and southern hemispheres. From the outset, the timepiece has been linked to the Seven Summits theme featuring Reinhold Messner’s version of the challenge. Referred to as “Messner’s List”, his route is one of four variations of how to climb the highest peaks on each of the seven continents and is considered the most difficult version of all.   Montblanc 1858 Geosphere Messner Limited Edition 262 pieces   Thanks to a creative and inspiring collaboration with Reinhold Messner, the Montblanc 1858 Geosphere Messner Limited Edition piece was born. The timepiece harmoniously combines bronze, blue, and rose gold-coated elements, giving it a true vintage aesthetic reminiscent of the mountaineering exploration tools from the past. In the dark almost all the elements of the dial and bezel are luminescent, with a splash of SuperLumiNova® in different colours.   Limited to 262 pieces, the timepiece is a nod to all the peaks over 26,200 feet that Messner climbed during his career.   About Reinhold Messner   Reinhold Messner is an Italian mountaineer, explorer, and author. He made the first solo ascent of Mount Everest and the first ascent of Everest without supplemental oxygen along with Peter Habeler. He was also the first person to climb all 14 peaks over 8,000 metres (26,200 feet). In 1989-1990, he and German explorer Arved Fuchs were the first to cross Antarctica and Greenland on foot without the use of dog sleds or snowmobiles. In 2004, he was the first to trek 2,000 km (1,250 miles) across the Gobi desert. He has published over 80 books about his experiences, has served one term (1999-2004) in the European Parliament, where he championed environmental issues, and in 2018, he received the Princess of Asturias Award in the Sports category, along with fellow mountaineer Krzysztof Wielicki. He is now overseeing the creation of a number of museums dedicated to alpinism and the mountains.   This limited edition will be available in Montblanc boutiques from October 23th, 2020.   www.montblanc.com

SWATCH PRESENTS SISTEM51 BIO-RELOADED MODELS
593

SWATCH PRESENTS SISTEM51 BIO-RELOADED MODELS

Watches The famed SWATCH SISTEM51 mechanical watches are now made of materials sourced from nature! When innovation, bio-sourcing and Swiss time-precision are combined, time is used to its most ecient level as truly: time is what you make of it. Inserted into a mechanical movement, 51 pieces, 1 screw and all assembled automatically: a real innovation concentrate combined in one watch with an up-to-date message – Swatch is timeless.     This September Swatch presented its latest innovation that marked the first time a watchmaker has succeeded in replacing all conventional by bio-sourced origins in a series production environment. Perfectly tting these strong models requires strong statements that will speak either to your mind or to your heart: “DON’T BE TOO LATE” and “TIME IS WHAT YOU MAKE OF IT” – the choice is all yours.     The recently introduced bio-sourced materials, extracted from the seeds of the castor plant, now debut in the brand’s mechanical watch line SISTEM51, a real engineering feat. The rst mechanical movement ever made whose assembly is fully automated remains a true sensation in the industry, recognized as one of the most interesting mechanical developments in the watchmaking industry this past decade. Like any automatic watch, SISTEM51 has no need for a battery - it is powered by the person who wears it. Every movement of the wrist sets the rotor in motion, winding the watch, so SISTEM51 features an ‘automatic’, or ‘self-winding’ movement. Even when removed from the wrist and put to rest for a while, it keeps on going for an exceptional 90 hours, thanks to the kind support of your gestures. Therefore, there is not a moment to lose, don’t be too late to grab a hold of these bio-reloaded mechanical highlights. The famed SWATCH SISTEM51 mechanical watches are now made of materials sourced from nature! When innovation, bio-sourcing and Swiss time-precision are combined, time is used to its most ecient level as truly: time is what you make of it. Inserted into a mechanical movement, 51 pieces, 1 screw and all assembled automatically: a real innovation concentrate combined in one watch with an up-to-date message – Swatch is timeless.     This September Swatch presented its latest innovation that marked the first time a watchmaker has succeeded in replacing all conventional by bio-sourced origins in a series production environment. Perfectly tting these strong models requires strong statements that will speak either to your mind or to your heart: “DON’T BE TOO LATE” and “TIME IS WHAT YOU MAKE OF IT” – the choice is all yours.     The recently introduced bio-sourced materials, extracted from the seeds of the castor plant, now debut in the brand’s mechanical watch line SISTEM51, a real engineering feat. The rst mechanical movement ever made whose assembly is fully automated remains a true sensation in the industry, recognized as one of the most interesting mechanical developments in the watchmaking industry this past decade. Like any automatic watch, SISTEM51 has no need for a battery - it is powered by the person who wears it. Every movement of the wrist sets the rotor in motion, winding the watch, so SISTEM51 features an ‘automatic’, or ‘self-winding’ movement. Even when removed from the wrist and put to rest for a while, it keeps on going for an exceptional 90 hours, thanks to the kind support of your gestures. Therefore, there is not a moment to lose, don’t be too late to grab a hold of these bio-reloaded mechanical highlights.

Chopard introduces L.U.C Skull One
595

Chopard introduces L.U.C Skull One

Watches Chopard presents the L.U.C Skull One, a 100-piece limited-edition adorned with a Mexican calavera as a tribute to the Day of the Dead.  Clad in a beautiful combination of dark hues thanks to a black dial with lacquered finishes and gold hour-markers, the L.U.C Skull One features a 40 mm case in beadblasted DLC stainless steel and a brown calfskin leather strap. Beneath this mischievous death mask beats the L.U.C 96.53-L mechanical movement with automatic winding, crafted by Chopard Manufacture Artisans.      A design inspired by ancient traditions: A syncretic tradition, born in the Aztec civilization and blended with Spanish Catholicism, the Día de los Muertos – Day of the Dead in Spanish – is a joyful celebration of the cycle of life and a reminder to be aware of the possibility of death, which in turn gives meaning to existence. A holiday intended as a remembrance of loved ones who have passed away, it is an opportunity to offer gifts, offerings and libations to the deceased, and to maintain the bond that unites families on both sides of the final frontier. Macabre, yet in a manner that is all about parody, this festival gives Chopard the opportunity to revisit the theme of vanities through the L.U.C Skull One timepiece. Its lacquered dial features a calavera face, a stylized Mexican skull featuring sun, flower and heart-shaped motifs, as well as a moustache with rounded tips above a sweet toothless smile. An emaciated, yet harmless-looking and even friendly skull on which the hours flow by, marked off by hands, Arabic numerals and gilded hour-markers striking an elegant contrast with the overall black hue.   A hand-stitched brown calfskin leather strap sets a final touch of elegance to this 100-piece limited edition. Responsibly sourced in accordance with stringent ethical criteria, this noble leather becomes even more beautiful when time enhances it with a light-brown patina.     An extremely accurate beating heart: The case of this new timepiece houses the L.U.C 96.53-L mechanical movement with automatic winding. Ultra-thin at a mere 3.3 mm, it is nonetheless equipped with two barrels based on Chopard Twin technology and ensuring a 58-hour power reserve. It comes to life thanks to a micro-rotor in tungsten – a high-density alloy ensuring optimal winding. With its movement bridges finely adorned with a "Côtes de Genève" pattern, it makes the L.U.C Skull One watch as beautiful inside as it is on the outside, which is why its precious calibre is made visible through a blackened transparent back reflecting the sombre aesthetic of this creation.     Chopard’s in-house approach to watch manufacturing: Chopard is a family Maison with a strongly ingrained philosophy of independence. The steps involved in making L.U.C watches are all performed at the Maison’s Geneva and Fleurier production sites. Movement development, finished product design, gold smelting, case stamping and machining, calibre components, traditional hand-crafted finishes, surface treatments, polishing, assembly, adjustments and quality controls: Chopard masters the full range of watch production operations and applies them to each and every L.U.C watch. These exceptional timepieces stemming from meticulous workmanship meet the aspirations of the modern-day gentleman. They speak to him without artifice or pretention, through a subtle blend of artisanal expertise and emotions. Chopard presents the L.U.C Skull One, a 100-piece limited-edition adorned with a Mexican calavera as a tribute to the Day of the Dead.  Clad in a beautiful combination of dark hues thanks to a black dial with lacquered finishes and gold hour-markers, the L.U.C Skull One features a 40 mm case in beadblasted DLC stainless steel and a brown calfskin leather strap. Beneath this mischievous death mask beats the L.U.C 96.53-L mechanical movement with automatic winding, crafted by Chopard Manufacture Artisans.      A design inspired by ancient traditions: A syncretic tradition, born in the Aztec civilization and blended with Spanish Catholicism, the Día de los Muertos – Day of the Dead in Spanish – is a joyful celebration of the cycle of life and a reminder to be aware of the possibility of death, which in turn gives meaning to existence. A holiday intended as a remembrance of loved ones who have passed away, it is an opportunity to offer gifts, offerings and libations to the deceased, and to maintain the bond that unites families on both sides of the final frontier. Macabre, yet in a manner that is all about parody, this festival gives Chopard the opportunity to revisit the theme of vanities through the L.U.C Skull One timepiece. Its lacquered dial features a calavera face, a stylized Mexican skull featuring sun, flower and heart-shaped motifs, as well as a moustache with rounded tips above a sweet toothless smile. An emaciated, yet harmless-looking and even friendly skull on which the hours flow by, marked off by hands, Arabic numerals and gilded hour-markers striking an elegant contrast with the overall black hue.   A hand-stitched brown calfskin leather strap sets a final touch of elegance to this 100-piece limited edition. Responsibly sourced in accordance with stringent ethical criteria, this noble leather becomes even more beautiful when time enhances it with a light-brown patina.     An extremely accurate beating heart: The case of this new timepiece houses the L.U.C 96.53-L mechanical movement with automatic winding. Ultra-thin at a mere 3.3 mm, it is nonetheless equipped with two barrels based on Chopard Twin technology and ensuring a 58-hour power reserve. It comes to life thanks to a micro-rotor in tungsten – a high-density alloy ensuring optimal winding. With its movement bridges finely adorned with a "Côtes de Genève" pattern, it makes the L.U.C Skull One watch as beautiful inside as it is on the outside, which is why its precious calibre is made visible through a blackened transparent back reflecting the sombre aesthetic of this creation.     Chopard’s in-house approach to watch manufacturing: Chopard is a family Maison with a strongly ingrained philosophy of independence. The steps involved in making L.U.C watches are all performed at the Maison’s Geneva and Fleurier production sites. Movement development, finished product design, gold smelting, case stamping and machining, calibre components, traditional hand-crafted finishes, surface treatments, polishing, assembly, adjustments and quality controls: Chopard masters the full range of watch production operations and applies them to each and every L.U.C watch. These exceptional timepieces stemming from meticulous workmanship meet the aspirations of the modern-day gentleman. They speak to him without artifice or pretention, through a subtle blend of artisanal expertise and emotions.

BREGUET TRADITION QUANTIÈME RETROGRADE 7597
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BREGUET TRADITION QUANTIÈME RETROGRADE 7597

Watches The Tradition line draws its inspiration directly from the caliber of the subscription watch created by Breguet at the end of the eighteenth century. This new model offers an open view of the movement with all its architectural shapes and shows not only the hours and minutes but retrograde date.     The Tradition collection actually takes its inspiration from one of the most significant piecesof Breguet’s history: the subscription watch. Purposefully simple and stripped-back, its fully visible movement unveils a perfectly symmetrical design. In the new Tradition 7597 model, it also features a retrograde date display, a complication that the watchmaker was one of the first to develop, and which it has bestowed on some of its most famous creations.     Adjusted in a fluted white gold 40 mm case, the 505Q self-winding caliber is equipped with a reverse in-line lever escapement with silicon horns, as well as a Breguet balance spring also in silicon. The gold rotor visible through the transparent caseback is reminiscent of that of the Perpetuelles, or first self-winding watches, further testimony to the ingenuity of the master watchmaker.     Original design, symmetrical assembly:   A perfectionist, concerned with both technology as well as aesthetics, Abraham-Louis Breguet designed a movement the modernity of which is still astonishing to this day. Crossing the centuries, his design is at the very root of the Tradition range: positioned in the center, the large barrel is topped by a symmetrically arranged gear train. As such, the center wheelat 8 o’clock triggers the oscillating mechanism of the same size at 4 o’clock. This is equippedwith the famous pare-chute invented by the master watchmaker, the ancestor of all today’santi-shock mechanisms, and signature element of the Tradition collection. Another specific feature is the hour and minute dial that, eccentrically positioned at 12 o’clock and made of gold, is inspired by that of certain Breguet tact watches. As such, the new Tradition 7597 features an hours chapter with Roman numerals, bordered by a delicate engine-turned Clous de Paris pattern, which serves as a backdrop for blued Breguet hands.     In the interests of balance, a retrograde date section is positioned between the 3 o’clock and 9 o’clock and a skillfully curved hand indicates the date moving in the vertical plane, fitting in with the ultra-architectural movement. A patented mechanism provides for a fine adjustment of the date hand. The latter is multi-tiered, allowing it to fly over the movementcomponents. At 10 o’clock, a screw-in corrector allows users to set the date safely.     The subscription watch, a masterpiece of simplicity:   Abraham-Louis Breguet was one of the most talented watchmakers of all time, the architect of technology innovations adopted throughout the profession, such as the gong spring for repeating watches (1783) or the tourbillon (1801). But while he has created some of the most complicated timepieces there are, he is also known for creating the simplest piece. After having spent two years in Switzerland at the height of the French Revolution, Abraham-Louis Breguet resumed the management of his Parisian workshop on Quai del’Horloge, on the Ile de la Cité, in the spring of 1795. His first step was to attract some new clientele. Therefore, he invented a watch that was both of the utmost simplicity and extremely reliable. He offered a subscription service for this. This would go on to be a spectacular commercial success. Today his creations can be admired at the Breguet Museum in Paris and various other European museums; subscription watch number 947, sold in 1802, is on display in the Louvre Museum. Breguet used the caliber of the subscription watches to create the first tact watches, sometimes adding a little dial to them; this was the inspiration for the Tradition collection launched in 2005, which marked a return to this very typical architecture.       “The chronometer had been manufactured in Breguet’s workshops,to a level of perfection that goes without saying.”Jules Verne, Captain Antifer, 1894 The Tradition line draws its inspiration directly from the caliber of the subscription watch created by Breguet at the end of the eighteenth century. This new model offers an open view of the movement with all its architectural shapes and shows not only the hours and minutes but retrograde date.     The Tradition collection actually takes its inspiration from one of the most significant piecesof Breguet’s history: the subscription watch. Purposefully simple and stripped-back, its fully visible movement unveils a perfectly symmetrical design. In the new Tradition 7597 model, it also features a retrograde date display, a complication that the watchmaker was one of the first to develop, and which it has bestowed on some of its most famous creations.     Adjusted in a fluted white gold 40 mm case, the 505Q self-winding caliber is equipped with a reverse in-line lever escapement with silicon horns, as well as a Breguet balance spring also in silicon. The gold rotor visible through the transparent caseback is reminiscent of that of the Perpetuelles, or first self-winding watches, further testimony to the ingenuity of the master watchmaker.     Original design, symmetrical assembly:   A perfectionist, concerned with both technology as well as aesthetics, Abraham-Louis Breguet designed a movement the modernity of which is still astonishing to this day. Crossing the centuries, his design is at the very root of the Tradition range: positioned in the center, the large barrel is topped by a symmetrically arranged gear train. As such, the center wheelat 8 o’clock triggers the oscillating mechanism of the same size at 4 o’clock. This is equippedwith the famous pare-chute invented by the master watchmaker, the ancestor of all today’santi-shock mechanisms, and signature element of the Tradition collection. Another specific feature is the hour and minute dial that, eccentrically positioned at 12 o’clock and made of gold, is inspired by that of certain Breguet tact watches. As such, the new Tradition 7597 features an hours chapter with Roman numerals, bordered by a delicate engine-turned Clous de Paris pattern, which serves as a backdrop for blued Breguet hands.     In the interests of balance, a retrograde date section is positioned between the 3 o’clock and 9 o’clock and a skillfully curved hand indicates the date moving in the vertical plane, fitting in with the ultra-architectural movement. A patented mechanism provides for a fine adjustment of the date hand. The latter is multi-tiered, allowing it to fly over the movementcomponents. At 10 o’clock, a screw-in corrector allows users to set the date safely.     The subscription watch, a masterpiece of simplicity:   Abraham-Louis Breguet was one of the most talented watchmakers of all time, the architect of technology innovations adopted throughout the profession, such as the gong spring for repeating watches (1783) or the tourbillon (1801). But while he has created some of the most complicated timepieces there are, he is also known for creating the simplest piece. After having spent two years in Switzerland at the height of the French Revolution, Abraham-Louis Breguet resumed the management of his Parisian workshop on Quai del’Horloge, on the Ile de la Cité, in the spring of 1795. His first step was to attract some new clientele. Therefore, he invented a watch that was both of the utmost simplicity and extremely reliable. He offered a subscription service for this. This would go on to be a spectacular commercial success. Today his creations can be admired at the Breguet Museum in Paris and various other European museums; subscription watch number 947, sold in 1802, is on display in the Louvre Museum. Breguet used the caliber of the subscription watches to create the first tact watches, sometimes adding a little dial to them; this was the inspiration for the Tradition collection launched in 2005, which marked a return to this very typical architecture.       “The chronometer had been manufactured in Breguet’s workshops,to a level of perfection that goes without saying.”Jules Verne, Captain Antifer, 1894

The new Apple Watch in collaboration with Hermès
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The new Apple Watch in collaboration with Hermès

Watches This autumn, Hermès and Apple are evolving their collaboration, which began in 2015 with the rst Apple Watch Hermès. Combining Apple’s technological expertise with Hermès’ watchmaking iconography and exquisite craftsmanship, Apple Watch Hermès Series 6 embodies functionality, ingenuity, connectivity and design, with a new and fully customisable Hermès Circulaire watch face hosting numerous complications to support every lifestyle.     A new colour palette for straps: Hermès, the artisan of colour, has imagined a new palette of shades for the single tour straps of Apple Watch Hermès Series 6. The bright tones of piment, orange, ambre, bambou, navy and anémone transform this iconic object.   A new design, Hermès Attelage: Named Hermès Attelage in reference to equestrian harnesses, re ecting the house’s heritage, this new model in the Apple Watch Hermès collection features a strap whose redesigned attachment extends above the case. By playing with proportion, it reveals the Hermès double tour extra-slim or single tour straps in fauve Barénia calfskin, reasserting all the uniqueness of the object.   Apple Watch Hermès Series 6 will be available to pre-order on hermes.com and apple.com from 15 September, with availability in selected Hermès and Apple stores in Australia, Canada, China, France, Germany, Italy, Japan, Singapore, Spain, Switzerland, the UAE, the UK and the US from 18 September. This autumn, Hermès and Apple are evolving their collaboration, which began in 2015 with the rst Apple Watch Hermès. Combining Apple’s technological expertise with Hermès’ watchmaking iconography and exquisite craftsmanship, Apple Watch Hermès Series 6 embodies functionality, ingenuity, connectivity and design, with a new and fully customisable Hermès Circulaire watch face hosting numerous complications to support every lifestyle.     A new colour palette for straps: Hermès, the artisan of colour, has imagined a new palette of shades for the single tour straps of Apple Watch Hermès Series 6. The bright tones of piment, orange, ambre, bambou, navy and anémone transform this iconic object.   A new design, Hermès Attelage: Named Hermès Attelage in reference to equestrian harnesses, re ecting the house’s heritage, this new model in the Apple Watch Hermès collection features a strap whose redesigned attachment extends above the case. By playing with proportion, it reveals the Hermès double tour extra-slim or single tour straps in fauve Barénia calfskin, reasserting all the uniqueness of the object.   Apple Watch Hermès Series 6 will be available to pre-order on hermes.com and apple.com from 15 September, with availability in selected Hermès and Apple stores in Australia, Canada, China, France, Germany, Italy, Japan, Singapore, Spain, Switzerland, the UAE, the UK and the US from 18 September.

For the launch of its new Pasha watch, Cartier unveils a new campaign highlighting a community of unique personalities who are changing the codes of success by forging exceptional and diverse paths of creativity.
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For the launch of its new Pasha watch, Cartier unveils a new campaign highlighting a community of unique personalities who are changing the codes of success by forging exceptional and diverse paths of creativity.

Watches Cartier is launching a multimedia campaign fronted by five extraordinary talents, Rami Malek, Troye Sivan, Willow Smith, Maisie Williams and Jackson Wang. The campaign, to be disseminated across the world, marks the celebration of the launch of the new Pasha watch, a cult watch marked by its amazing design and distinctive codes.     Since its creation in the 1980s, the Pasha watch has embodied a certain idea of success that is evident in its extroverted design, and graphic singularity. As edgy as ever, the new Pasha remains unique, yet in tune with new generations of creators, who owe their success to their differences, creativity, and multidisciplinary talents. Cartier’s new campaign recalls the unique ability of these creators to transcend preconceived ideas and forge new, exceptional paths towards achievement. The Maison entrusted the articulation of this vision to New York fashion photographer Craig Mc Dean, with images centered around the new Pasha ambassadors Rami Malek, Troye Sivan, Willow Smith, Maisie Williams and Jackson Wang.     TROYE SIVAN:   As a YouTuber, singer, and actor, how would you describe your different identities and the success you have achieved from each? How do you balance these different professions and manage your own time?    I think for me the driving force has always been an insatiable desire to create, no matter the format. That’s manifested itself in a few different ways over time, and keeps me really excited about my work. The through line through all of them is a love and need to process life through making stuff, and the kick I get out of sharing it.   What is the main thing you’ve learned from success and what are you most proud of?   I think the main thing I’ve learned is that there’s really no rules. Do what feels right, trust your instincts, take risks, and enjoy yourself. I’m most proud when someone mentions that a song/album of mine has been the soundtrack to a particular season in their life. I love when that happens to me with music, so I’m always really honoured when it happens to someone else with mine.       RAMI MALEK:   Hollywood can be a bit systematic; how do you fit in and how do you challenge that environment?   I’m instinctively drawn to projects that feel like new territory, not only for myself but for Hollywood as a whole. It is important to challenge the status quo in our industry so that representation never becomes fenced in by habit or tradition. I really hope the conversations that our industry is having right now will prevent the further perpetuation of stereotypes.   The distinct design of the Pasha watch challenges the predominance of round shapes in watchmaking and amplifies its presence, originality and singularity. How do you relate with the watch and spirit of Pasha de Cartier?   I love that Cartier has a way of honoring what is treasured of the past and marrying that with a modern accessibility and twist. It has both delicacy and strength.      “We are thrilled to unveil this campaign and introduce these extraordinary talents to our diverse audiences around the world. Cartier is a pioneering house, in constant creative exploration and strongly committed to come up with innovative campaigns as well as collections that appeal to our diverse audiences.” declares Arnaud Carrez, Marketing and Communication Director at Cartier International. “The diffusion of this campaign enables us to share our values of universality and openness. The contribution of our new Pasha ambassadors is a way for our Maison to celebrate this creative dialogue born more than 170 years ago.”         Beginning on September 4, the campaign will feature billboards in capitals of the world, as well as print advertising in major newspapers and fashion and lifestyle magazines. Furthermore, Cartier is unveiling a movie featuring these 5 exceptional talents who reveal a glimpse into their world inhabited by creativity, assertiveness and versatility, as well as 5 short movies, each dedicated to one of the talents. Viewers will be able to see and explore the movies through the Maison’s website www.cartier.com  Cartier is launching a multimedia campaign fronted by five extraordinary talents, Rami Malek, Troye Sivan, Willow Smith, Maisie Williams and Jackson Wang. The campaign, to be disseminated across the world, marks the celebration of the launch of the new Pasha watch, a cult watch marked by its amazing design and distinctive codes.     Since its creation in the 1980s, the Pasha watch has embodied a certain idea of success that is evident in its extroverted design, and graphic singularity. As edgy as ever, the new Pasha remains unique, yet in tune with new generations of creators, who owe their success to their differences, creativity, and multidisciplinary talents. Cartier’s new campaign recalls the unique ability of these creators to transcend preconceived ideas and forge new, exceptional paths towards achievement. The Maison entrusted the articulation of this vision to New York fashion photographer Craig Mc Dean, with images centered around the new Pasha ambassadors Rami Malek, Troye Sivan, Willow Smith, Maisie Williams and Jackson Wang.     TROYE SIVAN:   As a YouTuber, singer, and actor, how would you describe your different identities and the success you have achieved from each? How do you balance these different professions and manage your own time?    I think for me the driving force has always been an insatiable desire to create, no matter the format. That’s manifested itself in a few different ways over time, and keeps me really excited about my work. The through line through all of them is a love and need to process life through making stuff, and the kick I get out of sharing it.   What is the main thing you’ve learned from success and what are you most proud of?   I think the main thing I’ve learned is that there’s really no rules. Do what feels right, trust your instincts, take risks, and enjoy yourself. I’m most proud when someone mentions that a song/album of mine has been the soundtrack to a particular season in their life. I love when that happens to me with music, so I’m always really honoured when it happens to someone else with mine.       RAMI MALEK:   Hollywood can be a bit systematic; how do you fit in and how do you challenge that environment?   I’m instinctively drawn to projects that feel like new territory, not only for myself but for Hollywood as a whole. It is important to challenge the status quo in our industry so that representation never becomes fenced in by habit or tradition. I really hope the conversations that our industry is having right now will prevent the further perpetuation of stereotypes.   The distinct design of the Pasha watch challenges the predominance of round shapes in watchmaking and amplifies its presence, originality and singularity. How do you relate with the watch and spirit of Pasha de Cartier?   I love that Cartier has a way of honoring what is treasured of the past and marrying that with a modern accessibility and twist. It has both delicacy and strength.      “We are thrilled to unveil this campaign and introduce these extraordinary talents to our diverse audiences around the world. Cartier is a pioneering house, in constant creative exploration and strongly committed to come up with innovative campaigns as well as collections that appeal to our diverse audiences.” declares Arnaud Carrez, Marketing and Communication Director at Cartier International. “The diffusion of this campaign enables us to share our values of universality and openness. The contribution of our new Pasha ambassadors is a way for our Maison to celebrate this creative dialogue born more than 170 years ago.”         Beginning on September 4, the campaign will feature billboards in capitals of the world, as well as print advertising in major newspapers and fashion and lifestyle magazines. Furthermore, Cartier is unveiling a movie featuring these 5 exceptional talents who reveal a glimpse into their world inhabited by creativity, assertiveness and versatility, as well as 5 short movies, each dedicated to one of the talents. Viewers will be able to see and explore the movies through the Maison’s website www.cartier.com 

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