The Art: McLaren’s Jo Lewis

The British marque’s Head of Colour and Materials Design on the intricacies of her craft

By Nick Scott 14/11/2018

How would you describe your professional raison d’être, a nutshell?

Anything on or in a McLaren vehicle that you can touch or feel, including what a customer can potentially spec to their own taste, is what I deal with. I’m in charge of every visible finish – including the body’s paint development, which involves identifying what the next big new colour might be. It takes about 18 months to develop a paint colour from start to finish. You’ve got to get it past salt tests, other exterior condition tests – we want our paint to look as good 10 years down the line as it did the day you bought the car.

So there’s far more to it than people assume?

I also do all the wheel specs – the colours, finishes, diamond cut – as well as calipers, badging, headlamps. Even the glazing aspects – I design tints with suppliers. Basically, everything you can touch and feel in the car. In the interior, you’ve got both the soft trims and the hard trims; you’ve got carbon elements; as part of my trimming strategy, if I know that a customer would potentially want more of a carbon feel, I’ll develop a specific package. You’ve got sill plates, finishes around them, finishes around the iris screen… I also do the spec for all the machined aluminium, so a lot of those switches there are machined from a solid block and then they’re then anodised, so I have to spec the colours. The trim, the knurling, the steering-wheel, the stalks, window switches… It’s everything except the geometry of the vehicle. But I work with extremely closely with the exterior designers right from start of concept.


McLaren present materials options at Goodwood Festival of Speed 2018
Photo: Courtesy of McLaren Automotive

Where do you start, when it comes to choosing new colours for vehicles?

We use ‘colour frogs’ – small, plastic moulds in the basic shape of a sports vehicle. Especially when you hold them in direct light, they give you an idea of how a full scale version will look with a certain colour applied to it – whether it will create a pearlescent effect and so on. You also get a clearer idea of what kind of texturing surface features can be added, what kind of wheel finishes will work, textile design, whether leather or alcantara will work better as a trim-finish. Being such a small-volume company we have the flexibility to work with more different suppliers. We don’t just put materials in a car because they look nice.

So it’s quite a misunderstood role?

A lot of people, when they hear I’m an interior designer, quite condescendingly say: “Ah, you pick colours.” A lot of women tend to do this job, and we get called funny names like ‘Arts And Crafts’ and ‘Felt-Tip Fairies’ – but actually the work that goes into material development is very engineering focussed. It’s quite an eye-opener for those not in-the-know. In the early stage of interior design material – whether you’re looking at a potential new textile, a leather or a finisher – you have to experiment with it first. Does it sew correctly ? Does it wrinkle?

How, practically speaking, do you carry out these tests?

We get any potential new material into one of our engineering cars, which do thousands of miles per month, so we can see how and when it starts to show areas of wear and tear, or discolouring and so on. Separately to that, if we want to put any material formally into production of a car, we have separate, very stringent test plans we have to follow. If I want to develop a new type of leather as a seat trim, I have to put it through a screening involving about 17 or 18 tests – abrasion, reactions to UV and soiling and so on. Things tend to fail, and so integrating anything new into any of our production vehicles is difficult. It has to tick a lot of engineering requirements.


Numerous leather options are available to bespoke customers
Photo: Courtesy of McLaren Automotive

What if bespoke customers insist on an un-tested material?

With McLaren Special Operations, people will come in and say, “Well I want crocodile skin upholstery” – and that’s a different thing. With an entirely bespoke commission, we wouldn’t go and test the skin in question – we’d just say “Look, this could wear out after 10 miles or 1000 miles…”

How much conjecture is there, when anticipating what consumers are going to be after in the future?

Lots, definitely, when it comes to colours. When we launch a new car, and it’s the first time the public are going to see it, I’d generally work to three new body colours essentially – hero new colours and character colours that I feel are appropriate to the vehicle and go with the brand’s marketing direction.

Is trend spotting tricky in the automotive realm?

Yes. I do look into trends, but it’s difficult because we work a long time in advance of cars going to market – it’s not like fashion, where a new collection is every six months. I’ve been here just over two years now and am only just seeing some of the work I’ve done coming to fruition. So it’s about trying to anticipate what future tastes will be, and sometimes you have to go with your collective gut instinct as a design team, and be confident in what you’re doing. Also, it’s about setting trends rather than just following them. We need to challenge the status quo according to our own feelings on what our customers will like. When it comes to the introduction of a new car in a new colour, that new colour is usually the first thing that people absorb. And it tends to be a very love it/hate it scenario – you’re never going to please 100 per cent of people 100 per cent of the time…

Would McLaren perhaps wilfully be little bit ‘Marmite’ on that score?

Sometimes you launch a colour and you see it all online – you either love it or hate it – on that it actually creates more discussion and buzz, and I like that. Our customers should be opinionated, and I’m happy if they’re talking about the stuff I do.


The McLaren Speedtail’s interior

Do you find yourself in regular conflict with engineers?

Oh, yes! We all have the same mind-set in terms of wanting to push boundaries – we want to be forward-thinking, world-leading an so on – but when it comes to logistics like time frames and delivery, you’re always kind of challenged. Sometimes things do fall off the table because what’s being demanded from an engineering point of view just can’t be delivered. As a department now we sing as one voice – if we really want to push a new colour, a new material, whatever, we have to keep going and if it doesn’t work for one launch then we can always push back to the next. Pushing is essential for innovation.

What kind of trends do you foresee entering your professional milieu in the future?

Technical fabrics from sportswear being used as automotive materials is potentially interesting – hopefully we can apply those to trims and seats. For example, we might be able to look at materials that hold you in your seat a bit more snugly, materials that are more grippy, or have properties that add some function to your driving experience. To me that’s the future. Vinyls, 3D-surface treated materials, carbon and carbon weave, carbon made into a soft-fabric and impregnated with a resin – that’s how you create your splitters and diffusers, and if you can weave that material why can’t you create any kind of interesting pattern or design? It’s all derived from fashion and that sense of creating a new look.

Was the Speedtail a rewarding project to work on?

The Speedtail has enabled me to live the dream in terms of materials design. There’s stuff in the bespoke offering that’s first-to-market – including the option of a 18 karat white gold and carbon-fibre inlay badge. We’ve really pushed the boundaries. It’s just lovely to be involved with defining the character of these cars.

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A Michael Jordan Logoman Patch Card Just Sold for a Record $2.9 Million at Auction

The one-of-one piece is now the most expensive Jordan card to ever cross the auction block.

By Tori Latham 06/06/2024

Michael Jordan was a record-breaking athlete—and the legendary hooper is continuing to set records more than two decades after his (final) retirement from the game.

A one-of-one signed and game-used Jordan Logoman patch card just sold for an eye-popping USD$2.9 million, making it the most expensive Jordan card ever sold at auction. The 2003 card was part of the Goldin 100 auction, where it received 38 bids before finally hammering down for that multimillion-dollar total.

Goldin

The rare card, which was included in an Upper Deck Ultimate Collection, is the very first signed Logoman patch card with Jordan in a Chicago Bulls jersey. The patch itself is from Jordan’s peak with the Bulls, a team he led to six NBA championships. The bold blue autograph on the bottom of the card, meanwhile, was graded PSA 10. It’s unclear where the card was before 2022, when it was submitted to PSA for grading, and this is the first time it’s been offered in a public auction. Altogether, it’s considered to be the most exclusive Jordan autographed Logoman card in the world.

While Jordan is perhaps most well known for what he’s done on the court, the baller is no stranger to making waves on the auction block, too. Earlier this year, a set of his NBA Finals–worn sneakers achieved a bonkers $8 million during a Sotheby’s auction. Even then, that’s not the most someone has paid for Jordan memorabilia: In 2022, the athlete’s game-worn “Last Dance” Finals jersey hammered down for a whopping USD$10.1 million.

The recent card sale may not match those numbers, but almost USD$3 million is still a hefty sum to pay for a relatively compact item. And the card easily swept the rest of the Goldin 100 auction. The highest following lot was a Kobe Bryant jersey that the late Los Angeles Laker wore during a 2013 game. That piece of sports history ended up going home with someone for USD$1.2 million.

As the richest basketball player ever, with a net worth of $3.5 billion as of a year ago, Jordan himself is far outearning his card’s value. But it’s unlikely that he would have ever made that much money without paving the sort of path that makes his memorabilia so desirable when it hits the auction block.

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You Can Now Buy and Sell Luxury Watches and Jewellery on eBay’s Consignment Service

The e-tailer is making inroads on being a major marketplace for high-end goods.

By Tori Latham 06/06/2024

eBay is continuing to make inroads into the luxury industry.

The website on Tuesday expanded its consignment service to include high-end watches, jewellery, and footwear. Among the brands being accepted by the program are Christian Louboutin, Jimmy Choo, and Louis Vuitton for shoes; Chanel, David Yurman, and Neil Lane for jewellery; and Breguet, Girard-Perregaux, and Jaeger-LeCoultre for timepieces.

eBay’s consignment program debuted at the end of last year for handbags, and it added apparel to the mix in March. The service is meant to make selling high-end goods easier for those looking to offload their pieces, and more trustworthy for those hoping to buy them. The e-tailer has partnered with the company Linda’s Stuff to streamline the process: A seller fills out a simple intake form, then receives a prepaid and insured shipping label to send in their items. eBay and Linda’s Stuff photograph, price, and list the item, with the seller receiving a commission based on the final sale price. If a piece sells for $5,000 or more, for example, the seller receives 80 percent.

Since launching its consignment service, eBay has seen that items listed that way are selling for more than similar pieces listed on the website in the more traditional way. In just one example, a small quilted Chanel 19 flap bag consigned in December hurdled past the average sales price for the same purses sold on eBay by 45 percent.

In recent years, eBay has been training its efforts on making high-end, pre-owned items easier to sell and buy on its platform. It has implemented programs like Certified by Brand and Authenticity Guarantee to ensure that users feel confident when buying and selling luxury items on the website. And those sorts of used and refurbished items now compose 40 percent of eBay’s gross merchandise volume.

While it may seem a bit strange to sell your luxury items on eBay rather than a designated site like the RealReal, the e-tailer might be breaking out as the next big luxury marketplace, especially when it comes to pre-owned pieces.

 

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Four Seasons’ Private Jet Trips Will Take You to Asia, Africa, and Beyond in 2026

The six 2026 itineraries range from 13 to 21 days and cost between USD$159,000 and $229,000 per person.

By Rachel Cormack 06/06/2024

It’s never too early to start planning a vacation. Just ask Four Seasons.

The hospitality giant just unveiled its private jet itineraries for 2026, giving travelers a chance to book their next adventure a good two years in advance. Designed by a team of experts, the six journeys allow jet-setters to explore far-flung destinations in five-star luxury. You’ll fly the globe in the fully customized Four Seasons Airbus A321neo and stay in lavish Four Seasons hotels along the way. More importantly, guests can partake in curated experiences a cut above the typical tour.

“Our goal is to create connections with travelers of this generation and the next, fostering a legacy of transformative experiences that extend far beyond the journey,” Marc Speichert, executive vice president and chief commercial officer of Four Seasons, said in a statement.

Dubai at Jumeirah Beach
Four Seasons

The itineraries cater to a wide range of travelers, with differing lengths and routes. The 16-day Asia Unveiled trip, for instance, takes guests on a deep dive into the East, with stops in Tokyo, Bali, Angkor Wat, Hoi An, Bhutan, the Maldives, and Bangkok. Other adventures, like the 21-day International Intrigue journey, cover many global destinations from the African savannah to the city of Paris.

Wellness enthusiasts can indulge at Four Seasons Resort Maldives.
Four Seasons

Similarly, the experiences on offer are designed to appeal to a myriad of personality types, from culture vultures and history nerds to thrillseekers and gourmands. On the African Wonders trip, fitness buffs can join a Maasai guide for a nature walk in the Serengeti and then chill out in a meditation session led by an expert yogi. During Timeless Encounters, explorers can take a submarine scooter to Bora Bora’s renowned diving spots. With International Intrigue and Asia Unveiled, wellness enthusiasts indulge in lavish treatments at the Island Spa within Four Seasons Resort Maldives. Asia Unveiled also allows foodies to embark on a sushi masterclass with a Michelin-starred chef in Tokyo, while International Intrigue gives gluttons the chance to craft six courses with celebrated chefs in Mexico City’s local markets. In addition, history connoisseurs can visit famous landmarks like the Taj Mahal on Timeless Encounters. That is just a taste of the experiences on offer, too.

The 2026 itineraries range from 13 to 21 days and cost between USD$159,000 and $229,000 per person. To start planning your trip, visit the Four Seasons website or email the team at fourseasonsjet@fourseasons.com.

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Audemars Piguet Just Dropped a Bevy of New Watches—Including a Mini Royal Oak

From the new Royal Oak Mini to skeletonised 37 mm versions and a wild asymmetrical reissue, AP just slayed the spring watch season.

By Nick Scott, Paige Reddinger, Allen Farmelo 06/06/2024

Audemars Piguet isn’t resting on its laurels and that’s likely just how former longtime CEO, François-Henri Bennhamias, intended. The colourful head honcho left his post at the helm this past December, but he certainly left his mark by taking the brand to USD$2.7 billion in sales by 2023 before handing over the reins to newly minted CEO, Ilaria Resta, who was hired from global perfumery company, Firmenich. (Resta is the latest female addition to AP’s top brass following the appointment of Ginny Wright, who came from L’Oreal, as the CEO of North America.)

Given the lead time of R&D in watchmaking, the latest watches are certainly the mark of Bennhamias’s direction, and the watches are anything but wallflowers. You have wildly innovative new materials like a Royal Oak prototype proposed in Chroma Gold—a new technique blending white gold, rose gold, and yellow gold into a camouflage pattern—and a funky new “Crystal Sand” finish on the Royal Oak Frosted Gold Selfwinding 34 mm model. Meanwhile, Code 11.59 gets decked in an extraordinarily challenging arrangement of sapphires and diamonds, and the latest [Re]Master02 comes in a funky 1960s tv-shaped case with beveled sapphire crystal glass.

Here’s a look at how Audemars Piguet is flexing its craftsmanship muscles with these daring new timepieces.

Audemars Piguet

At 23 mm across, these are not the smallest Royal Oaks ever produced: a 20mm iteration was launched in 1997, alongside a 44mm Royal Oak Grande Complication, to celebrate the model’s 25th anniversary. They’re also not the sparkliest Royal Oaks: any number of abundantly gem-set models are all vying for that crown.

But the frosted gold trio before you are definitely amongst the most attention-grabbing Royal Oaks to date, residing as they do in the intersection of two Goldilocks zones: they’re well suited to slender-wristed wearers, but not so small that they invoke outmoded notions of femininity; and they’re mischievously sparkly, but packing only carefully measured flamboyance.

Audemars Piguet

Built from 18 carat yellow, white or pink frosted gold, the new pieces’ shimmering diamond-dust effect contrasts beautifully with the polished bevels. The case, bezel and bracelet have been created using a Florentine jewelry technique first applied to a Royal Oak in 2016, and again in 2018 with the help of Carolina Bucci. The frosting involves hand-hammering the metal using a diamond-tipped tool, and the effect is uniquely elegant and understated.

The dials—like that on Gérald Genta’s original steel game-changer—are uncluttered bar the petite tapisserie pattern. Unlike Genta’s original (a major counter-offensive salvo from the mechanical watches camp during the quartz crises) the beating heart for this trio is calibre 2730, a quartz movement with a seven-year battery life and easy-to-use deactivation mode.

Audemars Piguet

The smallest selfwinding Royal Oaks ever made remain Calibre 2062, a 29mm piece – created by former head of Audemars Piguet’s design office Jacqueline Dimier – which retained the codes of Genta’s original model created in 1976, and the gem-set derivative released shortly afterwards.

“These mini creations pay tribute not only to Audemars Piguet’s long tradition of miniature and jewellery watches, but also to the women who have left their mark on the history of the brand, including Jacqueline Dimier to whom we owe the first Royal Oak for women, and Carolina Bucci, the mastermind behind the Frosted Gold finish,” said Ilaria Resta Audemars Piguet’s Chief Executive Officer, in a statement.

Audemars Piguet

Sébastian Vivas—the maker’s Heritage and Museum Director—added that the three pieces “demonstrate the extraordinary plasticity of the Royal Oak collection, which transcends decades, gender, trends and dimensions.”

Size: 27 mm
Material: white, yellow and rose gold
Price: $51,700

Audemars Piguet

AP’s frosted gold Royal Oaks have been a hit for the brand since it debuted as a collaboration with Italian jeweler, Carolina Bucci in 2016. There have been several versions, including one with a mirrored dial, and now the nouveau classic is sporting a “Crystal Sand” finish.

Audemars Piguet

The 34 mm model’s dial offers a magnified and dramatized interpretation of the hammered case and surface of the bracelet. Made from embossed ruthenium crystal, the dial is then adorned with a stamping die via electroforming, a process that forms or grows metal parts onto a model. The color is achieved through a galvanic bath of both rhodium and gold coating to accentuate its 3D form.

Audemars Piguet

Size: 34 mm
Material: frosted gold
Price: $93,250

Audemars Piguet

Since 2010, Audemars Piguet’s Openworked Royal Oak models have been offered in sizes ranging between 39 mm (e.g., reference 15305) and 41 mm (e.g., reference 15407). Something about skeletonizing watches seems to cause many brands to reach for its larger cases: Perhaps it’s the larger dial for skeletonizing, or perhaps it’s a tendency to assume that men who like big watches will also prefer openworked dials. To be honest, I’ve long shared the latter assumption, though I’ve never had much reason to examine it before now.

Audemars Piguet often challenges our assumptions (consider the Spider Man Royal Oak, for example), and this new Openworked Double Balance Wheel Royal Oak at 37 mm in white or rose gold disregards assumptions about gender and watches while also underlining the small watch trend for men.

Audemars Piguet

Thirty-seven mm is pretty much the perfect “unisex” size. Many brands (for example, Grand Seiko, Lange, Rolex, Zentih) offer 37 mm watches that serve as a bridge between their men’s and women’s collections, and sometimes these brands will point that out. However, in its typical avant garde manner, Audemars Piguet is way ahead of this shifting norm—especially when compared to its counterparts in the Horological Holy Trinity, Patek Philippe and Vacheron Constantin, both of which offer 37 mm watches steered more obviously toward men or women with gem setting, or the lack thereof. By offering the Openworked Royal Oak at 37 mm, Audemars Piguet cleverly sidesteps that old-school his/hers conundrum.

Audemars Piguet

This watch is going to resonate with men who are continuing to lean toward smaller watches, and it’s going to resonate with women who are looking for a larger and more daring timepiece that won’t overpower (or simply overhang) their wrists. And this Royal Oak does all that gender bending by simply shrinking its skeletonized watch. In this regard alone, I think it’s a brilliant offering—and I’m not a big fan of openworked dials.

The dual balance wheel mechanism of caliber 3132 helps stabilize the balance staff in its ruby mount, which improves precision.
Audemars Piguet

With all that said, what’s really driving this watch’s avant garde nature is the movement, known as caliber 3132. The dual balance wheel is a unique approach to minimizing the tilt of the balance staff (the axil on which the balance wheel oscillates). When the balance wheel swings back and forth (like a pendulum), there is a tendency, due to inertia, for it to slightly tilt within its ruby mount. When the balance staff tilts (however slightly) gravity has its way with it, causing timing discrepancies in different positions (known as positional variance). By adding a second balance wheel (not just a second spring, as found in some movements), Audemars Piguet has added stabilizing mass to the mechanism, as well as a counter-force that further stabilizes the balance staff as it changes direction. Theoretically, this reduces tilt of the balance staff and reduces positional variance.

It also looks very cool, and you’ll get a good view from both the front and the back of this watch.

Size: 37 mm
Material: pink and white gold
Price: $147,300

Audemars Piguet

If you’d told me a few years ago that brutalism—a minimalist, institutional architecture style of the mid-20th century rendered with massive concrete slabs—was going to be a catchphrase of watch design by 2024, I’d have declared you an iconoclastic crackpot. But, you’d have been right.

Audemars Piguet has picked up on the recent nostalgia for that strangely appealing architectural style. Reaching into their catalog from the 1960s, when brutalism was peaking globally, they’ve found a very cool watch to recreate—or, as AP insists, to “[RE]Master.” Audemars Piguet has borrowed the term from the recording arts: Remastering is generally a slight modernizing of a recording for current markets, so the analogy holds here, as this watch slightly modernizes vintage model.

Audemars Piguet

Crafted from Audemars Piguet’s proprietary sand gold, the case will shift between white and pink gold hues, depending on ambient lighting. Using the trusted time-only only caliber 7129, this auto-winding mechanical movement is on display through a circular window in the caseback.

Audemars Piguet

Sébastian Vivas, AP’s Heritage and Museum Director, states that “Between 1959 and 1963, Audemars Piguet created more than 30 asymmetrical models, most of which were produced in less than 10 pieces. [RE]Master02 is a fantastic opportunity to revive this forgotten golden age.”

Audemars Piguet

Despite the wildly brutalist case, it may be the dial that steals the show here. Created using a dark blue PVD treatment over beautifully brushed surfaces, the 12 individually crafted dial segments cleverly help time telling without relying on applied markers. These dial segments are separated by galvanized sand gold partitions, and each segment sits on miniscule legs attached to a brass dial plate beneath. All of this geometric precision is accentuated by the beveled sapphire crystal.

Size: 41 mm
Material: sand gold
Price: $70,900(limited to 250 pieces)

Audemars Piguet

The Code 11.59 is getting all dolled up this year in a splash of gem-set models. Two 38 mm iterations come in either 18-karat pink gold or white gold set with 533 brilliant-cut diamonds and colored sapphires.

Audemars Piguet

What is notable here is the pixelated-looking setting. The pink-gold version comes with an array of navy, baby blue and yellow sapphires on the dial, while the white-gold version comes in pink and purple sapphires. Both look as though the colors were shaken in a glass and poured onto the dial so that the pattern is haphazardly arranged. It’s a fun take on a gem-set dial, one which we can’t recall seeing before and is, no doubt, extraordinarily difficult to arrange to achieve the right balance of hues. Each piece is set with the three-hand selfwinding caliber 5909.

Audemars Piguet
Audemars Piguet

One of the coolest pieces in the new lineup is just a prototype for now, but it offers a glimpse of what’s to come in the future. Chroma Gold is a patented innovation blending yellow gold, white gold, and rose gold via Spark Plasma Sintering technology. Each gold variation is melted before droplets are atomized into powders. They are then combined in their respective pattern in a circular graphite mold which is then sintered via an electrical current. It is a first for the watch industry.

Audemars Piguet

Even in jewellery it is notoriously difficult to work with multiple types of metal in one piece due to the variations in consistency and that’s without trying to blend them together. The only time we have seen the blending of two different types of gold before is in American jeweler Adam Neeley’s proprietary SpectraGold, which is currently pending a patent. AP’s Chroma Gold follows the debut of a similar method with ceramic that debuted in a prototype earlier this year allowing the company to blend various hues of the material. Camo isn’t for everyone, but the multi-hued gold version certainly makes a compelling case for the machismo pattern. On the right hands it will be irresistibly cool.

 

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Watch of the Week: IWC Ceralume Pilot’s Chronograph

The concept watch hints at the future of IWC’s proprietary luminous ceramic technology.

By Josh Bozin 31/05/2024

Did you catch Lewis Hamilton rocking a new IWC Schaffhausen timepiece at the Monaco Grand Prix over the weekend? We did too, and as curious watch fanatics, we couldn’t help but speculate on what exactly this stark-white timepiece could be. A new iteration of the 2022 Pilot’s Watch Chronograph TOP GUN “Lake Tahoe” edition, perhaps?

Sort of.

Earlier this week, IWC took to Instagram to reveal what its experimental engineering division, XPL, has been working on over the last few years. Introducing the new IWC Ceralume Pilot’s Chronograph—a ceramic watch, albeit a prototype, that completely glows in the dark, from case to dial to strap!

IWC

Such wizardry is thanks to a proprietary luminous ceramic technology that IWC calls “Ceralume.” This technical feat has allowed IWC watchmakers to produce their very first fully luminous ceramic watch. Building on its 40-year journey as true pioneers of engineering ceramic material within watches—ceramic is notoriously difficult to work with, you see—IWC is no stranger to such technical feats.

Thanks to the homogeneous mixing of ceramic powders with high-grade Super-LumiNova pigments, IWC has fashioned a luminous material that acts like a battery for storing light energy. Utilising the new Ceralume technology, this fully luminous concept Pilot’s Chronograph emits a bright blueish light that lasts more than 24 hours.

“With the first fully luminous ceramic case rings, we underscore our role as a pioneer and innovator in ceramic watches. The development of Ceralume took several years. The main challenges we faced were producing watch cases with maximum homogeneity and meeting our exacting quality standards,” says Dr. Lorenz Brunner, Department Manager Research & Innovation at IWC Schaffhausen.

“To achieve these goals, we engineered a ground-breaking new manufacturing process – tailored to the unique combination of ceramic powders and Super-LumiNova pigments.”

If we’re to get extra technical, the ceramic material absorbs light energy from sunlight (or artificial light), stores it temporarily, and then emits the absorbed energy as visible light—the luminous “glow” that you see below. According to IWC, this cycle is infinite and will never cause the material to age or diminish its light storage capacity.

IWC

Developed completely in-house by IWC and its Experimental Engineering Division (XPL), the patent-pending Ceralume technology will undoubtedly form the foundation of future developments and releases, with a broader commercial release imminent.

To learn more, visit iwc.com

 

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