The Race To Launch Carbon-Neutral Supersonic Business Jets Is On

Aerion’s AS2 is designed to cruise at more than 1600km/h but it could also become the most environmentally friendly business jet in its class.

By Michael Verdon 06/05/2020

“Supersonic may bring to mind the 1970’s Concorde or today’s lightning-fast fighter jets, but the term has come to mean something very different in the last 10 years, as the race towards a new generation of carbon-neutral supersonic business jets accelerates. Five US companies, as well as aviation firms in both Russia and Japan, are developing supersonic aircraft. Now, there’s an all-out dog fight to be first in the air.

Among the leading US competitors, Boston-based Spike Aerospace actually flew its SX-1.2 subscale demonstrator in October 2017, but it was unmanned. Boom Supersonic plans to fly its two-crew XB-1 “Baby Boom” demonstrator, one third the scale of its final Overture aircraft, by the end of this year.

The longest-running player is Aerion Corp., which has been touting the time advantages of its supersonic business jets since 2004. Its AS2, which the company plans to have certified in 2026, hits a theoretical top speed of Mach 1.4 (or 1730km/h) cruise. The supersonic jet not only promises to shave hours from a typical flight—3 hours 39 minutes from New York to Cape Town for instance—but it will get six to 10 passengers there in hyper-speed comfort, with plush, recliner seats and lounges, and a full chef’s galley, naturally.

Aerion Corp.

The race towards hyper-speed: The AS2, expected to be certified in 2026, is one of several supersonic business jets that could be flying in the next five years. Aerion

“AS2 will be the first privately built supersonic business aircraft ever,” Tom Vice, Aerion Chairman and CEO, told Robb Report in an interview.  “We expect our aircraft to be the choice of travellers not just because it is the fastest and most luxurious, but also because it is the most environmentally sustainable.”

The new generation of supersonic jets is very different from the days of the Concorde, a fast but incredibly fuel-inefficient and cramped aircraft that was forced to reduce its airspeed over land because of the window-jarring sonic booms it produced on the ground.

The AS2 will have what Aerion is calling “Boomless Cruise” technology that negates the sonic boom. It’s also the first supersonic aircraft designed without an afterburner to lower emissions, and will be the first to accept 100 per cent biofuels—as opposed to the blends currently in use by some other aircraft manufacturers.

“We’ll be carbon-neutral from our first flight,” says Vice. “We don’t believe that speed and protection of our environment need to be mutually exclusive.”

Aerion AS2

The AS2 is designed with a luxurious interior but with a clean-sheet environmental friendliness. The jet has no afterburner to lower emissions output and it will operate on bio-fuel. Aerion

Vice says the design of the AS2 has improved dramatically since Aerion launched the concept in 2004. “We have to meet a number of competing requirements and that isn’t easy, but we’ve optimized around them to come up with an AS2 design that can meet them all simultaneously,” he says.

The stars do seem to be aligning for Aerion. Its most recent partnerships with Boeing and GE Aviation not only give it a much deeper aerospace bench, but the actual engines to power the AS2. GE’s Affinity engine operates as high as 18,300 metres and works well in both subsonic and supersonic modes (which can be fundamentally different from each other.) Affinity also meets rigorous noise and emissions standards.

In the last year, Aerion has grown the company to more than 300 employees, and has hired many aerospace veterans on to its executive team as it prepares the ramp up to production. It has even hired a chief sustainability officer to monitor everything from the AS2’s materials and suppliers, to the actual production processes at its new $467 million campus in Melbourne, Florida Aerion announced last week it would be relocating from current headquarters in Reno, Nev., to Aerion Park, near business-jet maker Embraer, and not far from NASA. To many analysts, this is the clearest sign yet that the AS2 is on its way. Construction on the first AS2 will start in 2023.

Aerion AS2

Founder Dr. Richard Tracey works with an earlier model of an Aerion supersonic jet in a wind tunnel to determine its flight properties. Aerion

The company already has an outstanding order for 20 AS2’s from fractional provider Flexjet, mostly for international travel. Aerion does not give a price for the AS2, but reliable estimates are between $100 and $150 million. Aerion plans to build more than 300 over the next 10 years.

At the end of March, the Federal Aviation Administration (FAA) said it plans to propose a new rule that would be essential to Aerion and the other supersonic players. There are no FAA noise regs in place for civil supersonic aircraft, so the agency said it would review noise certifications to allow airframe and powerplant technology to move forward. The FAA also proposed a new rule to allow testing of supersonic aircraft in US commercial airspace.

Congressional supporters of the fledgling supersonic aircraft industry want the federal agency to exercise leadership in creating federal and international policies for civil supersonic aircraft to allow the segment to grow.

“All of the parties involved want to come to a global agreement that leads to environmentally acceptable and economically viable supersonic aeroplanes,” said Stewart D’Leon, director of technical operations for the National Business Aircraft Association (NBAA).

Aerion AS2

The AS2 has gone through multiple design iterations since the company launched in 2004. Aerion keeps a continuous feedback loop going between its designers in Reno, Nev., and software engineers in Palo Alto, Calif. Aerion

In a possible wrinkle, the FAA also said in its statement that the rulemaking activities would not rescind current US laws banning flights above Mach 1 over land. That means that—at least for now—the jets would have to dial back to subsonic speeds once they hit the US coastlines.

Aviation specialists point out that sonic booms from the new generation of supersonic jets will be different than the Concorde concussions. “We are talking about radically different noise levels than experienced from the Concorde or a typical fighter aircraft, more akin to a very low and distant rumble of thunder, or hearing your neighbour close the trunk of their car,” Dan Nale, Gulfstream’s senior vice president of engineering, told NBAA.

Another Aerion official told NBAA that no sonic booms reach the ground at speeds below Mach 1.2. Just in case, the AS2 will have private aviation’s fastest subsonic speed of Mach 0.95.

Vice is quick to point out the gains in supersonic technology since the ‘70s.  “Concorde was a bold, noble experiment and a major milestone in the history of aircraft, but the AS2 is very different in both specification and business model,” he says, pointing to the Boomless Cruise, environmentally friendly features and fly-by-wire technology in the cockpits. “We’ll have an economically viable production volume of 300 units in our first 10 years—plus the backing of several strong investors.”

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The Finer Things

Shimmering with gold, diamonds and precious stones, these women’s watches represent the pinnacle of haute horology. Just look at them…

By Belinda Aucott-christie And Josh Bozin 16/07/2024

Bulgari, Van Cleef & Arpels, Chanel, Piaget, Chopard and Cartier were among the prestige brands to unveil women’s novelties at this year’s Watches and Wonders fair in Geneva. Here we review some of our favourites, including a new style from Bulgari who impressed via an artistic collaboration with architect Tadao Ando and Chanel whose latest bobbin cuff was inspired by a spool of thread.

BULGARI

Tadao Ando Serpenti

The brand’s collaboration with lauded Japanese architect Tadao Ando artfully remixes the enduring Serpenti Tubogas model. The collection celebrates the four seasons; pictured here is the Summer (natsu) with a two-tone, yellow-gold-and-steel bracelet and a green aventurine dial. $27,600. Availability on request; Bulgari.com

VAN CLEEF AND ARPELS

Lady Arpels Brise d’Été 

The maison’s Poetic Complications novelties ensure that telling the time becomes a spectacle. On this occasion, the flowers on the dial blossom and close in a randomised pattern at the touch of a button. Van Cleef & Arpels’ latest lesson in horological theatre was four years in development, with the dial alone taking 40 hours to master. Price and availability on request; vancleefandarpels.com

CHANEL

Bobbin Cuff Couture

Playing on the vintage “secret” watches of the 1920s, the Bobbin Cuff Couture was inspired aesthetically by a spool of thread. The idiosyncratic jewellery-watch is crafted entirely in 18-karat yellow gold, set with rows of brilliant-cut diamond “threads” and a 17-carat emerald-cut sapphire that hides the watch face. Price and availability on request. Chanel.com

PIAGET 

Limelight Gala Precious 

At 26 mm, a timepiece that captures the poise and elegance that has come to define Piaget’s jewellery watches. Now, with the inclusion of 38 brilliant-cut diamonds, the 18-karat rose gold “Decor Palace” dial and matching bracelet, this Limelight Gala is arguably the best of a collection that interweaves art, design and jewellery, with an emphasis on beauty. Around $118,500. Availability on request; Piaget.com

CHOPARD 

L’Heure  Du Diamant Round 

Chopard showcases its smarts in the art of diamond setting. Here, the maison’s artisans have orchestrated an amalgamation of contemporary design and alluring precious stones. The green malachite dial is a standout feature, as is the Chopard MD29 hand-wound mechanical movement. Price and availability on request; Chopard.com

CARTIER 

La Panthère de Cartier

From one of the brand’s most symbolic collections, this iteration of the Panthère de Cartier watch is designed in a rhodium-finish white gold case set with 136 brilliant-cut diamonds, and a rhodium-finish white gold panther head set with 297 brilliant-cut diamonds. The striking, pear-shaped eyes are crafted from emerald. Price and availability on request; cartier.com

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Marc Newson Has Designed Everything from Pens to Superyachts … Now He Wants to Go to Space

On the heels of a new career-spanning book, the industrial designer and Apple alum shares his ultimate design project.

By Lee Carter 16/07/2024

Sporting shades, Marc Newson reclines on a sunny terrace of his Greek island retreat. If he appears exultant, he has every reason to be. Devoting his life’s work to elevating everyday objects into items we covet, Newson has become one of the most sought-after industrial designers in the world.

Case in point, Newson has just returned from Salone del Mobile, the sprawling design fair in Milan, where he launched a colossal book about his equally colossal career, signing copies for devoted fans barely able to lift it.

Over 400 pages, the monograph chronicles Newson’s nearly four decades in design from his start as a jewelry major at Sydney College of the Arts to producing avant-garde furnishings to now crafting luxury speed boats for Riva and even a concept plane in an art project for the Fondation Cartier. All told, Marc Newson: Works 84–24 (Taschen) is a testament to his tireless pursuit of perfection.

Asked to reflect on 40 years of soaring success, the Australian designer all but blushes—or perhaps it’s the Mediterranean sun. “When I look at my own work,” he says, “particularly in the context of a document that begins and ends, it almost feels like I’m reading about someone else.” After all, he demurs, he’s only doing his job. “The core of my occupation is troubleshooting [and] problem-solving. I apply the same rigor, process, and rules to every project, whether it’s a pen or a mega-yacht.”

Marc Newson’s Horizon luggage, designed for Louis Vuitton, and his Orgone chair demonstrate the importance he puts on curves. Taschen

The Newson look is aesthetically niche, but touches almost every sector, from fashion to household goods. It’s bold yet pragmatic, sumptuous yet futuristic, reverential yet iconoclastic. A transparent timepiece for Jaeger-LeCoultre, a sensuously curved cognac bottle for Hennessy, and a sleek aluminum luggage collaboration with Louis Vuitton (the latest of which just appeared in Pharrell Williams’s spring 2025 collection) all point to a singular, forward-looking vision. Or how about the katana sword he created in 2019 with a ninth-generation master swordsmith in Japan? He calls the tradition and sophistication required to execute that work “unfathomable, almost alchemical, practically spiritual.”

Two decades ago, in 2004, he created the Zvezdochka sneaker for Nike. Modelled entirely on a computer and made from a single piece of injection-molded resin, the footwear—named after the 1961 rocket-riding Russian dog—was intended for astronauts to wear during their daily exercises in zero gravity. As Newson notes, “Where else would you need the perfect sneakers but running on a treadmill in space?”

Newson’s groundbreaking Lockheed Martin Chaise.
Taschen

From the beginning, Newson—who helped lead Apple’s design department, and the development of key products such as the Apple Watch, for five years—has always possessed the unusual ability to bend ideas about design to his will. His Lockheed Lounge, a shapely chaise pieced together from curved aluminum panels, became an instant phenomenon with its 1988 introduction. Named for its resemblance to the early aeronautical stylings of Lockheed Martin, the furniture piece bucked the reductive ethos of modern design at the time. In 2006, it broke the record for the highest price paid at auction for the work of a living designer, topping that price 11 years later in 2015, going for $3.7 million at Phillips London.

Around the turn of the millennium, Newson—a vintage sports car enthusiast who once flew to the U.S. to purchase a 1959 Aston Martin DB4 with the entirety of a paycheck—shifted gears to focus his energies on the transportation sector. Asked by Ford to jot down some concepts, he came up with the 021C in 1999. A radically simplified three-box configuration, the model had a main cabin, hood, and trunk; the latter two sections were mirror images.

The Ford 021C, which Newson claimed caused “a lot of head-scratching” at the American car company.
Taschen

“It was utterly ridiculous and childlike,” Newson says of the design with a laugh. “There was a lot of head-scratching [at Ford], but I reasoned that since I’m not an automotive designer, I don’t want to and can’t play the typical automotive games.” Thanks to the support of Ford’s “brilliantly curious and open” top brass, the cartoon of a car became a drivable reality and a beloved Newson fan favorite. Soon after the release of the 021C, the Australian airline Qantas came knocking, seeking Newson’s design eye for a variety of projects, including the interiors of its airport lounges and, more challengingly, the invention of a fully horizontal bed for its premier passengers on long-haul flights. No small feat of imagination, this triumph led to his appointment as the company’s creative director.

The Qantas Skybed, designed for the Australian airline’s long-haul flights. Qantas

As Newson’s fame ascended, so did the demand for his work—in the design industry and beyond. New York gallerist Larry Gagosian was quick to add the maverick designer to his roster of art stars, such as Jeff Koons, Richard Serra, and Michael Heizer, and in 2007, he mounted Newson’s first solo exhibition in the U.S., featuring a limited-edition, experimental furniture series. “The stuff I do with Gagosian is not exactly mainstream design,” Newson says. “They’re these sort of rarefied follies [or] crazy experiments that I concoct. I don’t have to answer to anyone except myself—and perhaps Larry.” One object in the exhibition was a nickel surfboard with a storied lineage. “I wanted the prototype to be tested by [professional big wave surfer] Garrett McNamara,” Newson recalls. “He took the board to a Pacific island notorious for its huge swells on top of a coral reef. He actually lost the board in the waves and was driving back to his hotel when he saw a local with this tangled mass of metal under his arm. The story goes that the Mir space station had plummeted into the ocean the day before, and this guy thought he had found pieces from the crash. He had no idea it was a crushed surfboard.”

Is there a project he has yet to tackle? “Every time I think I’m at the end of the list,” he says, smiling, “I think of something new.” Space, for instance. “I would love to work more extensively in the area of space exploration. That is something I continue to find compelling and fascinating. It ticks all the boxes for me in terms of engaging with technology, incredible processes, and modern materials. And, of course, I would love to go to space. That’s the end game.”

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Piaget Just Dropped a Colourful High-Jewellery Line with 1970s Style

“Essence of Extraleganza,” a fusion of the words extravagance and elegance, is a tour de force of haute joaillerie that celebrates Piaget’s 150th year.

By Victoria Gomelsky 16/07/2024

Long before Piaget was a jeweller, it was a watchmaker. The luxury brand traces its roots to La Côte-aux-Fées, a village in the Swiss canton of Neuchâtel where Georges-Édouard Piaget founded a movement-making company in 1874.

In 1959, the maison introduced jewellery for the first time, showcasing its creations at the new Salon Piaget in Geneva. Almost immediately, the brand established itself as a trendsetter across both realms.

Piaget

Proof that the watchmaker-turned-jeweller continues to occupy the most rarefied precincts of the luxury trade arrived last month, when Piaget unveiled its “Essence of Extraleganza” high jewellery collection. The third and arguably most spectacular of the brand’s 150th anniversary product introductions (following the reboot in February of its Piaget Polo 79 timepiece and the April unveiling of the thinner-than-thou Altiplano Ultimate Concept Flying Tourbillon), the collection of 96 jewels and bejewelled timepieces is a tour de force of craftsmanship and gem-setting that bears an explicit connection to Piaget’s roots in jewellery.

“Of our three major launches this year to date, none of them have just been a launch — each and every one of them has hinged on a product, a story, a saga bringing the past and present together,” Benjamin Comar, CEO of Piaget, tells Robb Report.

Piaget

“So of course, this high jewellery collection had to bring more density than a regular collection. And this is why it’s called ‘Essence of Extraleganza’ — because through these 96 pieces, Piaget’s artistic director, Stéphanie Sivrière, went back to the Piaget DNA, to the moment when Piaget evolved from watchmaker to jeweller, to the decisive moment where this Swiss maison decided to revolutionise the watch world by imagining a new avant-garde vocabulary, filled with colours, textures and gold: the 21st Century Collection.”

That collection, introduced in 1969, included an array of jewellery watches that reimagined how to wear time. From metal bracelets with a fabric-like texture to swinging sautoirs, the pieces were bold, colourful and utterly of the moment.

Piaget

Three years ago, when Sivrière began working on what would become Essence of Extraleganza, she took her inspiration from those heritage designs of the 1960s and ’70s. The result is a stunning lineup of bold, cheerful and wildly original jewels, including highlights such as a necklace featuring a fiery cascade of trapezoid-cut carnelians set in rose gold and centered on a 21.23-carat cushion-cut spessartite garnet; a cuff watch loaded with 26.11 carats of baguette-cut Colombian emeralds; and a suite of blue-on-blue designs including a V-shaped necklace set with sapphires, tourmalines, and marquise-cut aquamarines surrounded by opals, turquoise and diamonds, along with a matching ring and pair of mismatched earrings.

Piaget

“Stephanie chose to highlight the couture inspiration of Piaget and paid homage to our chainmaker skills as a golden thread throughout the collection,” Comar says. “This was very impressive to witness unravelling in front of our eyes week after week. The carnelian necklace, for instance, was created like a never-ending puzzle: first the mesh structure completely hand-woven, then every hue and piece identified by a number and patiently assembled to create this mix-and-match yet balanced effect.”

The throughline that connects the 2024 collection to the one introduced 55 years earlier is, undoubtedly, Piaget’s willingness to embrace modernity while employing traditional techniques in service of timeless designs.

“Piaget’s jewellery style is still coherent and that’s the beauty of it,” Comar says. “When Valentin Piaget asked his Swiss designers in the early Sixties to go to Paris in order to attend a couture show and get inspired by this fashion revolution (think Cardin, Courrèges, Twiggy) this was so incredibly new for the time. And today, when we look at their past gouaches where they would create the swinging sautoirs directly on the glossy pages of the fashion magazines to really picture what this woman would be wearing today, it’s so modern. And still has the same effect today: timeless yet modern. That is the Piaget paradox.”

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Bay Watch 

After losing its lustre for decades, Sydney’s Double Bay is undergoing a renaissance. And with harbour views, lush parks and a friendly village feel, it’s no wonder luxury developments are flourishing.

By Horacio Silva 16/07/2024

The boarded storefronts on the strip of New South Head Road in Double Bay currently under construction near Cross Street are plastered with archival images of the harbourside suburb in its 1960s and 1970s heyday. In the grainy black-and-white images, passers-by dressed in their imported European finery inhabit the bustling streets and fashionable shopping destinations of the time, including Mark Foy’s department store on Knox Street and the chic boutiques of Claire Handler, Maria Finlay and Nellie Vida—three Hungarian expats who sourced the latest trends from the Continent for style-starved locals. 

The images serve as a reminder of an era when European designers dictated the style for modish Australians. They’re also a document of how much this prestigious enclave, located 11 minutes’ drive from the CBD and a snow-cone’s throw from some of Sydney’s best beaches, has changed.

The area’s once-thriving boutiques are a thing of the past, replaced by all manner of beauty-focused establishments. Gone too are the open-air dances in Steyne Park, the old Hoyts Theatre (an Art Deco gem of a building on the main drag that was the nexus of the community) and the illegal casino a few doors down from it called the Double Bay Bridge Club.

Which is not to say that this once-sleepy hollow, whose fortunes have ebbed and flowed in the last 50 years, has become the profligate relic that detractors, who pilloried it as “Double Pay”, predicted it would become after it fell from favour over the past few decades. Far from it. “There’s only one Double Bay,” says Angela Belle McSweeney, director of Australian Turf Club and a former public relations maven whose office was located for years on Knox Street, above the famed 21 restaurant.  “In terms of Australian glamour, it’s always been the benchmark and now more than ever.”

Joseph Hkeik, the owner of All Saint Clinic, which caters to the taut skin of the city’s high society, concurs. “There really is something palpable in the air,” says Hkeik, who is in as good a position as any to talk about the changing face of the place.

“A lot is happening, and everyone wants to be seen in Double Bay. It’s the hotspot of Sydney.”

All Saint Clinic

If Double Bay is once again the talk of the town, it’s in no small part due to chef and restaurateur Neil Perry. After stepping away in early 2020 as founder of the Rockpool Group, through which he created legendary restaurants such as Rockpool and Spice Temple, Perry resurfaced a few months later with plans to start anew on the prized willow-festooned corner of Bay Street and Guilfoyle Avenue. In June 2021, he opened his award-winning seafood restaurant Margaret, and soon after, the adjacent bar Next Door and the Baker Bleu bakery two premises along.

He has not looked back. The fat cats today may be younger than the potentates who used to frequent the area’s old stamping grounds like George’s and the Hunter’s Lodge, and the ladies who lunch are more “wind-swept” than their pre-Botox predecessors, but the Lamborghinis and Ferraris parked nearby suggest that this is once again where the elite meet to eat.

“It is definitely going through a renaissance,” says Perry of his new domain, “but I honestly think it’ll be more than a passing moment. Double Bay has the beautiful parks and waterfront, and for all the glitz it also has that village atmosphere close to the city that everyone wants. And there is so much investment in the place.” That’s somewhat of an understatement.

Originally earmarked to be the site of Sydney’s Botanic Gardens when it was settled in the 1820s, the suburb remains as green as ever, but these days it’s hard to see the trees for all the construction cranes. 

On Bay Street alone, real estate powerhouse Fortis has broken ground on mixed-use properties that are among the city’s most hotly anticipated new addresses. Of the new developments, perhaps the most eagerly awaited is Ruby House, a luxury five-storey strata office block on the corner of New South Head Road and Bay Street, due for completion in early 2025. A collaboration of luminaries, including Lawton Hurley as lead architects and interiors by Woods Bagot, Ruby House will offer a range of sun- dappled office spaces, ranging from 60–550 m², with starting prices around $3 million. The ground floor will feature retail spaces, as well as three best-in-class restaurants, adding more culinary heft to a street that already includes Bibo, Matteo and Tanuki.

Ruby House

“Our vision for Double Bay is to bring life back into this once-great suburb,” says Charles Mellick, director of Fortis, “and to create a vibrant precinct that is seen as the most sought-after neighbourhood in Sydney, if not all of Australia.” Big call, indeed. And yet take a stroll along the suburb’s verdant paths and suddenly Mellick’s words do not feel so hyperbolic. A few doors down from Ruby House, 24 Bay St is slated to open this August in the heritage- listed modernist masterpiece, Gaden House, designed by Neville Gruzman, a former Mayor of Woollahra and one of Sydney’s most influential 20th-century architects. Fortis is also teaming with architects Lawton Hurley on the building, which will house Song Bird, Neil Perry’s (does this man ever sleep?) new three-storey, 230-seat Cantonese restaurant. Underground will be the speakeasy Bobbie’s, helmed by Linden Pride of Caffe Dante in New York, voted best bar in the world in 2019. 

“Double Bay used to have two of the best Chinese restaurants in the city,” says Perry, referring to the defunct Cleveland and Imperial Peking. “We’re not trying to reinvent the wheel with Song Bird so it’s going to be great to continue that tradition.”

Across the street at 19-27 Bay Street, the first flagship RH Gallery, formerly Restoration Hardware, is also under construction. A five-level commercial building, opening in late 2025, it will house bespoke luxury home furnishings and a rooftop restaurant not unlike the company’s jumping location in New York’s Meatpacking District. Meanwhile, a few blocks over on Cross Street, Ode—a luxury tower developed by Top Spring Australia—is slated to open in 2025 next to the InterContinental Hotel (itself recently sold and being reimagined to include top-floor apartments and retail). Designed by Luigi Rosselli Architects, Ode’s 15 spacious residences and penthouses, with shimmering harbour views, are being eagerly contested by the one percent, with two of the three penthouses already being bought off-plan for $21.5 and $24.9 million.

Ode, Double Bay

For all the positivity, and dollars, swirling around the suburb, there is no cast-iron guarantee that these new commercial opportunities will help rekindle the moribund boutique scene and return Double Bay to its former fashionable standing. It’s been a while since Claire Handler and her Hungarian cohorts made cash registers sing.

As such, not everyone is convinced about the suburb’s supposed rebirth. “The rents in this area are astronomical as it is,” says Tony Yeldham, the legendary menswear impresario who opened his Squire Shop for discerning gentlemen as a teenager in 1956. “It’s going to be near impossible for smaller players to stay alive, but I’ve seen this area go through so many ups and downs so I’m hopeful if sceptical.” For the most part, the locals remain sanguine about the area’s potential, with one proviso. As Joseph Hkeik explains, “We just need these lovely builders to finish up so we can all get some peace and quiet.”

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Parmigiani Fleurier Just Dropped 3 New Perfectly Sized Tonda Watches

The growing demand for smaller watches isn’t slowing down, and these new models from Parmigiani are on trend.

By Cait Bazemore 16/07/2024

For the past several years, we’ve seen a growing trend of smaller watches. According to veteran dealer Matthew Bain, 36 mm to 38 mm is the ideal watch size, and it seems many collectors agree as the demand for smaller watches continues to grow. The trend goes beyond proportions and is part of a bigger movement toward more accessible and inclusive watches for all wrists, regardless of gender. This push reflects a growing prominence of female watch collectors like Lung Lung Thun who told Robb Report this week that she desires more watches in the 34 to 37 mm range. In response, countless brands have been reimagining some of their most iconic models with smaller proportions, from Chopard’s 36 mm Alpine Eagle to Breitling’s 36 mm Navitimer. At this year’s Watches & Wonders, it was even a tiny Cartier Tank measuring just 24 mm x 16.5 mm that stole the show.

Parmigiani Fleurier Tonda PF 36 mm in Rose Gold with Sand Gold Dial and Diamond Accents. Parmigiani Fleurier.

Parmigiani Fleurier is a brand who is no stranger to creating more modestly sized timepieces with consideration for all wrists and all genders. The brand first launched its Tonda PF collection in 2021 with a larger 42 mm model. A year later, they updated the line with a 36 mm Tonda PF, which went on to win the Women’s Watch Prize at the GPHG. This smaller version was so successful, Parmigiani added a 36 mm two-tone variation for the first time just last year. Now, we get three new 36 mm versions of the Tonda PF Automatic in new dial and metal combinations and with the addition of gem setting.

Tonda PF 36 mm in three new distinct styles.
Today, Parmigiani has unveiled three new takes on it’s perfectly proportioned Tonda PF: one in rose gold with a sand gold dial and diamond accents priced at $125.400, one in rose gold with a warm grey dial and diamond accents priced at $101,471, and one in two-tone stainless steel and rose gold with a white citrine dial and a more subtle touch of diamonds just on the hour markers priced at $50,662.
Tonda PF 36 mm in Two-Tone with White Citrine Dial and Diamond Accents
Parmigiani Fleurier

For each version, you get the classic curves of the Tonda PF you know and love with sweet-spot 36 mm sizing, and it’s loaded with Parmigiani’s automatic PF770 manufacture movement with a 60-hour power reserve. For the rose gold iterations, there’s a bit more bling with diamonds on the indices, bezel, and bracelet for the sand gold dial and diamonds on the indices and bezel of the warm gray dial. With each of the new 36 mm Tonda PF watches, the brand has used fully traceable and ethically sourced gold and diamonds.

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