Innovation versus novelty: how the watch industry got it wrong
Amid growing suspicion that novelties are driven by marketing rather than horology, watchmakers have sought to regain balance by reviving and revitalising classics.
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When the self-taught watchmaker Vincent Calabrese won a gold medal at the 1977 Salon International des Inventions de Genève, the watch industry looked in wonderment at his prizewinning movement. Calabrese had followed none of the usual horological rules. His movement was not particularly accurate, robust, or reliable.
What made his invention stand out was the way in which he had set all the gears in a straight line between the balance wheel and mainspring such that the viewer had an intuitive sense of how the mechanism kept time. Calabrese sold the movement to Corum, which enclosed it in a transparent crystal case and dubbed it the Golden Bridge. Variations are still being made by Corum today.
Few wristwatches can boast a four-decade lifespan. Most novelties last a single season, making headlines while the manufacturer is already secretly planning the following season’s attraction. The recent watch market downturn has been blamed partially on oversaturation: more novelty than collectors can absorb, with growing suspicion that novelties are driven by marketing rather than horology.
There is truth to these claims, and the industry has sought to regain balance by reviving and revitalising classics. (In addition to the 2017 Golden Bridge Rectangle, this past year has brought new releases of historical icons including the Longines Lindbergh and the Omega Railmaster.) These classics possess qualities of inventiveness that have long outlasted initial impressions, and the standards of deep innovation set by these iconic timepieces remain vital to contemporary watchmaking.
The distinction between deep innovation and superficial novelty can be stated simply: Deep innovation is a means to an end, whereas superficial novelty is undertaken for its own sake. But how deep innovation manifests is considerably more complex. It can apply to a watch’s appearance, its utility, its function, and even how it is made. One deep innovation may alter the wearer’s perception. Another may disrupt the entire watchmaking profession.
The Golden Bridge clearly falls into the former category. By fully exposing the mechanism, Calabrese exposes the wearer to a watchmaker’s view of time. In this formulation, time can be seen to unwind, moderated by the balance wheel’s inertia. This procedural understanding is more than just a perspective on technology. It also evokes a clockwork model of the cosmos, in which the universe is succumbing to entropy but process has a set pace — from which time itself emerges. By inventing an in-line watch movement, Calabrese has created a philosophical instrument.
Psychology can also be an impetus for deep innovation in watchmaking. Since the rise of the clock tower during the Middle Ages, timekeeping has organised society with ever-increasing precision. Clocks and watches govern every aspect of modern life, accentuating emotions ranging from anxiety to impatience.
Recognising the relationship between impatience and timekeeping, Hermès has released a watch with a mechanism dedicated to looking forward. L’Heure Impatiente, developed by the watchmaker Jean-Marc Wiederrecht and released earlier this year, has a subdial that can be set to a future time as much as 12 hours in advance. When the designated hour arrives, a countdown timer starts and runs for 60 minutes before striking a chime.
Elements of this watch have a historical precedent. The chime is reminiscent of alarm watches such as the Jaeger-LeCoultre Memovox, and countdown timers are found on timepieces designed for regattas such as the Rolex Yacht-Master. The innovation is in how these are combined to give expression to impatience, to provide a mechanism for controlling it, and perhaps even to deconstruct this very human trait by reducing it to clockwork.
If Calabrese’s movement can be construed as a philosophical instrument, Wiederrecht’s achievement has been to invent a kind of psychological automaton.
When Charles Lindbergh set out to develop the ultimate flight navigation watch in 1930, he was already the world’s most celebrated aviator, and the challenges of his 1927 solo trans-Atlantic flight directly informed the design of his timepiece. Lindbergh had made his way across the ocean by dead reckoning — charting his course with compass and airspeed indicator — because navigation by the stars was too demanding for one man flying alone. (The standard technique, originally conceived for navigation at sea, required a chronometer and a sextant as well as reams of star charts and reduction tables.) Lindbergh sought to simplify celestial calculations on the fly with an oversize wrist instrument designed specifically to work with the Navy’s state-of-the-art “hour-angle” system.
The Hour Angle watch that he invented in collaboration with Longines was re-released this year to coincide with the 90th anniversary of his most famous flight, which was timed by the Swiss watchmaker. It incorporated task-specific features such as an external bezel that could be adjusted to indicate the equation of time (the seasonally variable time of day as measured on a sundial), as well as a rotating inner disc for calibrating the timepiece to the exact second according to radio beacons. The purposefulness of these functions, which benefited pilots for decades, make them textbook examples of deep innovation.
Functional inventiveness persists in watchmaking today, embodied by the Einsatzzeitmesser (EZM) series of watches by Sinn. Einsatzzeitmesser means “mission timer,” and Sinn fully embraces the name: Many EZMs are developed in collaboration with a specific sector of the German government to serve the focused needs of personnel ranging from customs police to military divers. Function guides every attribute of these timepieces, and is guided in turn by the demands of the intended mission.
The new EZM 12 is exemplary. Built for use by helicopter paramedics, the watch has an internal bezel marked to measure time elapsed from the moment of dispatch, an external bezel for countdowns, and a pulsometer with a four-way sweep-seconds hand so that a pulse reading can be initiated every 15 seconds. (A chronograph wouldn’t serve the purpose since operation requires two hands.) Even the watch case is task-specific: Both the strap and the external bezel can be removed so that the timepiece can be completely scrubbed down and sterilised between missions.
Purpose-driven innovation is not necessarily limited to external features and indications. Back in 1957, Omega took on one of the greatest impediments to timekeeping precision by developing a watch impervious to magnetism. The Railmaster was intended for engineers who encounter strong electromagnetic fields on the job. (The conditions of railroad engineering gave the watch its name, but it could equally serve the needs of electrical engineers running high-energy experiments.) Electromagnetic fields affect performance of a watch movement by magnetising components, distorting timekeeping parameters such as the torque of the balance spring. Omega overcame this problem by encapsulating the movement in a Faraday cage — a soft iron enclosure that guides magnetic field-lines around the mechanism inside.
This simple intervention can protect movements from fields of up to approximately 1,000 gauss, and Omega was not alone in exploiting it. Other antimagnetic watches of the same era include the Rolex Milgauss and the IWC Ingenieur. (Iterations of both are still in production.) The problem is that when fields get strong enough, they pass through any amount of iron shielding. To make a watch truly antimagnetic requires that the movement be free of components attracted to magnets.
The new Omega Railmaster of 2017 meets this requirement. While the case and dial design are evocative of the 1957 model, the movement is entirely made out of amagnetic materials (such as a titanium balance wheel and silicon hairspring). As a result, the soft iron inner casing is no longer needed, and the antimagnetic protection has been bolstered to beyond 15,000 gauss.
This deep innovation predates the 60th anniversary Railmaster, having originally been implemented in the Omega Aqua Terra of 2013. Yet it is emblematic of how deep innovation inspires iteration based on new technologies and changing conditions. Observing the growing strength of electromagnetic fields in the modern world, Omega recognised an alternate kind of countermeasure with the development of the silicon hairspring in the early 21st century.
Superficial novelty stands out for a season before being supplanted and forgotten; deep innovation is self-perpetuating.
In the early 2000s, Patek Philippe formed an Advanced Research Program, formally institutionalising deep innovation. The initial focus was on silicon. In addition to being amagnetic, the material has desirable qualities ranging from smoothness to durability, and production techniques adapted from the computer industry allow for ultra-high-precision fabrication.
In collaboration with Rolex and the Swatch Group, Patek invested in basic research at the Centre Suisse d’Electronique et Microtechnique that facilitated the brand’s first silicon escape wheel, balance spring, and balance wheel. Each was initially built into a limited-edition Advanced Research timepiece, culminating in the 2011 release of the Ref. 5550 Perpetual Calendar Advanced Research featuring an all-silicon escapement.
The Advanced Research watches were more than mere showpieces. They prototyped silicon technologies that have subsequently benefited the majority of Patek Philippe wristwatches. They were means to an end, the goal being fundamental improvement of chronometry.
This year, Patek has taken the Advanced Research Program in a new direction. In addition to testing a novel curvature for the silicon balance spring, the company is experimenting for the first time with a “compliant” component: a single piece of flexible steel that serves the purpose of many conventional parts just by how it bends.
As was the case with silicon, compliant fabrication adapts research from other industries. For instance, compliant parts are used for mechanical control of astronomical telescopes. In the new Ref. 5650G Aquanaut Travel Time Advanced Research, the compliant part is used to manually adjust the GMT mechanism.
The genius of compliant fabrication is that gears and pivots can be replaced with geometry. In the 5650G, one piece of metal supplants more than two dozen conventional parts, closing tolerances, eliminating friction and obviating maintenance.
As compliance spreads into future movements, chronometry and durability are likely to improve. But the invention could be more deeply disruptive. Compliant mechanisms have to potential to upset centuries of watchmaking by fundamentally changing movement architecture and assembly. In the hands of Vincent Calabrese, they may even evoke a new cosmology.
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How the Most Rare and Valuable Watches Are Traded Among Elite Collectors
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How the Most Rare and Valuable Watches Are Traded Among Elite Collectors
Some of the world’s most interesting watches spend decades being traded privately before we learn about them.
Before social media became the lingua franca of the watch world, there were forums. And on those forums, collectors—especially collectors of vintage Rolex—often traded timepieces amongst each other.
The advent of Instagram in the early 2010s, coupled with the explosion in interest in vintage timepieces, drew attention to this corner of the watch world, and with that attention came increased competition for the finest examples. In the case of six- and seven-figure watches, high-end dealers, like James Lamdin, founder and vice president of vintage and pre-owned watches at Analog:Shift, became trusted intermediaries, negotiating sales for pieces not once or twice but often multiple times as they made the rounds of the collector community.
“There are watches out there that may not be massively rare by reference, but are by example,” Lamdin tells Robb Report. “Tropical patina, ghosted bezel, or celebrity provenance—it’s that watch. When those watches go into a collection, usually it’s with the implicit understanding that they’re valuable and people will want them from you and will make you a profit when you sell them.”
The best dealers have built relationships with collectors around the world and often have first right of refusal when those pieces come back to market. But even still, the most coveted models can still slip through their fingers.
Eric Wind, of Wind Vintage in Palm Beach, Fla., has lost and found some of the world’s most storied watches. In 2015, when he was vice president, senior specialist at Christie’s in New York, Wind came across a “super rare” 1957 Audemars Piguet Ref. 5516 perpetual calendar that had languished in rural Florida until the nephew of the original owner consigned it to Christie’s. The first perpetual calendar wristwatch to feature a leap-year indicator, the piece was one of just nine made by Audemars Piguet in the 1950s. Wind considers it “the one in the best condition.”
He showed it to one of Christie’s better-known clients, Patrick Getreid, owner of the OAK Collection, who purchased it in 2015 for $545,000. In 2023, Getreid consigned it to Christie’s in Hong Kong. That’s when Wind decided to give the piece another shot.
“I had registered to bid on it but at the last minute, I got cold feet,” Wind continues. “It was starting kind of high compared with what Getreide had paid for it. I was bidding remotely from Florida, but when no one else is bidding, you’re kind of wondering if you’re a genius or a fool. Is there something everyone else knows that I don’t? The question was about market value. The watch ended up passing and I purchased it via private sale—or private treaty, as it’s known—after the sale. I had two clients who really wanted it. I offered it to both, but one was more ready to pull the trigger and he got it. It never saw the light of day.” That Audemars Piguet perpetual calendar, Wind says, “remains one of my top five watches on the planet.”
As he reflected on the piece’s winding journey, Wind considered his own role in its comings and goings. “It was fun to be part of the lifecycle of that watch, from when it was discovered in rural Florida and consigned to Christie’s, and then sold to a great collector, who sold it again,” he says. “I imagine it will come back to me at some point. I don’t know if it will be two years from now or 40 years.”
Another grail watch that Wind helped shepherd to a client was an exceptional Paul Newman Rolex Daytona Panda reference 2623 with a full set and a tropical dial that was sold by a small Swedish auction house just under a decade ago. “Another dealer got it,” Wind explains. “I was still at Christie’s, and I fell in love with the watch. This dealer who had it for a year then sold it to an Italian dealer, who then sold it to a collector in Asia. I was tracking the watch on Instagram and saw the collector post it. By that time, I had become a dealer.
“I made an offer to the collector to purchase it on behalf of my client,” he adds. “It had been owned by a Swedish boat captain and had been given to him by the family he worked for, the equivalent of the Rockefellers in Sweden. We had to arrange shipment to the U.S. by Malca-Amit armored transport. Whenever these high-value watches move around, you have to deal with armored shipments, customs, proper transportation, and a lot of paperwork. It takes some time but it’s well worth it.”
Both the AP perpetual calendar and Daytona were original and unpolished—“the kind of watches I look for,” Wind says. “It’s funny how watches circle around. Within the high-end watch world, we’re not talking about thousands and thousands of watches. We’re talking about a relatively small amount of great watches.”
Eric Ku, a high-end vintage dealer in Northern California, certainly knows the drill.
About 15 years ago, he was offered a first-of-its-kind 1996 Rolex Cosmograph Daytona “Rainbow” reference 16599 in white gold on a leather strap.
“I’ve been hunting jeweled Rolexes for a really long time, before it was a cool thing,” Ku, cofounder of the online auction site Loupe This, says. “The watch first surfaced to me around 15 years ago. It was offered to me by a dealer in the Middle East and was coming from, allegedly, a member of a royal family. At the time, the pricing was completely different than it is today. After going back and forth, I offered $130,500 and the seller wanted $136,462. I lost the watch. I was gutted. I’d been stalking the watch. But at the time, relative to the market, it didn’t make sense for me. It was a really tough time, might have been around the financial crisis. I felt confident it would come back to me, but it didn’t.
“Then, in 2012, Rolex introduced its new rainbow Daytona,” Ku says. “I had no doubt about the authenticity of the watch I’d lost out on, but seeing the new rainbow Daytona completely validated me and erased any scintilla of a doubt that I had about the watch. Fast forward a couple years: The watch was offered to me again privately, by a different person in the Middle East at a significant multiple of the original offering—let’s say in the mid six-figures. I bought it.”
In 2017, Ku sold the watch to an important collector based overseas, “a person of very high taste and connoisseurship who appreciated the rarity of that watch,” he says. The collector, by Ku’s reckoning, also appreciated the story of its journey. “Dealers and old collectors always like trading war stories,” he says. “What’s the one thing that got away and then it came back? The collector got sold on the story.”
Now, the watch is coming back to market on Nov. 8 at Phillips Geneva, where it’s being offered in a sale dedicated to neo-vintage timepieces (Reloaded: The Rebirth of Mechanical Watchmaking 1980-1999) and is estimated to fetch in excess of $5.93 million.
“It’s probably the sexiest watch of the season,” Ku says.
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Golden Touch
Discretion is the better part of glamour at the glittering Maybourne Beverly Hills.
Los Angeles does not want for star wattage, but for years now, the city’s hotel scene has been a little lacklustre. So news that the beloved Montage hotel has been completely redone under the Maybourne brand (the British powerhouse that operates Claridge’s, The Connaught, and Berkeley Hotels in London, and the recently opened Maybourne Riviera on the Côte d’Azur) should come as a boon to Australians looking for a new Tinseltown bolthole.
Situated within Beverly Hills’ famous Golden Triangle, just north of Wilshire Boulevard and Four Season’s Beverly Wilshire, and one block from the world-renowned luxury retailers, restaurants and celeb-spotting of Rodeo Drive, The Maybourne Beverly Hills offers a chic retreat from the designer flexing at its doorstep; a rare escape in the heart of this storied enclave that flies under the radar like a cap-wearing celeb dodging the paparazzi.
Set amid the manicured, Mediterranean-style Beverly Cañon Gardens plaza, which unfolds from the hotel’s west entrance, the new incarnation of Montage Beverly Hills (55 suites and 20 private residences, each with a balcony or patio with a courtyard or city view) still evokes the grand estates of Old Hollywood while feeling like you’re in a European mainstay.
Revealing a restrained new guestroom and suite design by Bryan O’Sullivan, a blue-chip art collection and some of the most solicitous staff in town, the Maybourne speaks in a laid-back Californian accent but still holds true to the luxury touchpoints of five-star service for which one of the world’s most exclusive neighbourhoods—and hotel brands—is known.
“It’s reassuringly British when it comes to service—it’s a culture of yes,” says Linden Pride, the Australian restaurant and bar owner behind the award-winning Caffe Dante in New York and Bobbie’s, the new speakeasy opening this month below Neil Perry’s new Song Bird restaurant in Sydney’s Double Bay (page 40). Pride should know; he lived at the Maybourne for almost a year while he and his partner, Nathalie Hudson, set up Dante, the stunning new restaurant and bar on the hotel’s ninth-floor rooftop. “Looking out from the roof onto lemon and olive trees, it’s easy to forget that you’re in Southern California, not Europe.”
Opened last year, Dante has quickly become one of the hottest reservations in town, luring in celebrities from Baz Luhrmann and Catherine Martin to the entire Real Madrid soccer team. Like its sister outposts in New York (besides the Greenwich Village original, a West Village location opened in 2020), the focus here is on non-threatening antipasti and aperitivi in a produce-driven menu of fresh familiar stalwarts, with the addition of wood-fired dishes from a giant pizza oven at the heart of the room. Just as it does in New York, a negroni cart does the rounds, and each afternoon is welcomed with a martini happy hour.
It’s all fittingly Cali-chill. The only drama in the place is a striking ceiling fresco by Los Angeles artist Abel Macias, which dominates the 146-seat room. “Nathalie and I had just been to Europe when we decided to open up here,” Pride recalls, “and the Sistine Chapel blew us away. When we saw the domed ceiling in this room it was a no-brainer.”
Dante joins a string of newcomers in the area, including New York transplants Café Boulud, Marea and Cipriani. Don’t look now, but with arrivals like the Maybourne and Dante, one of the world’s stuffiest cities—yes, Beverly Hills is its own 14.8 km² metropolis—might just be entering a new golden age.
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White Lotus-ing? How Hit Films and TV Shows Are Inspiring Elite Travelers to ‘Set-Jet’ Across the Globe
It’s not just The White Lotus. Prestige TV and blockbuster films set in far-flung destinations are driving bookings like never before.
“As seen on TV” may have lowbrow connotations, but the recent glut of award-winning shows and films set in alluring, far-flung locations is causing an unprecedented run on the world’s best hotels. Call it set-jetting: planning your vacation around a destination featured in a popular series or movie. And while romantic suites and beloved characters have gotten people on planes since the golden age of film, what has changed is how central beautiful venues have become to plots.
“The way that The White Lotus used the destination to tell the story was really unique,” says Misty Belles, an executive at the global travel-adviser network Virtuoso. It also made its settings—the Four Seasons resorts in Maui and Taormina, Sicily—nigh un-bookable. And it’s hardly the only example: “Paris wasn’t hurting for eyes, but Emily in Paris showed the city in a more playful way,” Belles notes. “And people weren’t exactly flocking to Richmond before Ted Lasso.”
Giulia Parmigiani/Netflix
The trend is so strong that a property doesn’t even need to be connected to a show to benefit from its boom. Henley Vazquez, cofounder of the New York–based travel agency Fora, points to Bridgerton’s impact on English estate hotels.
“Heckfield Place [used to be] a hard sell,” she says of the five-star Georgian mansion in Hampshire. “Now, people are dying to go there. It wasn’t featured in Bridgerton, but it’s just that kind of place.”
Others insist on the real deal. Jennifer Schwartz, managing director of Authentic Explorations, works with one family to build trips based on the Game of Thrones universe.
HBO
“They went out of their way in Portugal” to visit Monsanto, the setting for Dragonstone in House of the Dragon, she notes. “It’s definitely a criterion on which they choose where they want to vacation.”
For travelers who want more than simply to follow in their favorite character’s footsteps, London’s Black Tomato takes things several steps further. Since 2023, it has planned high-octane itineraries based on the James Bond franchise and works with the films’ producers, Eon Productions, to make you feel like an MI6 agent. (Some trips even offer lessons with Daniel Craig’s stunt double, Lee Morrison.)
The 007 success has inspired more such trips. “We’ve just recently launched itineraries inspired by Yellowstone and Ripley, focusing on Montana and Wyoming and Italy, respectively,” says cofounder Tom Marchant.
Netflix
Still, it’s important to remember that sharp camerawork—and editing—accounts for a lot of the on-screen magic. Schwartz, of Authentic Explorations, notes that “the White Lotus hotel” in Sicily is “not super accessible, but it’s filmed as if the beach is right there.” In reality, the shore club from the show’s second season is 133 miles away. “People go to the place and they’re like, ‘You have to get in a car to go to the beach? What do you mean?’ ”
So where shouldn’t you go? Netflix’s The Perfect Couple will likely send hordes to Nantucket next summer, and The White Lotus’s third season, set on the Thai island Koh Samui, has already caused a local spike—and it’s not even on the air yet.
Bookings of Virtuoso’s properties in the region are up 38 percent since the show was announced. Luckily, Belles says, the effect doesn’t linger. “We typically see a good two-year impact on a set-jetting destination.”
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This New Line of Megayachts Brings Modern, Loft-Style Living to the High Seas
Benetti’s first B.Loft model spans an impressive 213 feet
Benetti has been working on something quite, well, lofty.
The Italian shipyard unveiled a new line of megayachts on Monday. Designed to entirely new architectural criteria, the B.Loft range will bring a contemporary residential feel to supersized cruisers. Each B.Loft model will combine “the volumes of a villa with the luminosity of a loft,” according to Benetti.
Penned by Italian studio Cassetta Yacht Designers, the B.Loft yachts will be characterised by sleek lines, minimalist profiles, and expansive glazing. The line will include three models, with the B.Loft 65M (pictured here) being the first to be revealed. The new 213-footer will sit in the middle of the range, with at least one smaller and one larger model joining the lineup at a later date.
The living area.
Benetti
The inaugural B.Loft showcases a steel hull, an aluminum superstructure, and multi-layered decks that create openness and flow. With an impressive beam just shy of 35 feet, the spacious yacht offers six cabins for 12 guests and nine for 13 crew. The interior combines modern matte surfaces and swathes of natural teak, creating an elegant environment for entertaining.
The standout feature of the B.Loft 65M is the “cabana” on the main deck. A cut above an ordinary beach club, the panoramic area is outfitted with three glass doors that afford 270-degree views and two fold-down wings that create up to 430 square feet of relaxation space. The glass-bottomed pool on the main deck above allows different lights, patterns, and shapes to fill the space.
Benetti
Speaking of the main deck, the semi-enclosed aft area leads to a spacious interior lounge and a luxurious lobby. The nearby dining area features floor-to-ceiling windows and a large, central table that is perfect for entertaining. This deck also includes a fully equipped galley and a second lobby with a winter garden and more fold-out balconies.
Benetti
The upper deck is also sure to impress, with towering 13-foot ceilings and a lobby that Benetti says is longer and more spacious than those typically found on yachts of this size. Again, a glass-bottomed hot tub on the sundeck above lets the light shine through the water onto the area below.
Benetti
Benetti didn’t dive into propulsion, but says the B.Loft 65M will be able to cover 5,000 nautical miles at 10 knots. That’s not bad speed or range for a floating loft.
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Omega Just Re-Released Its First Watch to Ever Go to Space
The watchmaker has dropped a new version of the Speedmaster astronaut Walter Schirra wore in space in 1962.
It was one small decision for Omega, one giant win for watch collectors.
The Swiss watchmaker has re-released the first Speedmaster that went to space, combining classic 1950s styling with modern horological innovations.
Launched in 1959, the original watch (Ref. CK 2998) was the successor to the first Speedmaster model that Omega unveiled in 1957. It featured a symmetrical 39.7 mm case, a dark bezel, and slender Alpha hands that set it apart from the previous iteration. NASA astronaut Walter “Wally” Schirra famously wore the second-gen Speedy on the Mercury-Atlas 8: Sigma 7 mission of 1962, earning it the title of “first Omega in Space.” Omega did drop a model in 2012 to honour this feat but discontinued it in 2021. The “First Omega in Space” is now back, with a bold new look.
The contemporary release takes design cues from the CK 2998, maintaining the same polished-brushed stainless-steel case, triple-register chronograph display, and domed crystal. The CVD-coated dial is finished in a grey-blue hue that appeared on some CK 2998 models produced in the 1960s, while the black aluminium bezel features the signature “Dot-Over-Ninety” tachymeter bezel synonymous with the earliest Speedys. The hour markers and Alpha hands are filled with Super-LumiNova in a golden hue that gives an aged quality. In keeping with that historic feel, vintage Omega logos have been added to the dial and crown.
The major difference between the two is the movement. The original was powered by the Calibre 321, while the modern edition is driven by the Calibre 3861. The hand-wound movement, which has the all-important Master Chronometer certification from METAS, offers the highest standard of precision, performance, and magnetic resistance, according to Omega. It has a frequency of 21,600 beats per hour (3 Hz) and a power reserve of 50 hours.
The new Speedmaster also has a couple of special, sentimental touches. The caseback showcases an integrated Seahorse medallion and the engravings “Speedmaster,” “The First Omega in Space” and “October 3, 1962.” The latter is the date that the Mercury-Atlas spacecraft took off from the Canaveral Air Force Station in Florida, orbiting the Earth six times, before landing in the Pacific Ocean. Schirra was the sole occupant of the spacecraft, completing the nine-hour mission with his trusty Speedmaster on his wrist.
The new Speedmaster First Omega in Space costs $11,125 with a leather strap or $11,780 with a steel bracelet.
