Watches & Wonders 2023
Let the games begin – from A. Lange & Sohne to Zenith, the first new releases have landed, with more to come. Here’s an initial look at the first drops.
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Watches & Wonders, the world’s biggest horological tradeshow, has arrived to deliver the year’s hottest new releases from the top luxury watchmakers.
So far, it’s shaping up to be a year in which many brands are revisiting established classics or recently minted heroes. Just before the show opened to journalists and retailers on Monday, several brands released a multitude of first looks, many of them familiar takes on memorable designs. A. Lange & Söhne revisited its one and only sports model, the Odysseus, and updated it with its first in-house automatic movement. Cartier rendered its Tank Normale anew, including a few complex skeletonised versions. Now that it’s achieved a laundry list of world records for the Octo Finissimo, Bulgari decided to focus on its Octo Roma collection and revealed two particularly elevated tourbillon models. And Van Cleef & Arpels delivered another round of the extraordinary table clocks that wowed the crowds at last year’s fair, which will please any very well-heeled clients that couldn’t get their hands on the $1 million-plus museum-worthy pieces.
There will, of course, be more to come. While Patek Philippe released images of a revamped Calatrava, its other releases (as well as Rolex’s breathlessly awaited new watches) will be shared later on Monday morning. For now, here’s a taste of what’s in store for watch enthusiasts this year.
A. LANGE & SÖHNE
A. Lange & Söhne Odysseus Chronograph
The esteemed German watchmaker is doubling down on its 4-year-old Odysseus collection of steel sport models with the debut of a timepiece featuring the manufacture’s first automatic chronograph movement. Limited to 100 pieces, the new chronograph places a premium on precision and legibility. Powered by the new L156.1 calibre, which incorporates an ingenious mechanism for resetting the chronograph hand to zero, the piece is marked by a combination of brushed surfaces and chamfered edges that emphasise its openness, as well as a dial architecture designed to create the illusion of depth.
Case Size: 42.5 mm
Case Material: Stainless steel
Power Reserve: 50 hours
Straps: Stainless steel bracelet
BULGARI
Bulgari Octo Roma Blue/Anthracite/White
Bulgari’s Octo Roma collection reimagines many typical watchmaking tropes through the lens of Italian flair, incorporating octagonal shapes reminiscent of ancient Roman buildings and offering a case shape that feels distinctly fresh and compelling. Expanding the basic, time-and-date Roma model this year, Bulgari is adding blue, anthracite, and white-dialed models to the lineup, each of which includes the beautiful clous de Paris motif. (This pattern, which appears as a series of small pyramids, can be found on numerous high-end timepieces from various brands.)
Each model comes in a 41 mm Octo Roma case and is powered by the automatic Calibre BVL 191 movement with a power reserve of 42 hours. Equipped with hands and indices that pop against the textured dial via a liberal coating of Super-LumiNova, each ships with both a matching rubber strap and the collection’s signature stainless steel bracelet. With its sophisticated case architecture and new, eye-catching dial design, the Octo Roma has become a competitive entry in the luxury sports watch genre that any die-hard—and even jaded—watch guy or gal would be proud to own.
Case Size: 41 mm
Movement: Bulgari Calibre BVL 191 automatic
Power Reserve: 42 hours
Bulgari Octo Roma Chronograph
Debuting this year within the Octo Roma collection is a new chronograph whose design cues may be familiar to some from the complication’s presence within the Octo Finissimo family. Powered by the automatic, in-house Calibre BVL 399 movement—which is visible via a sapphire caseback—it features a triple-register chronograph display with a 30-minute counter, a 12-hour counter, and a running seconds counter, plus a date window at 4:30. Subtly integrated chronograph pushers, a crown flanked by dual crown guards, and case architecture boasting a mix of polished and brushed surfaces make for a visually compelling look.
The visual star of the show is the same clous de Paris motif from the time-and-date models, available in white, anthracite, or blue and featuring a liberal coating of Super-LumiNova for nighttime legibility. Measuring 12.4mm thick and water resistant to 100m, the Octo Roma Chronograph ships on a beautiful stainless steel bracelet and also comes with a rubber strap that matches the watch’s dial colour. With its striking aesthetics, beautifully designed case, in-house movement, and multiple straps, it’s a tempting alternative to something like the Speedmaster, Daytona, or an El Primero.
Case Size: 42 mm
Movement: Bulgari Calibre BVL 399 Automatic
Power Reserve: 42 hours
Bulgari Octo Roma Precious Tourbillon Lumière
A ladies’ offering, the Octo Roma Precious Tourbillon Lumière competes squarely with any Octo men’s watch for sheer horological firepower but pairs it with a positively breathtaking case with more diamonds than a De Beers showroom. Measuring 38mm in rose gold, it’s set with no less than 267 round, brilliant-cut diamonds, plus a bezel set with 48 more—plus a rose gold crown set with a cabochon-cut ruby. (And if that isn’t enough diamonds and precious metal for you, you should consider moving into Buckingham Palace, because you may very well be the Queen of England.)
And on to the timekeeping: Powered by the manually wound, skeletonised Calibre BVL 208, it features small, central hands poised above a tourbillon housed at 6 o’clock. The rose gold movement is entirely hand decorated and boasts 64 hours of power reserve—more than enough to power it through the weekend. The dial itself is set with diamonds and nine brilliant-cut rubies to indicate the hours—in case you needed more bling. (Total carat count: ~5.05 for the diamonds, and ~0.18 for the rubies.) Paired with a red alligator strap with a diamond-set folding buckle, this is surely a timepiece for the woman who has everything else.
Case Size: 38 mm
Movement: Panerai Calibre BVL 208 Hand-Wound
Power Reserve: 64 hours
Octo Roma Precious Naturalia
Joining the Octo lineup is a precious metal doozy of a timepiece machined from gold and equipped with a flying tourbillon for good measure. Dubbed the Octo Roma Precious Naturalia, it celebrates the natural beauty of tiger’s eye, which is used in the construction of the dial indices. (More on that in a moment.) Housed in a 44mm, satin-brushed rose gold case measuring 11.35mm tall and water resistant to 50m, its stunning, skeletonised dial features a tiger’s eye plate with ample brown and gold accents, plus thin shavings of the same material that cover each of the 13 dial indices. Because of the unique properties of the stone, each dial is a one-of-a-kind piece of art.
Completing the gold aesthetic of the dial is a set of skeletonised hands and a flying tourbillon situated above 6 o’clock, plus a fully visible gear train. Powered by the manually wound, in-house BVL 206 movement with 64 hours of power reserve and paired with a brown alligator strap with a rose gold folding buckle, this is most certainly not a watch for someone who wants to fly under the radar—rather, it’s a prominent statement piece meant to exhibit every last ounce of Bulgari’s watchmaking savoir faire.
Case Size: 44 mm
Movement: Panerai BVL 206 Hand-Wound
Power Reserve: 64 hours
Bulgari Octo Roma Papillon Tourbillon and Striking Tourbillon Sapphire
For those for whom the standard Octo Roma offerings are insufficiently avant-garde, may we introduce the Octo Roma Striking Tourbillon Sapphire, which includes a unique complication: Housed in a 44mm titanium case with black DLC coating, it features a crown with a special push-button device at 3 o’clock. Engage this button, and a small red dot in the winding stem indicates that the crown can now be adjusted. Re-engage the button and the time setting is now deactivated, and the crown can be used for manual winding of the tourbillon-equipped movement.
With its completely transparent sapphire dial, mid-case, and back, the watch’s skeletonised movement—the Calibre BVL 206 with 64 hours of power reserve—is on full display. Bright green Super-LumiNova-filled indices and a white-tipped handset discreetly handle time-telling duties, while the flying tourbillon is situated above 6 o’clock. With its rubberised, black alligator strap with green stitching and titanium folding buckle, this futuristic offering is one of the standout models in the current Octo Roma collection, and proof that the Octo Finissimo line isn’t the only place where Bulgari’s most innovative watchmaking can be found.
Case Size: 44mm
Movement: Bulgari Calibre BVL 206 Hand-Wound
Power Reserve: 64 hours
Bulgari Octo Roma Striking Papillon Tourbillon
Sticking with the black DLC titanium theme, we have a striking-looking—(actually, “striking” is even in the name)—piece, also with a flying tourbillon, but with the addition of a special minute display and a jumping hour display. Dubbed the Octo Roma Striking Papillon Tourbillon and housed in a semi-tactical, very futuristic looking 44 mm Octo case measuring 11.9 mm thick and featuring a sapphire mid-case, its dial looks like something out of a cool science fiction novel.
A mix of blacks and greens and transparent surfaces, the dial features a central tourbillon with a jumping hour display poised above it, plus a semi-circular minute display below. Along this display traverses a “butterfly” minute counter with dual, diamond-shaped hands—once the first counter reaches the end of the 60-minute display, the hands rotate 180 degrees, and the secondary hand retraces the path back along the arc. Powered by the hand-wound Calibre BVL 348 movement with 60 hours of power reserve and lit with plenty of Super-LumiNova, it’s paired with a rubberised black alligator strap with green stitching and a titanium folding buckle.
Case Size: 44 mm
Movement: Bulgari Calibre BVL 348 Hand-Wound
Power Reserve: 60 hours
CARTIER
Cartier Privé
For the past seven years, Cartier has selected a historic model from its archives (say, the Crash, the Tank Cintrée, or the Cloche), given it a fresh new design spin, and marketed it as a numbered and limited edition under its sought-after Cartier Privé label, a “collector’s collection,” as the brand calls it.
New to Privé this year, the Tank Normale offers seven takes on Cartier’s defining timepiece, the 1917 Tank. They include an hour/minute version—in yellow gold with a brown alligator strap or in platinum with a black alligator strap—that takes its proportions and beveled sapphire crystal from the original, as well as a complicated and skeletonised model that features a 24-hour complication marked by a sun and crescent moon, in either yellow gold or platinum (the latter available with or without diamonds). And in a groovy nod to 1970s style, the collection for the first time includes two models that come on yellow gold or platinum bracelets.
Case Size: 32.6 mm x 25.7 mm for the basic Tank Normale; 35.2 mm x 27.8 mm for the skeletonised version
Case Material: 18k yellow gold and platinum
Power Reserve: 36-38 hours
Straps: Alligator straps in grey, brown, blue, and black, and 18k yellow gold and platinum bracelets
Clash [Un]Limited
![Cartier Clash [Un]Limited](https://robbreport.com/wp-content/uploads/2023/03/CAR_CRWJMB0004_CCS_01_01_TC_2404939.png?w=300)
Between its stylish mix of round and square shapes, and intriguing juxtaposition of faceted corners and beveled dials, the new Clash [Un]Limited watch evokes the legacy of Jeanne Toussaint, the legendary designer who, as director of Cartier’s high jewelry department from 1933 to 1970, “dared to provoke glittering collisions between preciousness and the industrial aesthetic of ball bearings,” according to a press release.
All five quartz-powered variations of the Clash [Un]Limited revel in contrasts (say, between brushed and satin finishes), but none as unexpectedly as the coloured stone version, which comes in an enchanting gem-set case distinguished by surprising pairings of brilliant white diamonds, bright red coral, and mint green chrysoprase.
Case Size: 18.4 x 32.7 mm for the small models
Case Material: 18k yellow, rose, white and purple gold
Straps: 18k yellow, rose, white, and purple gold bracelets
Santos-Dumont
Cartier’s sextet of new Santos-Dumont styles includes a trio of manual-wind XL models in platinum, rose gold, and yellow gold. The standout features are dials decorated with Roman numerals cut directly in jasper, jade, and dumortierite, to match the colours of the cabochons on the winding crowns.
For anyone who enjoys gazing at a complex movement, the Santos-Dumont Skeleton watch—available in a case made of yellow gold, rose gold, or steel—is just the ticket.
Case Size: 46.6 mm x 33.9 mm for colourful versions, 31 mm for skeleton edition
Case Material: 18k rose gold, 18k yellow gold and platinum
Straps: Alligator straps in green, blue, grey, burgundy, and brown
Santos de Cartier
The storied Santos line now includes three models featuring deeply saturated dials in green and navy blue, coated in a thin layer of tinted lacquer and applied by hand.
Case Size: 35.1 mm for the two medium models, and 39.8 mm for the large
Case Material: Steel
Straps: Interchangeable straps in steel and alligator
Tank
For more than a century, the Tank watch by Cartier, not to mention the family of timepieces it spawned, has adorned the wrists of the global elite. No wonder the Maison is perpetually recreating it. This year sees updates to three classic Tank models: the Tank Américaine, the Tank Française, and the Tank Louis Cartier.
The Tank Américaine was born in 1989 when the maison introduced a slender version of the model in a gently curved case reminiscent of the Tank Cintrée. For 2023, the house revisited the Tank Américaine in 11 new styles (nine featuring quartz movements) designed to be even slimmer. Available in all-gold and steel with a leather strap, rose gold and diamonds with a leather strap or diamond-paved white and rose gold with a metal bracelet, the Tank Américaine is proof that thin is perennially in.
The Tank Française made its debut in 1996 in a chic metal bracelet style. Now, the quartz-powered steel watch features a revamped bracelet with a gentle curve to fit all wrists. Note the diamond-set brancards, which play off the model’s polished finishes and sunray-brushed dial.
In 1921, Cartier widened the Tank’s case, refined its brancards and softened its edges to create the Tank Louis Cartier. New for this year is an LC model in yellow or rose gold on an alligator strap with a graphic motif on the dial rendered in three shades of gold—an homage to the Tank Must dials of the 1970s. The Tank Louis Cartier also comes in two minimalist coloured dial editions: one in lacquered burgundy and the other in a Platonic green, both encased in yellow gold. All three models feature the manual winding 1917 MC movement.
Case Size: 28 mm x 15.2 mm for the Tank Américaine mini, 35.4 mm x 19.4 mm for the Tank Américaine small, 44.4 mm x 24.4 mm for the Tank Américaine large, 25.7 mm x 21.2 mm for the Tank Française small, 32 mm x 27 mm for the Tank Française medium and 33.7 mm x 25.5 mm for the Tank Louis Cartier
Case Material: Steel, 18k yellow gold, 18k rose gold, 18k white gold
Straps: Alligator straps in dark blue, dark brown, red, grey, taupe and green
CHANEL
J12 Eclipse Box Set
Taken together, this set of seven watches, each a piece unique, is the horological equivalent of a solar eclipse. From the first watch, in all white ceramic, to the seventh watch, in all black, the timepieces—which come equipped with automatic calibers certified by the Swiss Official Chronometer Testing Institute—are gradually eclipsed by a black band that grows wider with each successive model.
Case Size: 38 mm
Case Material: Matte black and white ceramic
Power Reserve: 70 hours
Straps: Matte black and white ceramic bracelet
Monsieur de Chanel Tourbillon
The fragment of meteorite that forms the dial of this striking black ceramic timepiece isn’t its only distinctive element. Set atop the cage of the flying tourbillon—marking the first time the Monsieur watch has featured the complication—is a lion head décor plate depicting the maison’s emblem. With the passing of each second, it spins in all its leonine majesty.
Case Size: 42 mm
Case Material: Matte black ceramic and steel
Power Reserve: 72 hours
Straps: Black nylon strap with black calfskin trim and lining
CHOPARD
Chopard L.U.C 1963 Heritage Chronograph
Hand-wound chronographs are prized among collectors, and Chopard’s contribution to this elite genre, a 25-piece limited-edition flyback chronograph with Geneva Seal certification, is likely to disappear fast. The L.U.C 1963 Heritage Chronograph has a minimalist, no-date dial, and a case made of Lucent steel, Chopard’s proprietary steel alloy made of 80% recycled elements. Vintage details include the car-dashboard-style hour markers from 05-60 for chronograph minutes and seconds, along with mushroom-shaped pushers and eco-green dial with matching stitching on the strap. Modern technology allows for a sapphire caseback through which to admire the decorated movement, the star of the show (sapphire crystals weren’t around in the ’60s). The Chopard hand-wound flyback chronograph caliber L.U.C 03.07-L is chronometer certified, with a 60-hour power reserve. Finishes include rhodium-plated bridges, yokes, levers and column wheel, circular graining for the base, straight-graining for the chronograph components and a Côtes de Genève motif on the bridges.
Case Size: 42 mm by 14.55 mm
Case Material: Lucent steel
Power Reserve: 60 hours
Straps: Brown calfskin, green lining, green bridle stitching with pin buckle
Mille Miglia Classic Chronograph
Chopard loves its traditions, and the annual Mille Miglia collector’s edition is one of is most enduring. Chopard has been timing the scenic race from Brescia to Rome since 1988 and co-President Karl-Friedrich Scheufele has personally taken part in the race every year since, covering more than 30,000 competition miles. This year’s edition, the 36th in the annual series, is slightly smaller than others, at 40.5mm, which makes it a little more wearable (and perfect for a ladies’ wrist!).
The case, bezel and crowns are made of Lucent steel, a Chopard alloy that it says is 50% harder than conventional steel. There are four dial colour options, matched to the paintwork and interiors of classic cars: Verde Chiaro (light green) and Rosso Amarena (cherry red), Nero Corsa (racing black) and, on a two-tone steel and gold model, Grigio-Blue (grey blue). A tachymeter scale is essential for calculating speed and distances, and plenty of Grade XI Super-LumiNova helps to navigate after dark. A slim bezel maximises the depth of the dial.
Case Size: 40.5 mm by 12.88 mm
Case Material: Lucent steel or Lucent steel and 18k rose gold
Power Reserve: 54 hours
Straps: Black rubber with 1960s Dunlop racing tire motif or calfskin leather.
Chopard Imperiale
The lotus flower is the signature motif of Chopard’s Imperiale collection. The model was launched in 1994, and the lotus motif has appeared in various ways on its dials, cases, crowns and movements ever since. In 2017, Chopard won the Grand Prix d’Horlogerie de Genève in the jewelry category with the Lotus Blanc, with diamond-set petals opening and closing at will on the dial. The new Imperiale depicts the lotus flower with overlapping petals within a polished rose gold lacework. Some of the gold petals are engraved and satin-brushed. These openworked petals are positioned against a disk that rotates once every 24 hours to represent night and day. After midnight, the star-studded sapphire dome representing night gives way to morning light represented by a white diamond sky. It was created using several artisanal techniques, starting with a mother-of-pearl disk that is lacquered in a cerulean gradient that, at night time, is decorated with seven gold-powder stars. Sapphires in six gradient shades of blue express the transition from day to night. Snow-set diamonds represent the daytime sky. The steady motion of the disk is driven by the L.U.C 96.30-L, with a 65-hour power reserve. Case, horns, bezel and inner dial ring are set with diamonds.
Case Size: 36 mm by 10.15 mm
Case Material: 18k rose gold
Power Reserve: 65 hours
Straps: Seamless blue pearlescent alligator with 18k gold pink buckle
Alpine Eagle 41 XPS
Chopard has been beefing up its Alpine Eagle collection recently, instilling the sporty model with complications and high watchmaking finishes. The new 41 XPS is a chronometer-certified, with a small seconds indicator, and is finished to the standards of the Poinçon de Genève. The ultra-thin (8mm) case is made of Lucent steel A223, which Chopard ays is ultra-resistant and takes a high polish, and it’s made of 85% recycled materials. Double barrels driving the flagship caliber L.U.C 96.40-L ensure a 65-hour power reserve. The “monte rose pink” dial is named for the second-highest mountain range in the Swiss Alps, and their characteristic pinkish shimmer. It resembles the salmon tint that is so popular in high-end sports watches at the moment. The finish is inspired by the eagle’s iris. It can be admired on a larger plane than previous models, since the bezel of this one is trimmed back.
Case Size: 41 mm by 8 mm
Case Material: Lucent steel A223
Power Reserve: 65 hours
Straps: Lucent steel A223 bracelet
GRAND SEIKO
Grand Seiko Masterpiece Collection Spring Drive 8-Day SBGD213
Every ounce of Grand Seiko’s watchmaking prowess is on display in the new SBGD213: a Spring Drive-powered masterpiece, it’s hand-set with 5.62 carats’ worth of diamonds, and 1.25 carats of blue sapphires. Housed in a truly magnificent, highly angular, Zaratsu-polished platinum case recalling the lion—Grand Seiko’s spirit animal, so to speak—it features 112 diamonds along its upper surfaces and a further 60 baguette-cut stones along the bezel. Even the crown is inset with a brilliant-cut sapphire that matches perfectly the deep blue colour of the dial.
Speaking of the dial: blue sapphires and baguette diamonds—each of which has been set by hand between pairs of 18K white gold rails—form the hour and minute indices. Executed by the Shinshu Watch Studio in the Shiojiri facility in Nagano prefecture, they make for a stunning display, and are further joined by an additional 48 diamonds and 12 blue sapphires around their periphery. Flipping the watch over reveals the Spring Drive movement sat beneath a sapphire caseback: With its one-piece bridge and Mt. Fuji-inspired design, the Caliber 9R01 is accurate to an impressive +/- 10 seconds per month and offers an 8-day power reserve due to three barrels arranged in sequence.
Case Size: 44.5 mm
Movement: Grand Seiko Caliber 9R01 Hand-Wound
Power Reserve: 8 days
Grand Seiko Masterpiece Collection Hand-engraved Manual-winding Spring Drive Limited Edition SBGZ009
A special limited-edition model within the Masterpiece Collection, the new SBGZ009 features a stunning, fully engraved case executed by hand in the town of Shiojiri by elite Grand Seiko craftsmen. Inspired by a forest of white birch trees at the foot of the North Yatsugatake Mountains in the eastern part of Shinshu, it’s housed in a 38.5mm platinum case and paired to a silver dial.
Superb craftsmanship characterises this timepiece: each case is polished to a distortion-free sheen via the Zaratsu technique, after which it’s hand engraved with individual grooves by engravers at the Shinshu Watch Studio. A silver dial in the brand’s beautiful birch pattern is joined by 14K white gold, diamond-cut hour markers, plus a handset with curved minute and seconds hands and a minute track that’s carved into the dial periphery. Powered by the manually wound Spring Drive Caliber 9R02 with an 84-hour power reserve, it’s accurate to an incredible one second per day, and comes paired to a black crocodile strap with three-fold clasp and push button release.
Case Size: 38.5mm
Movement: Grand Seiko Spring Drive Caliber 9R02
Power Reserve: 84 hours
Grand Seiko Evolution 9 Collection Tentagraph SLGC001
A truly notable release, the Evolution 9 Collection Tentagraph SLGC001 is Grand Seiko’s first mechanical chronograph. An entry within the Evolution 9 sports watch collection, it’s powered by the 9SC5, which chirps along at 10 beats per second and features dual barrels for a power reserve of three days, even when the chronograph is in operation—making it, according to GS’s research, the 10-beat chronograph with the longest power reserve on the market. Tested for 20 days to ensure that it meets the Grand Seiko Standard of +5 to -3 seconds per day, it’s also highly accurate and thoughtfully engineered.
Housed in a Zaratsu-polished 43.2mm titanium case with a box-shaped sapphire crystal featuring anti-reflective coating, paired to a matching bracelet with a three-fold clasp with push button release, and complemented with a screw-down crown and a sapphire case back, the Tentagraph has a handsome dial to match its impressive construction and movement: Executed in a blue “Mt. Iwate” pattern, it boasts a triple-register chronograph display, a date window at 4:30, beautifully polished, applied indices and hands, and a black ceramic bezel with a tachymeter scale. Not bad for a first effort at a mechanical chronograph!
Case Size: 43.2 mm
Movement: Grand Seiko 9SC5
Power Reserve: 72 hours
HUBLOT
Big Bang Integrated Tourbillon Automatic Full Texalium-Carbon
Whether one loves or hates its case silhouettes, there’s simply no denying that Hublot is at the cutting edge of what it terms “the art of fusion”—integrating disparate materials that come together in a cohesive whole to tell a uniquely contemporary horological story. This year, this fusion has been put on full display in the form of the Big Bang Integrated Tourbillon Automatic Full Texalium-Carbon, a watch that surely knows few equals with regard to aesthetics, engineering, or creativity.
Measuring 43mm in ultra-lightweight carbon fiber, the watch is coated in Taxalium, a material that integrates fiberglass in a resin core with a thin layer of aluminum for increased impact resistance. Paired with a specially fabricated Texalium and carbon fiber strap that weighs just 26 grams and features individually machined and finished links, the Integrated Tourbillon Automatic is powered by the HUB6035 Manufacture Calibre movement, which features a micro-rotor and tourbillon as well as a 72-hour power reserve. With its mesmerizing looks, incredible engineering, and lightweight construction, it’s surely one of the standout references in the Big Bang lineup.
Case Size: 43 mm
Movement: Hublot HUB6035 Manufacture Calibre Automatic
Power Reserve: 72 hours
Big Bang MP-13 Tourbillon Bi-Axis Bi-Retrograde Titanium
2023 marks the entry of several firsts into the Hublot catalog, the latest of which is impossible to miss: the new 44mm Big Bang MP-13 Tourbillon Bi-Axis Bi-Retrograde Titanium is an absolute bruiser of a watch combining—for the first time in the brand’s history—a tourbillon and retrograde display in one timepiece. And not just any tourbillon, mind you: Hublot’s status as a completely integrated manufacture has allowed it to develop a bi-axis tourbillon entirely in-house, a considerable horological feat. (The tourbillon makes one rotation every minute on one axis, and one rotation every 30 seconds on its second axis).
Skeletonised and suspended without the use of an upper movement bridge, this impressive complication—and the HUB6200 manually wound movement housing it—is visible via anti-reflective sapphire crystal on both sides of the case. An impressive 96-hour power reserve ensures that the mesmerizing tourbillon can run for days without the need for winding. Limited to just 50 numbered pieces, it’s made of satin-finished and polished titanium and comes paired to a black rubber strap.
Case Size: 44 mm
Movement: Hublot HUB6200 Manufacture Calibre Manual Winding
Power Reserve: 96 hours
Big Bang Square Unico Sapphire
Building upon the success of 2022’s Square Big Bang Unico, Hublot is expanding the collection with a unique sapphire variant meant to showcase the brand’s tremendous savoir faire and expertise with cutting-edge materials. Part of a limited run of 250 pieces, this impressive, transparent timepiece has a water resistance of 50m despite the challenges of engineering not only a square case but one machined from multi-layered sapphire. Powered by an in-house movement dubbed the HUB1280, it features a 72-hour power reserve, automatic winding, and a column wheel flyback chronograph complication. All of this impressive clockwork can, of course, be admired via the watch’s openwork dial and sapphire case.
Fitted to a rubber strap with a titanium deployant clasp, the Big Bang Square Unico Sapphire is further joined by two sister references in black or white ceramic, which are powered by the same movement, but aren’t limited editions. Each watch features the “One Click” system, meaning its straps can easily be swapped out for other Hublot bracelets.
Case Size: 50 mm
Movement: Hublot HUB1280 Manufacture Calibre Automatic
Power Reserve: 72 hours
IWC
IWC Ingenieur Automatic 40
IWC is reviving the Ingenieur Reference 1832, along with the man who created it, Gerald Genta, the maestro of watch design. The Ingenieur (“engineer” in French) was IWC’s ultimate answer to the Asian-invasion of affordable quartz watches and the decline of traditional gold dress watches in the 1970s. An early version of the Ingenieur was introduced in the late ’50s, but the model really came into its own when IWC decided to enlist Genta in the 1970s to redesign it according to the spirit of the times. His brief was to create a robust yet elegant steel sports watch that would be accessible and unique. In 1976, Genta delivered the SL ref. 1832 Ingenieur in a 40mm steel case with an integrated steel bracelet, a checkerboard-pattern dial and a distinctive screw-on bezel with five recesses. Because 40mm seemed huge at the time, the watch was nicknamed the “Jumbo.” Genta had already designed Audemars Piguet’s now-iconic Royal Oak by then, and would go on to design Patek Philippe’s legendary Nautilus a year later. The new Ingenieur Automatic 40 is a tribute to the original 40mm Jumbo. Updates include a slightly curved case ring and a redesigned bracelet with closed links and no visible pins. On the original bezel, the screws were decorative, but on the new one, the five screws secure the bezel to the case ring, so they have a technical function as well. The dial has the same grid pattern as the original. Dial options include black, silver-plated or aqua. All contain the IWC-manufactured 32111 caliber with a power reserve of 72 hours.
Case Size: 40 mm
Case Material: Stainless steel
Power Reserve: 72 hours
Straps: stainless steel bracelet with butterfly folding clasp
MONTBLANC
1858 Unveiled Secret Minerva Monopusher Chronograph Limited Edition
In 1858, Charles-Ivan Robert opened a workshop on the site of an ancient mill in the Swiss village of Villeret. In homage to his fascination with Roman mythology, he named it Fabrique d’Horlogerie Minerva. The firm survived the ravages of the 1970s, clinging to its independence until 2006, when it was acquired by Financière Richemont and transferred to Montblanc.
In the intervening years, the German brand has used Minerva’s legacy as a springboard for contemporary creations in its 1858 collection—chief among them the new 1858 Unveiled Secret Minerva Monopusher Chronograph, available in a limited edition of 88 pieces. Equipped with a historic hand-wound Minerva MB M16.29 movement that’s been flipped over so its complexity is visible on the dial, the watch comes in a steel case with a black coating brushed with quartzite and limestones from the nearby mountains, lending the watch a uniquely distressed look that belies its elegance.
Case Size: 43 mm
Case Material: Distressed steel
Power Reserve: 50 hours
Straps: Black nubuck alligator leather strap
1858 Geosphere 0 Oxygen The 8000 Limited Edition
The Nepal-born mountaineer Nimsdai Purja is the inspiration for Montblanc’s new limited edition Geosphere automatic chronograph, a limited edition of 290 pieces that features a worldtime complication complete with two 3D globes—the Northern Hemisphere at 12 o’clock and the Southern Hemisphere at six o’clock. The former bears 14 orange dots, marking the location of the world’s 8,000+-meter peaks.
On the back of the watch’s 44 mm titanium case, a 3D coloured laser engraving depicts the list of the 14 peaks, the name of the watch, two inspirational quotes from Nimsdai and three Himalayan prayer flags for good fortune. Last but not least, the watch comes with an interchangeable anthracite textile strap that borrows its design from a rope, a tool that no mountaineer can do without.
Case Size: 44 mm
Case Material: Titanium
Power Reserve: 46 hours
Straps: Interchangeable anthracite textile strap
PANERAI
Panerai Radiomir Annual Calendar
Famed for its simple, time-only military watches, Panerai has been steadily expanding its offerings to include more complicated pieces executed in new, forward-thinking materials. New this year is a complication that has never before been part of the Panerai oeuvre—namely, an annual calendar. Housed within a 45mm Radiomir cushion case with “wire”-type lugs and onion crown, the PAM01363 features Goldtech construction, combining platinum and copper for a red appearance. Its sun-brushed blue gradient dial is an exercise in legibility, with a day-date display at 3 o’clock, a running seconds display at 9 o’clock, and an outer, rotating month disc with a fixed arrow at 3 o’clock as an indicator. Of course, the famous Radiomir “sandwich” dial is also present and accounted for.
Also available is a special Experience edition, the reference PAM01432. Purchasing this Platinumtech-cased beauty with its sun-brushed burgundy dial will get you a ticket to a Panerai-led experience in Rome, with “events that combine artisanal know-how, culture, and tours of historical sites.” Whichever reference you spring for, you’re getting an incredible, complicated timepiece powered by the P.9010/AC automatic movement, with 40 jewels, dual barrels, and 316 components.
Case Size: 45 mm
Movement: Panerai P.9010/AC Automatic
Power Reserve: 72 hours
Panerai Radiomir California PAM01349
While Panerai has long produced a version of its famed “California dial” Radiomir in the positively enormous size of 47mm, it has never ventured smaller. This year, the Italian-founded military outfitter has finally seen fit to shrink this model down to something that’s (slightly) more wearable for someone with a sub-8-inch wrist: Please join us in welcoming the 45mm Radiomir California PAM01349! With a deep green dial, this one is a playful twist on the typical “California” formula.
Taking inspiration from the historical reference 3646, it features the famous half-Roman, half-Arabic numerals of the “California” look, plus an outer railroad minute track and a lumed, blued steel sword handset. Cased in Brunito eSteel—a type of recycled metal with its origins in different industries—the watch features brand new hand finishing that gives it a cool, vintage look. It’s powered by the hand-wound Calibre P.5000 with an 8-day power reserve, and comes paired to a calf leather strap in dark brown with contrast stitching.
Case Size: 45 mm
Case Material: Brunito eSteel
Movement: Panerai Calibre P.5000 Hand-Wound
Power Reserve: 8 days
Panerai Radiomir Otto Giorno
Available in two compelling colours, the new Radiomir Otto Giorno recalls some of the earliest Panerai models made exclusively for military use in the 1930s. Housed in a 45mm e-Steel case whose PVD exterior is hand finished for a unique, vintage-inspired look, the watch features most of the characteristics that fans have come to expect from the typical Panerai diver: a highly legible “sandwich” dial with ample lume; a cushion case with “wire” lugs and an onion crown; and a hand-wound movement with an ample power reserve—in this case, the Calibre P.5000 that can run for eight days when fully wound, which lends the piece its name in Italian.
Both the dark brown (PAM0347) and blue (PAM01348) gradient dials transition from a darker edge to a lighter center, echoing the grainy, colour-changed appearance of certain early aluminum Panerai dials. Paired to Cuoio Toscano calf leather straps that match their respective dials and are meant to take on a distinct patina with time, each is a fitting tribute to the legacy of this most distinctive of specialist, legacy watchmakers.
Case Size: 45 mm
Movement: Panerai Calibre P.5000 Hand-Wound
Power Reserve: 8 days
Panerai Radiomir Quaranta in Goldtech
Did we mention that Panerai’s focus this year is on the Radiomir collection? (Well: Panerai’s focus this year is on the Radiomir collection.) So without further ado, here’s one more Radiomir release to tickle your vintage-inspired fancy: the Quaranta in Goldtech. Godltect is Panerai’s own proprietary blend of gold, platinum, and copper that shines in a bold red colour—and nowhere does it look better than constituting the case of this most contemporary of Radiomirs.
Shrunk down from its 47mm origins, the Quaranta is so named for its 40mm size. At just 10.15mm thick—the slimmest in the brand’s entire oeuvre—it makes for a highly wearable, everyday watch…provided you can pull off a hulking hunk of gold on an everyday basis. Paired to an elegant alligator strap and fitted with a radially brushed, white “sandwich” dial, it’s powered by the impressive Calibre P.9000, an automatic movement measuring just 4.2mm tall and boasting a three-day power reserve. Positioned as a genderless, versatile piece for any type person on any occasion, it’s certainly a stunner and a fabulous example of Panerai’s adaptation of military-born tech into a contemporary guise.
Case Size: 40mm
Movement: Panerai Calibre P.9000 Automatic
Power Reserve: 72 hours
PATEK PHILIPPE
Patek Philippe Calatrava 6007G-001, 6007G-010 & 6007G-011
Patek Philippe just released three new Calatrava references, each with a white gold case, ebony dials and its own accent colour: red, yellow, or pale blue, rendered on the seconds track, seconds hand, indexes, and the stitching of the matching leather strap. The intriguing dials feature a crosshatch pattern reminiscent of carbon fiber, which matches the treatment on the strap, giving each of the trio a distinctly sporty feel.
Case Material: White gold
Straps: Leather with yellow, red, or blue stitching
Movement: Self-winding calibre 26-330 S C
ROGER DUBUIS
Roger Dubuis Monovortex Split Seconds Chronograph
Roger Dubuis watches seem to exist in two parallel universes. On the one hand, every single watch is finished in excruciating detail according to the traditional finishing conventions outlined by the Geneva Seal. On the other hand, every watch has the aesthetic of a hyper-modern, colourful, openworked, technically futuristic superwatch. They always look as if they have somehow exploded into being, in a good way. Roger Dubuis is also known for its tourbillons, and the Monovortex Split Seconds Chronograph has one of those, positioned on 360-degree conical trajectory. It also has a turborotor: a cylindrical oscillating weight that rotates perpendicular to its axis. The caliber RD114 movement also drives a split-seconds chronograph controlled by a double-column wheel. And there’s an angular, isotoxal-shaped minute counter, a tripartite hand that Roger Dubuis calls the (120° Rotating Minute Counter, with arms that carry the tens digits (0,1 or 2) while pointing out the units digit. The case is made of a mineral composite fiber (MCF that is 99.95 percent silica, made via a sheet molding compound (SMC) process. Duguis says it is 13 percent lighter than SMC carbon. Certainly not your average traditional wristwatch.
Case Size: 47 mm
Case Material: Mineral composite fiber (MCF)
Straps: Bi-material fabric
TAG HEUER
Carrera Plasma Diamond d’Avant Garde
Remember that stunning, diamond-encrusted TAG Heuer Carrera Plasma Diamont d’Avant Garde from 2022? Well, there’s another one this year—and it’s even more diamond-y. The new Plasma sets artificial diamonds all throughout the bezel, bracelet, dial, crown, and more, making for a stealthily blingy watch—and we say “stealthy” because the entire case is black aluminum—that nevertheless delivers a serious horological punch in the form of the Calibre Heuer 02T Nanograph COSC movement with tourbillon.
A whopping 15.5 carats of lab-grown diamonds—124 of ‘em, for those who are counting—encrust every available centimeter of this timepiece. (Even the indices are diamonds!) Housed in a 44mm sandblasted aluminum case with a 2.5-carat diamond crown, its dial is composed of three polycrystalline diamond plates that form a sparkling surface against which a set of rhodium-plated hands indicate the time. The aforementioned Calibre Heuer 02T Nanograph boasts 65 hours of power reserve and extensive hand finishing, making this Plasma one heck of a statement piece, both outside and in.
Diameter: 44 mm
Movement: TAG Heuer Calibre Heuer 02T Nanograph COSC Automatic
Power Reserve: 65 hours
Aquaracer Professional 200
TAG Heuer’s Aquaracer line is most typically associated with the high seas, representing as it does the famous chronograph maker’s take on the contemporary dive watch. However, utility and flair are, as we know, most decidedly not mutually exclusive. To wit, the new Aquaracer Professional 200—two solid-gold takes on the brand’s popular aquatic timepiece. Available in 18K 5N rose gold or 18K 3N yellow gold, both are thoroughly modern divers powered by the brand’s new manufacture movement, the COSC-certified Calibre TH31-00, which boasts an 80-hour power reserve and comes complete with a five-year warranty.
The first such Aquaracer models with solid gold cases and bezels, each 40mm sports watch features a contrasting, DLC-coated crown and a DLC-coated Grade 2 titanium caseback with a sapphire window. Water resistant to 200m and featuring striking fumé gradient dials (blue on the yellow gold model and black on the rose gold), they come paired to blue or black rubber straps with DLC Grade 2 titanium folding clasps. A liberal application of SuperLumi-Nova ensures visibility below or above the waves, making the Auqaracer Professional 2000 an excellent everyday option for summertime adventures.
(Meanwhile, if solid gold is too much gold, you may be interested in two new bi-colour editions of the gold Aquaracer Professional 200, available with bezel inlay, crown, and dial detailing in 18K yellow or rose gold. Two models at 40mm are powered by the automatic TAG Heuer Calibre 5, while two ladies’ models at 30mm feature fumé mother of pearl dials with diamond-set indices, and are powered by the automatic Calibre 9 movement.)
Diameter: 40 mm
Movement: TAG Heuer Calibre 5 Automatic
Power Reserve: 38 hours
Carrera Chronograph
The story of the Carrera Chronograph continues apace with the introduction of several new models this year. Two of these are fresh colourways that bring (even more) automotive influence to a watch designed way back in 1963 and named after the famed Carrera Panamericana race that took place in Mexico: Available in black or blue, each watch boasts bright orange pops of colour that recall the speedometers on vintage race cars. Measuring 42mm in stainless steel, each also features a triple-register chronograph with recessed hour and minute totalisers, a running seconds totaliser above 6 o’clock, a lumed sword handset, and an outer 1/5th-second track positioned along the rehaut.
Uniquely, both models have date windows placed in different spots on the dial: the blue variant’s date is situated within the running second’s display above 6 o’clock, while on the black model, it can be found below 12 o’clock, recalling certain vintage Carrera “Dato” models. Paired to matching calfskin leather straps in blue or black, each is powered by the automatic Calibre Heuer02 movement, is water resistant to 100m, and features a display caseback.
Case Size: 42 mm
Movement: TAG Heuer Calibre HEUER02 Automatic
Power Reserve: 80 hours
Carrera Chronograph “Glassbox”
Perhaps the most exciting TAG Heuer release of the year for diehard Carrera fans, the new TAG Heuer Carrera “Glassbox” models are the direct descendants of the original 1963 racing chronograph—vintage reissues aside. Jack Heuer famously suffused his original Carrera watch with subtle midcentury influences found in the likes of Oscar Niemeyer’s architecture, or Ludwig Mies van der Rohe’s furniture, giving this small chronograph the subtleties and thoughtful touches that made it a horological classic. Likewise, the new 39m stainless steel “Glassbox” models—so called because their sapphire crystals resemble the profile of the acrylic crystals used on original 1960s watches—feature a bevy of thoughtful touches:
The curved sapphire crystal effortlessly flows over a tachymeter scale that runs along the dial edge, allowing the scale to be read from a wider variety of vantage points. This edge curves inward to reveal a 1/5th-seconds track along a flange that frames the applied dial indices, while a triple-register chronograph in recessed totalisers blends into a blue dial, or pops against a black main dial in a “panda” effect. A lumed sword handset and a date at 12 o’clock (black dial) or 6 o’clock (blue dial) finish the contemporary look. Powered by the automatic TH20-02 caliber—an updated version of the Heuer 02 chronograph movement with elevated finishing and bi-directional winding—round out this most excellent update to a true classic.
(There’s also a tourbillon-equipped version housed in a 42mm version of the Carrera case, powered by the automatic Calibre TH20-09 Automatic COSC movement and boasting a dual-register chronograph display. Paired to a blue calfskin strap, it’s a notable model within the greater catalog—and all the more special because of TAG Heuer’s positioning as more of an entry-level brand that doesn’t typically delve too far into such elite complications as the tourbillon.
Case Size: 42 mm
Movement: TAG Heuer Calibre TH20-09 Automatic COSC
Power Reserve: 65 hours
ULYSSE NARDIN
Ulysse Nardin Freak One
Ulysse Nardin Freak One
Ulysse Nardin is introducing the ultimate Freak in honor of the game-changing watch it launched in 2001. Designed by notable watchmaker and physicist Dr. Ludwig Oechslin, the Freak represented a fresh expression of watchmaking. It had no dial – just an open view of the movement. Nor did it have hands- time was indicated by a one-hour carrousel tourbillon that pointed to an index as it rotated. And instead of a crown, time was set by winding a device on the caseback that was connected to a system built into the bezel. The new Freak One recaptures the spirit of the original 2001 Freak and adopts the best innovations introduced in the eight variations that have appeared since. It is regulated by a silicon hairspring first introduced in 2008, along with an escapement treated with shock-resistant DIAMonSIL, was first applied to the Freak in 2007. It repeats the iconic notched bezel of the original 2001 Freak, the open gear train of the Freak Cruiser of 2013, and the legibility codes of the 2018 Freak Vision. The black DLC-coated titanium and rose gold detailing echoes other recent Freak iterations, such as last year’s Freak S.
Case Size: 44 mm by 12 mm
Case Material: Black DLC-coated titanium
Power Reserve: 72 hours
Straps: Black textured rubber, black alligator two-tone rubber
VACHERON CONSTANTIN
Traditionelle Tourbillon Retrograde
It’s a retrograde year for Vacheron Constantin. The display, which requires extreme precision, is a longtime tradition for the brand, a complication in itself that became popular in the 1920s. Vacheron is applying it to three new models this year. The first is the Traditionelle Tourbillon Retrograde, which combines a tourbillon with a retrograde date display. The movement, automatic caliber 2162 R31, is visible on the openworked dial and given a slate grey NAC surface treatment that contrasts with the traditional features of the watch. The date is tracked on a retrograde arc across the top half of the dial. Once the arrow hand reaches the 31, it jumps back to the beginning at the next date change, starting at 1 again. The watch retains the main design codes of the Traditionelle line, including stepped round case and lugs, a fluted caseback, a slim bezel, a railway minute-track, bi-faceted Dauphine hands and gold baton-style hour-markers. It is finished to Geneva Hallmark standards.
Case Size: 41 mm x 11.07 mm
Case Material: 18k pink gold
Power Reserve: 72 hours
Straps: Gray alligator
Patrimony Retrograde Day-Date
The combination of platinum case, salmon dial and double retrograde is enough to tell you that this is a watch will be a fast sell-out. This boutique-only edition won’t last. The dial is classically minimalist, with needle-thin central hour and minute hands and eccentric details like long pointed hash marks at 3, 6 and 9 o’clock, pearled 18k white gold minute markers and an 18k gold Maltese cross, the brand’s logo, at 12 o’clock. The date/day retrograde arcs at top and bottom are marked by skeletonised blued steel hands.
Case Size: 42.5 mm x 9.7 mm
Case Material: Platinum
Power Reserve: 40 hours
Straps: Blue alligator
Overseas Moonphase Retrograde
This is Vacheron’s first sports watch with a retrograde display, and a very rare example of a retrograde moon phase arc. The moon phases are displayed through a 6 o’clock aperture and also read on a graduated from 0 to 29½, indicating the number of days elapsed since the last new moon. It’s a precision moon phase, requiring a one-day correction only once every 122 years. The retrograde date arc above is subtle, with a blue hand over the background of a blue dial. The watch retains the signature features of the Overseas collection: six-sided bezel evoking the Maltese cross, fluted crown, polished and satin-brushed finishes, translucent lacquered dial, luminescent hour-markers and hands. it is Geneva Hallmark certified.
Case Size: 41 mm x 10.48 mm
Case Material: Stainless steel
Power Reserve: 40 hours
Straps: Stainless steel; calfskin leather; blue rubber
VAN CLEEF & ARPELS
Van Cleef & Arpels Planetarium Automaton
One of Van Cleef’s introductions for 2023 is a universe unto itself. Following on the groundwork laid by its Planetarium watches, introduced in 2014, and a massive automaton clock unveiled at Watches and Wonders last year, is a new edition of the Planetarium Automoton clock that offers a new combination of materials. This version is complemented with a black Aventurine glass dial, which helps to make the sparkling sun at the center and the seven planets that revolve around it look like they’re floating in outer space. It’s even accompanied by a special melody created in partnership with Swiss musician Michel Tirabosco.
Dimensions: 50 cm x 66.5 cm
Power Reserve: 15 days
Movement: Automaton and mechanical movements including a planétarium and 11 other modules such as hour/minute display, perpetual calendar
Van Cleef & Arpels Floraison du Nénuphar Automaton
This is the first of two unique automaton clocks Van Cleef & Arpels dedicated to nature and created with the help of the Francois Junod workshop. On command, they both open their floral crowns and reveal a butterfly hidden within the petals of the blooom atop the piece. This model, the Floraison du Nénuphar, hides its butterfly completely inside its lotus-like flowers. Once it opens, the butterfly appears to hover, and flaps its wings in a natural motion for a few seconds before returning to the interior of the flower, which closes around it to complete the spectacle. It tells time with a ring on the outside of the base of the clock, around which a winged figure revolves to mark the time.
Dimensions: 27 cm x 21.5 cm
Power Reserve: 8 days
Movement: Automaton and mechanical movements
Van Cleef & Arpels Éveil du Cyclamen Automata
This clock’s animation is similar, but the flowers that surround the butterfly reveal a little more than its fellow new debut. At the touch of the button, their stems fall away and allow the enamel-painted insect inside to float above the petals momentarily, where it also flaps its wings before disappearing inside the pink enamel petals once more.
Dimensions: 27 cm x 21.5 cm
Power Reserve: 8 days
Movement: Automaton and mechanical movements
Perlée
Van Cleef & Arpels relaunched its Perlée collection last year with a new motif: beaded gold. It resembles the art of granulation, in which gold balls soldered onto a gold surface, but on the Perlée collection the effect is cast, so the row of beads is already solidly attached to the surface of the gold and then finished and polished by hand. Five new models in this delicately feminine collection (four with a 23mm case and one with a 30mm case) have decorative dials of pavé-set diamonds, guillochérose gold or guilloché mother-of pearl. Each comes with an interchangeable alligator strap along with second option from the collection. There is also a jewelry bracelet, composed of articulated gold beads.
Case Size: 23 mm or 30 mm
Case Material: 18k white or rose gold
Movement: quartz
Straps: Alligator or 18k gold bracelet
Precious Dance
Van Cleef takes the gold beaded motif to yet another level with this series of six pendant watches. The locket-like pendants are like small pocket watches, with gem-set cases that swivel open to reveal the time. Three are set with the big three precious gems: either sapphire, ruby or emeralds, in either rose or yellow gold, with matching gold chains. The cases of three others are set with ornamental stones. Bezels are ringed with diamonds and the dials are mother-of-pearl.
Case Material: 18k gold
Movement: quartz
Straps: 18k gold chain
Ludo Secret and Hexagone Macaron Secret
The Ludo bracelet, with its tightly worked mesh-like links, is a signature Van Cleef & Arpels creation, first introduced in 1934, nearly a century ago. The flexible, brick-pattern meshwork culminates in a belt-buckle-like motif that is set with either diamonds or pink sapphires, which makes for an outstandingly creative dial surround. The Ludo Hexagone Macaron secret watch, inspired by an archival creation from 1941, has a cover entirely blanketed with mystery set emeralds. It is surrounded by arcs of large, prong-set diamonds set claw-style for intense light return. Emeralds are also set into the bracelet links for a final, elegantly assertive touch.
Case Material: 18k gold
Movement: quartz
Straps: 18k gold
Lady Féerie Rose
The magical, mysterious, enchanting fairy is a signature motif for Van Cleef & Arpels, and the Maison never seems to run out of ways to interpret the delicate sprite – often in the service of poetic complications. Here, she is interpreted in shades of pink in the form of translucent plique-à-jour and opaque enamel, along with pink sapphires. She points her magic wand to numerals on a retrograde arc to read the minutes, while the hours appear in a mother-of-pearl jump-hour window that appears to emerge from the white enamel clouds on which the fairy is poised. Her wings, head and body are formed with diamonds, which are also set into the bezel.
Case size: 33 mm
Case Material: 18-karat rose gold
Movement: Self-winding mechanical
Straps: Alligator
ZENITH
Zenith Pilot Automatic
While you may more readily associate the pilot’s watch with Swiss brands such as IWC and German marques like Laco, Zenith has a longstanding history in the vertical that runs more than skin deep: It was way back in 1888 that the maison first filed a trademark for the French term “Pilote”—and subsequently, the English term “Pilot”—to be used on watches designed for those who would brave the skies. This year’s Pilot Automatic, then, represents a brand new, thoroughly contemporary chapter in the firm’s pilot’s watch saga: Measuring 40mm in stainless steel or black ceramic, it’s an exercise in the marriage of vintage-inspired tropes with modern watchmaking.
Both versions of the Pilot automatic feature rounded cases topped by flat-top, rounded bezels; the steel version boasts vertically satin-brushed surfaces and polished chamfers, while the black version is microblasted. Both likewise feature a modern take on the oversized “onion” crown of vintage pilot’s watches, which remains easy to manipulate—even with gloves on—and is devoid of crown guards. With its black opaline dial executed in horizontal grooves to echo the look of a vintage, corrugated metal plane, the Pilot Automatic still features large Arabic indices, an outer, white minute track, and a highly legible sword handset—echoes of classic pilot’s watches of years past.
Powered by the automatic Zenith El Primero 3620 movement with high-beat, 5Hz frequency and 60-hour power reserve, the watch comes paired with two straps: a black Cordura-effect rubber strap and a khaki Cordura-effect strap. Both feature triple-folding clasps with black PVD coating.
Case Size: 40 mm
Movement: Zenith El Primero 3620 Automatic
Power Reserve: 60 hours
Zenith Pilot Big Date Flyback
Reserved and utilitarian as the Zenith Pilot Automatic is, Zenith must have felt there was room to riff on its revamped pilot’s watch collection and add a touch of je ne sais quois—which is precisely what the maison did when designing its Pilot Big Date Flyback. The name gives it all away: This awesome, modern take on the pilot’s watch trope includes an outsize date function, plus a chronograph with a flyback complication. Best of all: it doesn’t quite look like anything else on the market.
Measuring 42.5mm in black microblasted ceramic or stainless steel, it puts Zenith’s decades of chronograph-making expertise front and center by incorporating the El Primero 3600 movement, which has been modified specifically for these new references into the Caliber 3652. Automatically wound and beating at 5Hz, it powers an outsize date above 6 o’clock on the dial, as well as a flyback function, which allows the chronograph seconds hand to be reset to zero and re-engaged without a series of time-sucking button presses. And while the ceramic version is its own animal, the steel version pays tribute to the “Rainbow Flyback” chronograph from 1997, which was the brand’s first El Primera-based flyback model.
Case Size: 42.5 mm
Movement: Zenith El Primero 3652 Automatic
Power Reserve: 60 hours
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Omega Reveals a New Speedmaster Ahead of the Paris 2024 Olympics
Your first look at the new Speedmaster Chronoscope, designed in the colour theme of the Paris Olympics.
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Omega Reveals a New Speedmaster Ahead of the Paris 2024 Olympics
Your first look at the new Speedmaster Chronoscope, designed in the colour theme of the Paris Olympics.
The starters are on the blocks, and with less than 100 days to go until the Paris 2024 Olympics, luxury Swiss watchmaker Omega was bound to release something spectacular to mark its bragging rights as the official timekeeper for the Summer Games. Enter the new 43mm Speedmaster Chronoscope, available in new colourways—gold, black, and white—in line with the colour theme of the Olympic Games in Paris this July.
So, what do we get in this nicely-wrapped, Olympics-inspired package? Technically, four new podium-worthy iterations of the iconic Speedmaster.
The new versions present handsomely in stainless steel or 18K Moonshine Gold—the brand’s proprietary yellow gold known for its enduring shine. The steel version comes with an anodised aluminium bezel and a stainless steel bracelet or vintage-inspired perforated leather strap. The Moonshine Gold iteration boasts a ceramic bezel, and will most likely appease Speedy collectors, particularly those with an affinity for Omega’s long-standing role as stewards of the Olympic Games, since 1932.
Notably, each watch bears an attractive white opaline dial; the background to three dark grey timing scales in a 1940s “snail” design. Of course, this Speedmaster Chronoscope is special in its own right. For the most part, the overall look of the Speedmaster has remained true to its 1957 origins. This Speedmaster, however, adopts Omega’s Chronoscope design from 2021, including the storied tachymeter scale, along with a telemeter, and pulsometer scale—essentially, three different measurements on the wrist.
While the technical nature of this timepiece won’t interest some, others will revel in its theatrics; turn over each timepiece and instead of finding a transparent crystal caseback, there is a stamped medallion featuring a mirror-polished Paris 2024 logo, along with “Paris 2024” and the Olympic Rings—a subtle nod to this year’s games.
Powering this Olympiad offering—and ensuring the greatest level of accuracy—is the Co-Axial Master Chronometer Calibre 9908 and 9909, certified by METAS.
A Speedmaster to commemorate the Olympic Games was as sure a bet as Mondo Deplatntis winning gold in the men’s pole vault—especially after Omega revealed its Olympic-edition Seamaster Diver 300m “Paris 2024” last year—but they have delivered a great addition to the legacy collection, without gimmickry.
However, at the top end of the scale, you’re looking at 85K for the all-gold Speedmaster, which is a lot of money for a watch of this stature. In comparison, the immaculate Speedmaster Moonshine gold with a sun-brushed green PVD “step” dial is 15K cheaper, albeit without the Chronoscope complications.
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The Omega Speedmaster Chronoscope in stainless steel with a leather strap is priced at $15,725; stainless steel with steel bracelet at $16,275; 18k Moonshine Gold on leather strap $54,325; and 18k Moonshine Gold with matching gold bracelet $85,350, available at Omega boutiques now.
Discover the collection here
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Here’s What Goes Into Making Jay-Z’s $1,800 Champagne
We put Armand de Brignac Blanc de Noirs Assemblage No. 4 under the microsope.
In our quest to locate the most exclusive and exciting wines for our readers, we usually ask the question, “How many bottles of this were made?” Often, we get a general response based on an annual average, although many Champagne houses simply respond, “We do not wish to communicate our quantities.” As far as we’re concerned, that’s pretty much like pleading the Fifth on the witness stand; yes, you’re not incriminating yourself, but anyone paying attention knows you’re probably guilty of something. In the case of some Champagne houses, that something is making a whole lot of bottles—millions of them—while creating an illusion of rarity.
We received the exact opposite reply regarding Armand de Brignac Blanc de Noirs Assemblage No. 4. Yasmin Allen, the company’s president and CEO, told us only 7,328 bottles would be released of this Pinot Noir offering. It’s good to know that with a sticker price of around $1,800, it’s highly limited, but it still makes one wonder what’s so exceptional about it.
Known by its nickname, Ace of Spades, for its distinctive and decorative metallic packaging, Armand de Brignac is owned by Louis Vuitton Moët Hennessy and Jay-Z and is produced by Champagne Cattier. Each bottle of Assemblage No. 4 is numbered; a small plate on the back reads “Assemblage Four, [X,XXX]/7,328, Disgorged: 20 April, 2023.” Prior to disgorgement, it spent seven years in the bottle on lees after primary fermentation mostly in stainless steel with a small amount in concrete. That’s the longest of the house’s Champagnes spent on the lees, but Allen says the winemaking team tasted along the way and would have disgorged earlier than planned if they’d felt the time was right.
Chef de cave, Alexandre Cattier, says the wine is sourced from some of the best Premier and Grand Cru Pinot Noir–producing villages in the Champagne region, including Chigny-les-Roses, Verzenay, Rilly-la-Montagne, Verzy, Ludes, Mailly-Champagne, and Ville-sur-Arce in the Aube département. This is considered a multi-vintage expression, using wine from a consecutive trio of vintages—2013, 2014, and 2015—to create an “intense and rich” blend. Seventy percent of the offering is from 2015 (hailed as one of the finest vintages in recent memory), with 15 percent each from the other two years.
This precisely crafted Champagne uses only the tête de cuvée juice, a highly selective extraction process. As Allen points out, “the winemakers solely take the first and freshest portion of the gentle cuvée grape press,” which assures that the finished wine will be the highest quality. Armand de Brignac used grapes from various sites and three different vintages so the final product would reflect the house signature style. This is the fourth release in a series that began with Assemblage No. 1. “Testing different levels of intensity of aromas with the balance of red and dark fruits has been a guiding principle between the Blanc de Noirs that followed,” Allen explains.
The CEO recommends allowing the Assemblage No. 4 to linger in your glass for a while, telling us, “Your palette will go on a journey, evolving from one incredible aroma to the next as the wine warms in your glass where it will open up to an extraordinary length.” We found it to have a gorgeous bouquet of raspberry and Mission fig with hints of river rock; as it opened, notes of toasted almond and just-baked brioche became noticeable. With striking acidity and a vein of minerality, it has luscious nectarine, passion fruit, candied orange peel, and red plum flavors with touches of beeswax and a whiff of baking spices on the enduring finish. We enjoyed our bottle with a roast chicken rubbed with butter and herbes de Provence and savored the final, extremely rare sip with a bit of Stilton. Unfortunately, the pairing possibilities are not infinite with this release; there are only 7,327 more ways to enjoy yours.
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Bill Henson Show Opens at Roslyn Oxley9 Gallery
Dark, grainy and full of shadows Bill Henson’s latest show draws on 35 mm colour film shot in New York City in 1989.
Bill Henson is one of Australia’s best-known contemporary photographers. When a show by this calibre of artist opens here, the art world waits with bated breath to see what he will unveil.
This time, he presents a historically important landscape series that chronicles a time in New York City that no longer exists. It’s a nostalgic trip back in time, a nocturnal odyssey through the frenetic, neon-lit streets of a long-lost America.
Known for his chiaroscuro style, Henson’s cinematic photographs often transform his subject into ambiguous objects of beauty. This time round, the show presents a mysterious walk through the streets of Manhattan, evoking a seedy, yet beautiful vision of the city.
Relying on generative gaps, these landscapes result from Henson mining his archive of negatives and manipulating them to produce a finished print. Sometimes, they are composed by a principle of magnification, with Henson honing in on details, and sometimes, they are created through areas of black being expanded to make the scene more cinematic and foreboding. Like silence in a film or the pause in a pulse, the black suggests the things you can’t see.
Henson’s illustrious career has spanned four decades and was memorably marred by controversy over a series of nude adolescent photographs shown in 2008, which made him front-page news for weeks. This series of portraits made Henson the subject of a police investigation during which no offence was found.
In recent years, Henson has been a sharp critic of cancel culture, encouraging artists to contribute something that will have lasting value and add to the conversation, rather than tearing down the past.
His work deals with the liminal space between the mystical and the real, the seen and unseen, the boundary between youth and adulthood.
His famous Paris Opera Project, 1990-91, pictured above, is similarly intense as the current show, dwelling on the border between the painterly and the cinematic.
Bill Henson’s ‘The Liquid Night’ runs until 11 May 2024 at Roslyn Oxley9 Gallery.
Roslyn Oxley9 Gallery, 8 Soudan Ln, Paddington NSW; roslynoxley9.com.au
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Polar Opposites
A journey north to one of the harshest, remotest spots on Earth couldn’t be more luxurious.
A century ago, an expedition to the North Pole involved dog sleds and explorers in heavy, fur-lined clothes, windburned and famished after weeks of trudging across ice floes, finally planting their nations’ flags in the barren landscape. These days, if you’re a tourist, the only way to reach 90 degrees north latitude, the geographic North Pole, is aboard Le Commandant Charcot, a six-star hotel mated to a massive, 150-metre ice-breaking hull.
My wife, Cathy, and I are among the first group of tourists aboard Ponant’s new expedition icebreaker, the world’s only Polar Class 2–rated cruise ship (of seven levels of ice vessel, second only to research and military vessels in ability to manoeuvre in Arctic conditions). Our arrival on July 14 couldn’t be more different from explorer Robert Peary’s on April 6, 1909. On that date, he reported, he staked a small American flag—sewed by his wife—into the Pole, joined by four Inuits and his assistant, Matthew Henson, a Black explorer from Maine who was with Peary on his two previous Arctic expeditions. (Peary’s claim of being first to the Pole was quickly disputed by another American, Frederick Cook, who insisted he’d spent two days there a year earlier. Scholars now view both claims with skepticism.)
Our 300-plus party’s landing, on Bastille Day, features the captain of the French ship driving around in an all-terrain vehicle with massive wheels and an enormous tricolour flag on the back, guests dressed in stylish orange parkas celebrating on the ice, and La Marseillaise, France’s national anthem, blaring from loudspeakers. After an hour of taking selfies and building snow igloos in the icescape, with temperatures in the relatively balmy low 30s, we head back into our heated sanctuary for mulled wine and freshly baked croissants. Mission accomplished. Flags planted. Now, lunch.
As a kid, I was fascinated by stories of adventurers trying to reach the North Pole without any means of rescue. In the 19th century, most of their attempts ended in disaster—ships getting trapped in the ice, a hydrogen balloon crashing, even cannibalism. It wasn’t until Cook and Peary reportedly set foot there that the race to the North Pole was really on. Norwegian Roald Amundsen, the first to reach the South Pole, in 1911, is credited with being the first to document a trip over the North Pole, which he did in 1926 in the airship Norge. In 1977, the nuclear-powered icebreaker Arktika became the first surface vessel to make it to the North Pole. Since then, only 18 other ships have completed the voyage.
Visiting the North Pole seemed about as likely for me as walking on the Moon. It wasn’t even on my bucket list. Then came Le Commandant Charcot, which was named after France’s most beloved polar explorer and reportedly cost about US$430 million (around $655 million) to build. The irony of visiting one of the planet’s most remote and inhospitable points while travelling in the lap of luxury doesn’t escape me or anyone else I speak with on the voyage. Danie Ferreira, from Cape Town, South Africa, describes it as “an ensemble of contradictions bordering on the absurd”. Ferreira, who is on board with his wife, Suzette, is a veteran of early-explorer-style high-Arctic journeys, months-long treks involving dog sleds and real toil and suffering. He booked this trip to obtain an official North Pole stamp for an upcoming two-volume collection of his photographs, Out in the Cold, documenting his polar adventures. “Reserving the cabin felt like a betrayal of my expeditionary philosophy,” he says with a laugh.
Then, like the rest of us, he embraces the contradictions. “This is like the first time I saw the raw artistry of Cirque du Soleil,” he explains. “Everything is beyond my wildest expectations, unrelatable to anything I’ve experienced.”
The 17-day itinerary launches from the Norwegian settlement of Longyearbyen, Svalbard, the northernmost town in the Arctic Circle, and heads 1,186 nautical miles to the North Pole, then back again. As a floating hotel, the vessel is exceptional: 123 balconied staterooms and suites, the most expensive among them duplexes with butler service (prices range from around $58,000 to $136,000 per person, double occupancy); a spa with a sauna, massage therapists, and aestheticians; a gym and heated indoor pool. The boat weighs more than 35,000 tons, enabling it to break ice floes like “a chocolate bar into little pieces, rather than slice through them”, according to Captain Patrick Marchesseau. Six-metre-wide stainless-steel propellers, he adds, were designed to “chew ice like a blender”.
Marchesseau, a tall, lanky, 40-ish mariner from Brittany, impeccable in his navy uniform but rocking royal-blue boat shoes, proves to be a charming host. Never short of a good quip, he’s one of three experienced ice captains who alternate at the helm of Charcot throughout the year. He began piloting Ponant ships through drifting ice floes in Antarctica in 2009, when he took the helm of Le Diamant, Ponant’s first expedition vessel. “An epic introduction,” Marchesseau calls those early voyages, but the isolated, icebound North Pole aboard a larger, more complicated vessel is potentially an even thornier challenge. “We’ll first sail east where the ice is less concentrated and then enter the pack at 81 degrees,” he tells a lecture hall filled with passengers on day one. “We don’t plan to stop until we get to the North Pole.”
Around us, the majority of the other 101 guests are older French couples; there are also a few extended families, some other Europeans, mostly German and Dutch, as well as 10 Americans. Among the supporting cast are six research scientists and 221 staff, including 18 naturalist guides from a variety of countries.
The first six days are more about the journey than the destination. Cathy and I settle into our comfortable stateroom, enjoy the ocean views from our balcony, make friends with other guests and naturalists, frequent the spa, and indulge in the contemporary French cuisine at Nuna, which is often jarred by ice passing under the hull, as well as at the more casual Sila (Inuit for “sky”). There are the usual cruise events: the officers’ gala, wine pairings, daily French pastries, Broadway-style shows, opera singers and concert pianists. Initially, I worry about “Groundhog Day” setting in, but once we hit patchy ice floes on day two, it’s clear that the polar party is on. The next day, we’re ensconced in the ice pack.
Veterans of Arctic journeys immediately feel at home. Ferreira, often found on the observation deck 15 metres above the ice with his long-lensed cameras, is in his element snapping different patterns and colours of the frozen landscape. “It feels like combining low-level flying with an out-of-body experience,” he says. “Whenever the hull shudders against the ice, I have a reality check.”
“I came back because I love this ice,” adds American Gin Millsap, who with her husband, Jim, visited the North Pole in 2015 aboard the Russian nuclear icebreaker Fifty Years of Victory, which for obvious reasons is no longer a viable option for Americans and many Europeans. “I love the peace, beauty and calmness.”
It is easy to bliss out on the endless barren vistas, constantly morphing into new shapes, contours and shades of white as the weather moves from bright sunshine to howling snowstorms—sometimes within the course of a few hours. I spend a lot of time on the cold, windswept bow, looking at the snow patterns, ridges and rivers flowing within the pale landscape as the boat crunches through the ice. It feels like being in a black-and-white movie, with no colours except the turquoise bottoms of ice blocks overturned by the boat. Beautiful, lonely, mesmerising.
Rather than a solid landmass, the Arctic ice pack is actually millions of square kilometres of ice floes, slowly pushed around by wind and currents. The size varies according to season: this past winter, the ice was at its fifth-lowest level on record, encompassing 14.6 million square kilometres, while during our cruise it was 4.7 million square kilometres, the 10th-lowest summer number on record. There are myriad ice types—young ice, pancake ice, ice cake, brash ice, fast ice—but the two that our ice pilot, Geir-Martin Leinebø, cares about are first-year ice and old ice. The thinness of the former provides the ideal route to the Pole, while the denseness of the aged variety can result in three-to-eight-metre-high ridges that are potentially impassable. Leinebø is no novice: in his day job, he’s the captain of Norway’s naval icebreaker, KV Svalbard, the first Norwegian vessel to reach the North Pole, in 2019.
It’s not a matter of just pointing the boat due north and firing up the engine. Leinebø zigzags through the floes. A morning satellite feed and special software aid in determining the best route; the ship’s helicopter sometimes scouts 65 or so kilometres ahead, and there’s a sonar called the Sea Ice Monitoring System (SIMS). But mostly Leinebø uses his eyes. “You look for the weakest parts of the ice—you avoid the ridges because that means thickness and instead look for water,” he says. “If the ‘water sky’ in the distance is dark, it’s reflecting water like a mirror, so you head in that direction.”
Everyone on the bridge is surprised by the lack of multi-year ice, but with more than a hint of disquietude. Though we don’t have to ram our way through frozen ridges, the advance of climate change couldn’t be more apparent. Environmentalists call the Arctic ice sheet the canary in the coal mine of the planet’s climate change for good reason: it is happening here first. “It’s not right,” mutters Leinebø. “There’s just too much open water for July. Really scary.”
The Arctic ice sheet has shrunk to about half its 1985 size, and as both mariners and scientists on board note, the quality of the ice is deteriorating. “It’s happening faster than our models predicted,” says Marisol Maddox, senior arctic analyst at the Polar Institute of the Woodrow Wilson International Center for Scholars. “We’re seeing major events like Greenland’s ice sheet melting and sliding into the ocean—that wasn’t forecasted until 2070.” The consensus had been that the Arctic would be ice-free by 2050, but many scientists now expect that day to come in the 2030s.
That deterioration, it turns out, is why the three teams of scientists are on the voyage—two studying the ice and the other assessing climate change’s impact on plankton. As part of its commitment to sustainability, Ponant has designed two research labs—one wet and one dry—on a lower deck. “We took the advice of many scientists for equipping these labs,” says Hugues Decamus, Charcot’s chief engineer, clearly proud of the nearly US$12 million facilities.
The combined size of the labs, along with a sonar room, a dedicated server for the scientists, and a meteorological station on the vessel’s top deck, totals 130 square metres—space that could have been used for revenue generation. Ponant also has two staterooms reserved for scientists on each voyage and provides grants for travel expenses. The line doesn’t cherrypick researchers but instead asks the independent Arctic Research Icebreaker Consortium (ARICE) to choose participants based on submissions.
The idea, says the vessel’s science officer on this voyage, Daphné Buiron, is to make the process transparent and minimise the appearance of greenwashing. “Yes, this alliance may deliver a positive public image for the company, but this ship shows we do real science on board,” she says. The labs will improve over time, adds Decamus, as the ship amasses more sophisticated equipment.
Research scientists and tourist vessels don’t typically mix. The former, wary of becoming mascots for the cruise lines’ sustainability marketing efforts, and cognisant of the less-than-pristine footprint of many vessels, tend to be wary. The cruise lines, for their part, see scientists as potentially high maintenance when paying customers should be the priority. But there seemed to be a meeting of the minds, or at least a détente, on Le Commandant Charcot.
“We discuss this a lot and are aware of the downsides, but also the positives,” says Franz von Bock und Polach, head of the institute for ship structural design and analysis at Hamburg University of Technology, specialising in the physics of sea ice. Not only does Charcot grant free access to these remote areas, but the ship will also collect data on the same route multiple times a year with equipment his team leaves on board, offering what scientists prize most: repeatability. “One transit doesn’t have much value,” he says. “But when you measure different seasons, regions and years, you build up a more complex picture.” So, more than just a research paper: forecasts of ice conditions for long-term planning by governments as the Arctic transforms.
Nils Haëntjens, from the University of Maine, is analysing five-millilitre drops of water on a high-tech McLane IFCB microscope. “The instrument captures more than 250,000 images of phytoplankton along the latitudinal transect,” he says. Charcot has doors in the wet lab that allow the scientists to take water samples, and in the bow, inlets take in water without contaminating it. Two freezers can preserve samples for further research back in university labs.
Even though the boat won’t stop, the captain and chief engineer clearly want to make the science missions work. Marchesseau dispatches the helicopter with the researchers and their gear 100 kilometres ahead, where they take core samples and measurements. I spot them in their red snowsuits, pulling sleds on an ice floe, as the boat passes. Startled to see living-colour humans on the ice after days of monochrome, I feel a pang of jealousy as I head for a caviar tasting.
The only other humans we encounter on the journey north are aboard Fifty Years of Victory, the Russian icebreaker. The 160-metre orange- and-black leviathan reached the North Pole a day earlier—its 59th visit—and is on its way back to Murmansk. It’s a classic East meets West moment: the icebreaker, launched just after the collapse of the Soviet Union, meeting the new standard of polar luxury.
The evening before Bastille Day, Le Commandant Charcot arrives at the North Pole. Because of the pinpoint precision of the GPS, Marchesseau has to navigate back and forth for about 20 minutes—with a bridge full of passengers hushing each other so as not to distract him—until he finds 90 degrees north. That final chaotic approach to the top of the world in the grey, windswept landscape looks like a kid’s Etch A Sketch on the chartplotter, but it is met with rousing cheers. The next morning, with good visibility and light winds, we spill out onto the ice for the celebration, followed by a polar plunge.
As guests pose in front of flags and mile markers for major cities, the naturalist guides, armed with rifles, establish a wide perimeter to guard against polar bears. The fearless creatures are highly intelligent, with razor-sharp teeth, hooked claws and the ability to sprint at 40 km/h. Males average about three metres tall and weigh around 700 kilos. They are loners that will kill anything—including other bears and even their own cubs. Cathy and I walk around the far edges of the perimeter to enjoy some solitude. Looking out over the white landscape, I know this is a milestone. But it feels odd that getting here didn’t involve any sweat or even a modicum of discomfort.
The rest of the week is an entirely different trip. On the return south, we see a huge male polar bear ambling on the ice, looking over his shoulder at us. It is our first sighting of the Arctic’s apex predator, and everyone crowds the observation lounge with long-lensed cameras. The next day, we see another male, this one smaller, running away from the ship. “They have many personalities,” says Steiner Aksnes, head of the expedition team, who has led scientists and film crews in the Arctic for 25 years. We see a dozen on the return to Svalbard, where 3,000 are scattered across the archipelago, outnumbering human residents.
The last five days we make six stops on different islands, travelling by Zodiac from Charcot to various beaches. On Lomfjorden, as we look on a hundred yards from shore, a mother polar bear protects her two cubs while a young male hovers in the background. On a Zodiac ride off Alkefjellet, the air is alive with birds, including tens of thousands of Brünnich’s guillemots as well as glaucous gulls and kittiwakes, which nest in that island’s cliffs, while a young male polar bear munches on a ring seal, chin glistening red.
On this part of the trip, the expedition team, mostly 30-something, free-spirited scientists whose areas of expertise range from botany to alpine trekking to whales, lead hikes across different landscapes. The jam-packed schedule sometimes involves three activities per day and includes following the reindeer on Palanderbukta, seeing a colony of 200 walruses on Kapp Lee, hiking the black tundra of Burgerbukta (boasting 3.8-cm-tall willows—said to be the smallest trees in the world and the largest on Svalbard—plus mosquitoes!), watching multiple species of whales breaching offshore, and kayaking the ice floes of Ekmanfjorden. Svalbard is a protected wilderness area, and the cruise lines tailor their schedules so vessels don’t overlap, giving visitors the impression they are setting foot on virgin land.
Chances to experience that sense of discovery and wonder, even slightly stage-managed ones, are dwindling along with the ice sheet and endangered wildlife. If a stunning trip to a frozen North Pole is on your bucket list, the time to go is now.
PARADIGM SHIP
For those studying polar ice, a berth aboard Le Commandant Charcot is like a winning lottery ticket. “This cruise ship is one of the few resources scientists can use, because nothing else can get there,” says G. Mark Miller, CEO of research-vessel builder Greenwater Marine Sciences Offshore (GMSO) and a former ship captain for the US National Oceanic and Atmospheric Administration (NOAA). “Then factor in 80 percent of scientists who want to go to sea, can’t, because of the shortage of research vessels.”
Both Ponant and Viking have designed research labs aboard new expedition vessels as part of their sustainability initiatives. “Remote areas like Antarctica need more data—the typical research is just single data points,” says Damon Stanwell-Smith, Ph.D., head of science and sustainability at Viking. “Every scientist says more information is needed.” The twin sisterships Viking Octantis and Viking Polaris, which travel to Antarctica, Patagonia, the Great Lakes and Canada, have identical 35-square-metre labs, separated into wet and dry areas and fitted out with research equipment. In hangars below are military-grade rigid-hulled inflatables and two six-person yellow submersibles (the pair on Octantis are named John and Paul, while Polaris’s are George and Ringo). Unlike Ponant, Viking doesn’t have an independent association choose scientists for each voyage. Instead, it partners with the University of Cambridge, the Cornell Lab of Ornithology, and NOAA, which send their researchers to work with Viking’s onboard science officers.
“Some people think marine research is sticking some kids on a ship to take measurements,” says Stanwell-Smith. “But we know we can do first-rate science—not spin.” Other cruise lines are also embracing sustainability initiatives, with coral-reef-restoration projects and water-quality measurements, usually in partnership with universities. Just about every vessel has “citizen-scientist” research programs allowing guests the opportunity to count birds or pick up discarded plastic on beaches. So far, Ponant and Viking are the only lines with serious research labs. Ponant is adding science officers to other vessels in its fleet. As part of the initiatives, scientists deliver onboard lectures and sometimes invite passengers to assist in their research.
Given the shortage of research vessels, Stanwell-Smith thinks this passenger-funded system will coexist nicely with current NGO- and government-owned ships. “This could be a new paradigm for exploring the sea,” he says. “Maybe the next generation of research vessels will look like ours.”
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Watch of the Week: the Piaget Altiplano Ultimate Concept Tourbillon
The new release claims the throne as the world’s thinnest Tourbillon.
Piaget, the watchmaker’s watchmaker, has once again redefined the meaning of “ultra-thin” thanks to its newest masterpiece, the Altiplano Ultimate Concept Tourbillon—the world’s thinnest tourbillon watch.
In the world of high-watchmaking where thin is never thin enough—look at the ongoing battle between Piaget, Bulgari, and Richard Mille for the honours—Piaget caused a furore at Watches & Wonders in Geneva when it unveiled its latest feat to coincide with the Maison’s 150th year anniversary.
Piaget claims that the new Altiplano is “shaped by a quest for elegance and driven by inventiveness”, and while this might be true, it’s clear that the Maison’s high-watchmaking divisions in La Côte-aux-Fées and Geneva are also looking to end the conversation around who owns the ultra-thin watchmaking category.
The new Altiplano pushes the boundaries of horological ingenuity 67 years after Piaget invented its first ultra-thin calibre—the revered 9P—and six years after it presented the world’s then-thinnest watch, the Altiplano Ultimate Concept. Now, with the release of this unrivalled timepiece at just 2mm thick—the same as its predecessor, yet now housing the beat of a flying tourbillon, prized by watchmaking connoisseurs—you can’t help but marvel at its ultra-thin mastery, whether the timepiece is to your liking or not.
In comparison, the Bulgari Octo Finissimo Tourbillon was 3.95mm thick when unveiled in 2020, which seems huge on paper compared to what Piaget has been able to produce. But to craft a watch as thin and groundbreaking as its predecessor, now with an added flying tourbillon complication, the whole watchmaking process had to be revalued and reinvented.
“We did far more than merely add a tourbillon,” says Benjamin Comar, Piaget CEO. “We reinvented everything.”
After three years of R&D, trial and error—and a redesign of 90 percent of the original Altiplano Ultimate Concept components—the 2024 version needs to be held and seen to be believed. The end product certainly isn’t a watch for the everyday watch wearer—although Piaget will tell you otherwise—but in many ways, the company didn’t conjure a timepiece like the Altiplano as a profit-seeking exercise. Instead, overcoming such an arduous and technical watchmaking feat proves that Piaget can master the flying tourbillon in such a whimsical fashion and, in the process, subvert the current state-of-the-art technical principles by making an impactful visual—and technical—statement.
The only question left to ask is, what’s next, Piaget?
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Model: Altiplano Ultimate Concept Tourbillon 150th Anniversary
Diameter: 41.5 mm
Thickness: 2 mm (crystal included)
Material: M64BC cobalt alloy, blue PVD -treated
Dial: Monobloc dial; polished round and baton indices, Bâton-shaped hand for the minutes Monobloc disc with a hand for the hours
Water resistance: 20m
Movement: Calibre 970P-UC, one-minute peripheral tourbillon
Winding: Hand-wound
Functions: hours, minutes, and small seconds (time-only)
Power reserve: 40 hours
Availability: Limited production, not numbered
Price: Price on request
