Twenty-twenty one was a landmark year in watch collecting just because it was so unusual (which applies to the rest of the world as well). And it so happens that it was also the 10th year of the site, an occasion we marked with our maiden SJX editions, which were created in collaboration with Habring² and Kudoke.
Over the decade we have done what we like best – with tweaks and refinements along the way – which is comprehensive stories on watches or topics that matter or are merely interesting. We published almost two stories of this type each week throughout 2021.
We’ve narrowed down the list of memorable stories to a few that we think are especially worth revisiting for their insight or through provoking nature. Enjoy the read (which might take awhile so find a comfortable spot).
And the photos were pretty good too
Technical deep-dives
The best of the year’s reviews were detailed than ever, going beyond close-up photos to include illustrations that explain intriguing mechanics. One such story was the in-depth examination of the Ferdinand Berthoud FB RS written by Richard Lee and SJX, which details how the watch pursues chronometry with a traditional chain and fusee, but with a modern twist of complex going trains.
The tourbillon within the FB RS
We repeat the exercise with the Patek Philippe Calatrava ref. 6119, an elegant watch that’s once again focused on chronometry, thanks to a movement constructed to delivery maximum energy with minimum thickness.
Explaining the layout of the cal. 30-255 PS in the ref. 6119
While the ref. 6119 is an entry-level Patek Philippe, it is still a Patek Philippe, so we also studied more affordable chronometers from the other side of the world – namely the Grand Seiko cal. 9SA5 and Citizen Caliber 0200.
The Citizen Caliber 0200
In terms of complications, 2021 delivered a lot in terms of perpetual calendars, with two of the prime purveyors of haute horlogerie – Patek Philippe and A. Lange & Söhne – both unveiling flagship perpetual calendar wristwatches.
While the year didn’t bring much in terms of exciting chronographs, it did have a couple of notable upgrade to stalwarts. The most prominent being the Master Co-Axial cal. 3861 inside the latest-generation Speedmaster Professional Moon Watch.
And diametrically opposed to a digital display is the F.P. Journe FFC, which is almost organic in its its time-telling – I trust you’ll want to know how the fingers expand and contract.
The digital icons
But amongst the most exotic of watches we examined is one that is barely there, the Piaget Altiplano Ultimate Concept (AUC).
It stands out thanks to its thickness – or lack thereof – that is equivalent to 20 sheets of standard printer paper. While hardly complicated in a conventional sense, the AUC was fiendishly complex to pull off, because it’s nothing like a typical watch. We uncovered all the innovative engineering and material science that brought it to life.
The AUC
Another in-depth story covered not a watch, but something arguably more noteworthy, the suite of Rolex innovations known collectively as Chronergy. Found even in the most affordable watches from the brand, Chronergy contributes to superior timekeeping over extended periods with improvements across every aspect of the movement – from barrel to the escape wheel – all ably explained by Dr Tim Lake.
Historical tales
Our contributor in Tehran, Hamad Tavakoli, recounted stories of Rolex in Iran. The first explained the brand’s former prominence in the country, a position that was inevitably tied to the country’s historical events.
And another of our highly-qualified contributors, Dr Andrew Hantel, delved into an interesting but relatively undiscovered genre – Movado chronographs from the 1950s – in a lengthy study.
A Movado M95 chronograph
Editorials
One of the most surprising – and intriguing – launches of the year was the Tudor Black Bay Ceramic, despite it looking like yet another all-black dive watch.
Notable for being the first-ever METAS certified watch made by a brand other than Omega – which helped develop the testing process in the first place – the Black Bay Ceramic is a subtle but important indication of the ambitions of Tudor.
The METAS-certified calibre inside the Black Bay Ceramic
There’s no better person to explain the watch than Dr Helmut Crott, the watch expert and auctioneer who was once friends with the late Pratt and is now the owner of the Oval Tourbillon.
The Oval Tourbillon
The next landmark watch we peered into was the world’s first wristwatch to incorporate a grandeetpetite sonnerie, and the work of Philippe Dufour naturally.
Being almost three decades old, the Grande Sonnerie Wristwatch No. 1 stands apart from his later work such as the Simplicity, which allows us to peer backwards into Mr Dufour’s early career.
The movement inside the Grande Sonnerie no. 1
And going even farther back to the mid-20th century leads us to the Patek Philippe ref. 2523 “Eurasia”, a world time wristwatch with a cloisonné enamel dial that was sold at Phillips in May for just over CHF7 million.
It was one of the last travel-time wristwatches before the GMT watch became the norm, having been made in an era when intercontinental travel was by boat or train, making it slow enough that various time zones made more sense than two time zones for swift, point-to-point travel. But it is no mere world-time wristwatch of course, since it has a cloisonné enamel dial depicting Europe and Asia, making it one of three known ref. 2523s with this dial.
The “Eurasia” cloisonné dial
And on the topic of interesting dials, the Handwerkskunst series by A. Lange & Söhne is certainly unforgettable.
They all arrived half a century after the Patek Philippe world time and are appealing in an entirely different manner, but still unquestionably special – our photo essay covering a selection of them will show you why.
The 1815 Tourbillon Handwerkskunst
And then comes something simple, quirky, and special: the IWC Big Pilot’s Watch Edition “Markus Bühler” ref. 5003.
And finally there are the stories covering our collaborative editions, each of which relates the process of developing a wristwatch that’s coherent with the brand or watchmaker yet different from the standard model. You can read about each of them – Habring² Erwin “Star”, Kudoke 2 “Zodiac”, and Zenith Chronomaster Revival Poker Chip.
Perhaps the most interesting amongst the trio in terms of how different it was, the Kudoke was designed with the help of illustrator Lee Yuen-Rapati.
It features custom symbols for the hour markers, which are stylised zodiac symbols that incorporate Roman numerals. So it is fitting that SJX turned to Lee for a New Year’s card based on the same theme.
Best wishes for a spectacular and starry 2022 – SJX
Patek Philippe introduced a bunch of notable new models this year, including the recent “Advanced Research” Minute Repeater Ref. 5750P. The most notable amongst its accessible complications – accessible in a relative sense – is unquestionably the In-line Perpetual Calendar ref. 5236P, an all-new model with a movement developed from the ground up.
The ref. 5236P takes its cues from the “linear” perpetual calendar pocket watches of the 1950s and 1960s, namely the ref. 725 with perpetual calendar only, and the refs. 699, 843, and 844 that also included a minute repeater. The nickname stems from the calendar display within a single, horizontal window under 12 o’clock, which instantly sets such watches apart from conventional calendar displays that rely on multiple sub-dials.
A ref. 699 from 1956 with linear calendar and minute repeater
This same straight-line calendar display has been reproduced on the ref. 5236P – a substantial feat considering its compact size and relatively large calendar window. It was realised with an all-new calendar mechanism with a cleverly designed display, but one still constructed as a traditional, “grand lever” calendar.
Initial thoughts
Despite its vintage inspiration, the ref. 5236P looks and feels like a contemporary watch, especially because of its colours and size.
In the hand the ref. 5236P is substantial, both in diameter and weight. At 41.3 mm it’s one of the biggest perpetual calendar watches Patek Philippe makes. In fact, it is the largest one without another complication (multi-complications like the Sky Moon ref. 6002 and ref. 5208 are of course much wider and thicker).
But in typical Patek Philippe style, the ref. 5236P manages to be relatively thin at a bit over 11 mm high so it has a reasonably elegant profile despite its diameter.
The styling of the ref. 5236P is similar to the ref. 5235 Annual Calendar, which immediately gives it a clean, modern. That would already make it unusual amongst the brand’s calendar line up, but the shades-of-blue livery of the ref. 5236P sets it apart even further.
Although the dial is predominantly blue, it is executed with nuance. The central portion is a graduated blue, while the minute track and calendar markings are separate shades of blue. All that might be too much blue for some, but it is certain that Patek Philippe will eventually introduce variants of this model in other colours.
Though new in many ways, the base movement inside the ref. 5236P is evidently derived from the calibre inside the ref. 5235 annual calendar. The two share a similar architecture, although the cal. 31-260 PS QL of the ref. 5236P has been made more elaborate in terms of aesthetics, which makes it more appealing.
Notably, this is the biggest perpetual calendar movement that Patek Philippe makes – it is also the most recent, explaining why – which means it is also the calibre that fills the case best, giving it an attractive, balanced look from the back.
With a price tag of just over US$130,000, the ref. 5236P is significantly pricier than the brand’s more ordinary perpetual calendars (which are in gold, whereas this is platinum). The premium is easy to justify given the unique features of the ref. 5236P, namely the design, mechanism, and base movement.
A historical design
The external styling of the ref. 5236P is similar to that of the ref. 5235, which was modelled on the refs. 3448 and 3450, both perpetual calendar models that shared the same unusual case design.
Featuring inclined lugs with unforgiving straight lines, matched with sloping bezel and relatively large diameter, the refs. 3448 and 3450 were occasionally nicknamed as “disco volante”, or “flying saucer”, after the shape of the case. These features were translated into the case of the ref. 5235, and now the ref. 5236P.
Although the ref. 5236P is inspired by a well-known vintage model, it is clearly a modern watch in form and size. It feels bigger and heftier than the average Patek Philippe perpetual calendar, a characteristic that is accentuated by the case design with its angular lugs and tall, sloped bezel.
The lugs are instantly recognisable as coming from the refs. 3448 and 3450
The case appears tall due to the flat back and wide case middle
The diamond set between the lower lugs indicates the case is platinum
Like the case, the dial is vintage inspired, but it is more obviously a contemporary creation. The design is functional with minimal ornamentation, but still incorporates a few classical details like the font for the second and minute numerals.
Like the ref. 5235, the ref. 5236P has a dial with a pronounced vertical brushing. Here it is finished with a fashionable graduated effect that darkens towards the edges.
The dial is heavy on blue in various shades, which makes it ideal for anyone who likes the colour. I do and I think the dial is attractive.
It has a pleasing horizontal symmetry and good vertical balance. Although the calendar indications sit tightly side by side below 12 o’clock, they are easily readable because of their size.
Notably, the linear calendar window is larger on the wristwatch dial than it was on the vintage pocket watches, in terms of relative proportions. And because the linear calendar window is so long, it leaves the Patek Philippe logo feeling smaller than usual, while in most of the brand’s watches the logo looks one size too wide.
Perhaps the only nit to pick is the size of the moon phase, which seems slightly too small within the seconds register. That’s compounded by the seconds numerals and hashmarks, which leave the moon phase aperture looking like it came from a smaller watch.
Linear display
The highlight of the ref. 5236P is the linear perpetual calendar that sits under the Patek Philippe logo at 12 o’clock. While the single window is a simple display on its face, the calendar is not merely repurposing an existing movement and relocating the display. Instead, a new perpetual module had to be built from scratch to accommodate the linear display.
Like the vintage pocket watches that inspired it, the ref. 5236P has the calendar display showing the day, date, and month, a sequence that also gave rise to the “American calendar” nickname for the pocket watches.
The back and under-dial view of the cal. 31-260 PS QL. Image – Patek Philippe
However, a direct adaptation of the pocket watch movement was not feasible for a wristwatch wristwatch, as it simply would not have fit. The pocket watch display features a large date disc with 31 digits, which would extend beyond the diameter of the case. And if the 31-digit disc were made small enough to fit a wristwatch case, its date digits would have been tiny and illegible.
The ref. 725/4 pocket watch that inspired the ref. 5236P wristwatch. Image – Patek Philippe
The calendar display and its gears. Image – Patek Philippe
Thus, Patek Philippe opted for a “big date” instead, with two separate discs for the ones and tens digits of the date. To maintain consistency of the font size for both digits, the twin discs each carry twenty digits – the ones disc on the right repeats “0” to “9” twice, while the tens disc on the left repeats “0” to “3” five times.
The use of two large rings for the date leaves a wide expanse in the centre of each ring – ideal for discs showing the days of the week and month. These four discs which are symmetrically arranged, therefore form the core of the linear display.
The four discs with the date discs highlighted. Image – Patek Philippe
Despite the initial complexity at a glance, the ref. 5236P is fundamentally a classical, non-instantaneous perpetual calendar that operates on the “grand lever” concept that underpins nearly all perpetual calendars.
The grand lever is the key component in classical perpetual calendars. It is pushed once every 24 hours, or once a day, and in turn actuates a 31-tooth date wheel. On longer months with 31 days, the grand lever will travel a shorter distance daily, and vice versa for shorter months. And the 31-tooth date wheel has a cam that allows it to “catch” the grand lever’s pawl at the end of each month, allowing it to skip to the first of the subsequent month.
The calendar mechanism showing the 31-tooth date star. Image – Patek Philippe
The 5236P locates the 31-tooth date wheel at six o’clock, co-axial and under the moon phase and sub-seconds. Technically, a date hand can be mounted onto this 31-tooth wheel to display the date on the seconds register much like most perpetual calendars. But of course, that misses the point of the ref. 5236P. Instead the 31-tooth wheel is redirected to drive the linear display above at 12 o’clock.
This redirection is where majority of the work was done when designing the movement. Since there’s a cluster of calendar discs on the top half, the movement layout had to be thoughtfully considered to ensure none of the parts ran into each other.
Display mechanism patents
The thoughtful consideration is found in one of the patents Patek Philippe filed specifically for this movement – European patent EP3786723A1 for the mechanism that drives the four discs of the linear display.
The technical diagram of EP3786723A1. Source – Patent filing
Specifically, the patent describes in detail how the gear train splits into two for the ones and tens digit of the date – somewhat like a convoluted big date mechanism. In the diagram above, the 31-tooth wheel is visible as (51), and drives two trains – one on the left for the tens, and another on the right for the ones.
The patent is also focused on the interaction of the 31-tooth wheel driving the wheel of the ones digit. Certain teeth of the wheels have a specific geometry with truncated tips, which serves two purposes. First, it ensures the ones digit does not change at the end of the month; in other words, the “1” in “31” remains stationary and only the “3” is replaced by a “0”. Second, it cushions the large discs against prevents inertial shocks that may drive the 31-tooth wheel in reverse.
Fig.3c indicates the 31st of the month, while Fig.3d indicates the 1st of the following month. The truncated teeth ensure the correct display of the ones digit and also act as a safety from being driven in reverse. Source – Patent filing
On a related note, another patent, EP3786724A1, was filed for an additional mechanism that also addresses this issue. There is an intermediate wheel between the 31-tooth wheel and the ones digit disc, which has two layers of teeth. The two layers are spring-loaded, thus filling the gaps between the meshing of adjacent gear teeth.
This serves two purposes, with the first being most obvious: to minimise play between the gears, which allows for a more precise positional rotation of the gears. However, this is less of an issue in this construction, as the date discs precisely jump from one numeral to the next, thanks to a jumper spring.
The second purpose of the sprung gear is more important. Like the truncated teeth of the 31-tooth wheel, this also acts as a safety that blocks the mechanism the case of shock, which may cause the large date discs to drive the mechanism backwards. The spring-loaded wheels can absorb such shocks and thus protect the delicate mechanisms on their reverse.
The sprung wheel, here labelled “self-blocking wheel”. Image – Patek Philippe
Meanwhile, the tens digit disc is driven by a fairly conventional big date mechanism. It has an intermediate wheel with four precise teeth on it, which flips the tens digit four times in a month (on the midnight after the ninth, 19th, 29th, and 31st of the month).
The wheel for the tens disc. Image – Patek Philippe
This intermediate wheel in turn drives a Maltese cross that mechanically blocks the disc outside of the prescribed switching periods. This prevents unwanted accidental change of the digit disc due to shock.
The tens wheel with the Maltese cross. Image – Patek Philippe
A third patent, WO2021038396A1, was filed for the configuration of the co-planar discs of the calendar display. Coaxially within the ones and tens digits are the week day and the month indicator discs. The patent covers the fact that these discs all sit on the same plane, and support each other with the use of ball bearing races.
A exploded view of the co-planar discs. Image – Patek Philippe
Notably, the movement has two fixed rings that supports the four discs. The inner portion of the ring supports the ball bearings for the day and month discs, while the outer circumference of the disc holds the ball bearings for ones and tens date discs. It is a compact setup that is thin, while preserving robustness.
Typical of Patek Philippe perpetual calendars, the month display is directly driven by the perpetual calendar code wheel, a 12-toothed wheel mounted to a cam of different height profiles that encodes the number of days in each of the 12 months. While this is typically done with a 48-toothed wheel for the full leap year cycle of four years, Patek Philippe instead uses a pivoting satellite system that accounts for the shorter month of February in a leap year, which requires a deeper slot in the cam.
The perpetual calendar code wheel. Image – Patek Philippe
In summary, the perpetual calendar mechanism of the ref. 5236P is eminently traditional, but the display has been cleverly remained for the linear calendar in large format. And the reimagining has been done in an elegant fashion typical of Patek Philippe, with slim and subtle innovations that still maintain mechanical robustness.
That said, the traditional, “grand lever” mechanism still has its drawbacks which are common to most other Patek Philippe perpetual calendars. The most apparent inconvenience is the need for various pushers to adjust each indications of the calendar, in contrast to several modern perpetual calendars that have simpler interfaces of a single pusher or crown adjustment for simultaneous correction of all displays.
But it has to be remembered that all of Patek Philippe’s calendar watches are self winding for a reason – they can be stored on a winder which eliminates the need to adjust the calendar. In that context, the pusher adjustment is not necessarily a drawback.
Adjusting the calendar is still a tedious exercise with four pushers to operate. Image – Patek Philippe
The other criticism is the nature of the calendar’s switchover. It is a “dragging” display that changes gradually over several hours around midnight, instead of being an instantaneous calendar.
Since the movement was designed from the ground up, a crisply jumping display would have been a huge bonus that would elevate the already clever design to another plane.
Still, the omission of the instantaneous function is understandable. It might have been infeasible due to the higher energy requirement of an instantaneous display, which cannot be served by this base movement.
An almost familiar base movement
While most of the perpetual calendar mechanism is hidden under the dial, the base movement is still visible through the display back.
Entirely new in most respects, cal. 31-260 PS QL is made up of the perpetual calendar module installed on a base movement that is currently unique to the ref. 5236P, but draws clear inspiration from its cousin, the ref. 5235 that contains the cal. 31‑260 REG QA.
The cal. 31-260 PS QL
The base movement is architecturally simple – it is a micro-rotor movement with a single barrel. In broad strokes it is similar to the movement in the ref. 5235. However, it does have several relatively subtle technical improvements, as would be expected since a decade has passed since the ref. 5235 was launched (and the fact that the ref. 5236P is a far more expensive watch).
The first is obvious – the bridges are of a different design. The movement sports individual finger bridges for the going train, compared to the wide bridges used in the ref. 5235.
Also, the movement diameter has increased from 33 mm to 34 mm, though that is a consequence of the wider calendar module, rather than an expansion of the base calibre.
The finger bridges on the left, and the balance cock at bottom right
The mainspring barrel was also upgraded – it now boasts a 20% more torque, which is a welcome extra since the perpetual calendar requires more energy than an annual calendar. Consequently, the going train wheels have visibly wider wheel rims to transit the increased energy.
The upgraded barrel also requires more energy to wind, so a weightier platinum micro-rotor replaces the 22k gold rotor of the ref. 5235. Being denser than gold, platinum increases the rate and efficiency of winding.
The barrel bridge with the wide-rimmed going train wheels visible just above
The increased torque was also necessary to drive the upgraded escapement – while the ref. 5235 had a balance wheel running at an unusual 3.2 Hz, or 23,040 beats per hour, the ref. 5236P beats at a higher rate of 4 Hz, or 28,000 beats per hour, which improves timekeeping stability.
One under-appreciated feature of the escapement is its balance spring. Instead of a conventional metal-alloy hairspring with an overcoil that is common in high-end movements, both the refs. 5235 and 5236P feature a hairspring made of Silinvar, which is silicon with an oxide outer layer. The material offers multiple benefits for a hairspring – it is antimagnetic, resistant to temperature changes, and is resilient to accidental deformation.
Silicon hairsprings can also be formed into complex shapes, which allows optimisation of hairspring’s thickness along its length. This allows for a more concentric breathing of the hairspring, which improves isochronism. While this is typically achieved with an overcoil on alloy hairsprings – which requires additional height since the hairspring has two levels – the same can also be achieved with a flat silicon hairspring, which in turn means a thinner escapement and thus, a thinner movement.
It is also worth mentioning that the movement features hacking seconds – a function relatively uncommon on Patek Philippe movements, but is becoming more common with recent models. This is a step in the right direction, as it allows for easier time setting.
The curved hacking lever is visible to the top left of the balance
The Gyromax balance with its four regulating weights
The inevitable comparison
While the movement of the ref. 5236P is sufficient on paper appears, it feels like there was some missed opportunities within. Launched alongside the ref. 5236P was the Calatrava ref. 6119 – a three-hand watch that boasts an entirely new movement, the cal. 30-255 PS.
Arguably one of Patek Philippe’s most impressive recent movements, the cal. 30-255 PS is all about chronometry. It has a layout optimised for timekeeping, one that squeezes in two large barrels and a 4 Hz escapement with a high-inertia balance wheel. In other words, the calibre has plenty of torque and would have been an ideal base for the linear calendar module of the ref. 5236P.
The cal. 30-255 PS of the ref. 6119
In comparison, the cal. 31-260 of the 5236P feels unoptimised in comparison – there is unused space within the movement that might have allowed for a second barrel for higher torque. This is possibly because Patek Philippe prioritised automatic winding over other features. All of the brand’s perpetual and annual calendars are automatic (except for those combined with other complications) – a watch winder can keep the calendar up to date all the time.
Thus, the space that could been occupied by a second barrel is taken up by the micro rotor. While it is an acceptable compromise since the watch functions flawlessly, it is slightly disappointing from a horological perspective considering the huge accomplishment that is the cal. 30-255 of the ref. 6119.
The cal. 31-260 of the ref. 5236P
Aesthetics and finishing
Compared to the movement in the ref. 5235, the cal. 31-260 of the ref. 5236P has been opened up to reveal more of the moving parts. Ordinarily that would be a good thing, but in this case the base movement might not be an ideal candidate for such treatment.
One critique concerns the choice of finger bridges for the going train. Compared to the twin bridges of the ref. 5235 movement that seem to flow cohesively, the finger bridges here are of different shapes and lengths – a necessity of the wheels of the going train – resulting in a somewhat haphazard feel.
That said, the redesigned bridges do incorporate several outward angles on their edges, which creates appealing, sharp outward points along the anglage. However, the bridges lack sharp, inward corners on the anglage.
While the more numerous and complex bridges give the movement of the ref. 5236P extra detail, it presents a less elegant feel than the simpler forms of the calibre in the ref. 5235, which is simple but more coherent.
Overall, the finishing of the movement in the ref. 5236P is as expected from Patek Philippe – clean and thorough. Notably, the anglage is rounded, polished, and consistent along all the bridges, which also have polished countersinks for all the jewels and screws. And the cotes de Geneve is uniformly applied on all the separate bridges.
Also pleasing aesthetically is the choice of large jewel bearings, especially for the centre wheel, which are matched by equally broad countersinks that complement the anglage.
Concluding Thoughts
The ref. 5236P is now clearly the brand’s flagship perpetual calendar watch. With its size and heft, it feels like a flagship model in a tangible size, but also lives up to the billing in terms of technical features. Importantly, the calendar display is impressively large and backed by a smart layout.
Granted, some features of the base movement might seem to be compromises, but they were likely necessitated by the prevailing requirements for the brand, namely automatic winding and slimness.
Overall the ref. 5236P is an accomplished wristwatch that delivers something truly new to the perpetual calendar complication.
Key facts and price
Patek Philippe In-Line Perpetual Calendar Ref. 5236P-001
Diameter: 41.3 mm Height: 11.07 mm Material: Platinum Crystal: Sapphire Water resistance: 30 m
Movement: Cal. 31-260 PS QL Functions: Hours, minutes, seconds, and in-line perpetual calendar with moon phase Frequency: 28,800 beats per hour (4 Hz) Winding: Automatic Power reserve: 38-48 hours
Strap: Alligator with platinum folding clasp
Availability: Now at retailers Price: US$130,110, or 171,500 Singapore dollars
A trend that has been repeating across industries during 2021 also transformed the luxury-watch business during the year – an insatiable demand for watches and supply perennially falling short. Although there were new launches throughout the year – which kept enthusiasts continually entertained – the “novelties” for 2021 were mostly not the sort typical of the go-go years.
New products was arguably less exciting than business would imply, largely because new watches take several years to develop and the uptick in business became seemingly overnight. Many high-profile new launches were predictable variations of familiar models.
A seemingly familiar variation but actually something entirely new and one of the top watches of 2021
Nevertheless, there were standouts. Here are a dozen of the year’s best watches picked by our editors (or even owned by some of them, but alas not the Vermeer). Led by a magnificent art-complication, the list includes several technical highlights – from an impressive time-only movement from Patek Philippe to Richard Mille’s ingenious winding mechanism – and of course a few affordable watches on the list.
It is mechanically magnificent, packing in both a tourbillon regulator and grande et petite sonnerie with Westminster carillon – a combination that’s rare even with the proliferation of complications in modern watchmaking. And it is also a modern calibre, instead of being a vintage movement as is sometimes use for grand complication pocket watches.
A massive tourbillon anchored by a solid-gold, hand-engraved cock and flanked by two of its gongs
But it’s the decoration on the case that truly sets this watch apart. Both the front and back are enamelled, the front with an elegant, white enamel dial and the back with a masterpiece: a miniature enamel of Vermeer’s Girl with a Pearl Earring done by Anita Porchet, perhaps the best enameller in watchmaking.
The impressive decoration continues on the immense case that’s almost 100 mm wide – a size that brings to mind 17th century coach watches – that is entirely engraved in relief. The case is covered with acanthus leaves and tulips, flanked by a beaded border inspired by a string of pearls, while the bow is made up of a pair if roaring lions.”
Ingenious and inventive
F.P. Journe FFC Blue: “Exceptionally inventive even by Francois-Paul Journe’s standards, the FFC Blue is a brilliantly simple yet entirely novel way of telling the time.
Granted Mr Journe had help from Francis Ford-Coppola in conceiving the watch, but the extremely complex mechanics behind the time display are entirely his own. Eight cams are required to drive the extension and retraction of the fingers, while the thumb pivots in and out.
The hand indicates the hours and the peripheral pointer the minutes, which means it’s 8:31
Despite all of that, the watch is thin in the typical F.P. Journe manner, standing under 11 mm high. The only downside of this watch, or more accurately the serially-produced version of the FFC, is that availability will be essentially naught – perhaps ten will be made a year with a retail price in excess of CHF500,000.” – SJX
Breguet Reine de Naples Cœur 9825: “A Breguet ladies’ wristwatch is surely a surprise pick for the years best. But the Reine de Naples Coeur is not just a piece of jewellery but also a serious example of horology. With a movement designed from the ground up for a woman’s watch – a rarity in watchmaking – the Cœur has an appeal that is subtle but impressive once you understand it.
The intriguing time display isn’t apparent in pictures. The unique display is centred on an open, heart-shaped minute hand formed from two separate wires, which expands and contracts to trace the oval dial. It’s a modern, minimalist take on the famous “expanding hands” pocket watches made by William Anthony in the 18th century, but still clever and fascinating three centuries later.
Reine de Naples Cœur 9825
Less obvious is Breguet’s ability to form fine, elegant designs. The asymmetric, ovoid case – certainly more complicated to manufacture than a round case – is delicate and graceful, while the ornamentation on the dial gives it a romantic feel, which is appropriate for a watch launched for Valentine’s Day.”
Technical standouts
Richard Mille RM 35-03 Automatic Rafael Nadal: “Perhaps a surprising entry is the RM35-03, which secures its place with the intriguing mechanism that varies the winding of the rotor. It is tempting to dismiss the “butterfly” rotor as simple, but closer inspection reveals a fascinating mechanism that changes the position of the rotor halves to vary the winding.
Richard Mille’s “butterfly” rotor in minimal winding mode
It uses a unique, pivoting lever system, which effectively works as a differential gear system and has a slight resemblance to similar mechanisms found in the gravity remontoirs of clocks. This is a more intricate solution than a simple brake for the rotor, which makes it horologically fascinating.” – Richard Lee
A. Lange & Söhne Lange 1 Perpetual Calendar: “The Lange 1 Perpetual Calendar (L1 QP) is superficially familiar, because it is almost identical to the Lange 1 Perpetual Calendar Tourbillon, which has its tourbillon hidden regulator. The familial resemblance is a good thing, because the Lange 1 dial is instantly appealing, and boasts good readability as a calendar.
One variant with a “salmon” dial that is unusual for Lange
But the L1 QP required serious reworking of existing movements , resulting in a watch technically impressive enough to mark it out one of the smartest perpetual calendars on the market. For one, it has an instantaneous display – all indicators jump at midnight – that is mechanically programmed with a smart and efficient calendar ring system that was developed in house, a notable innovation over the traditional calendar mechanism.
Importantly, the L1 QP remains an impressive watch even with the calendar works are hidden. The 42 mm case is huge for a Lange 1, but arguably just right since it optimises legibility of the calendar. And because the case is impressively solid as all Lange cases are, the watch has a majestic feel that brings to mind an extra-long luxury sedan like the Mercedes Maybach.”
Ferdinand Berthoud FB RS Régulateur Squelette: “While based on an existing model, the FB RS is a beautifully executed example of open-worked design that manages to evoke traditional chronometer movements. Just the right amount of the dial has been cut away to reveal the impeccably finished movement, while still preserving legibility and overall visual coherence.
Especially splendid in pink gold
The movement reveal is important, as the calibre is the highlight. The base movement is packed with technical features that will appease even the most jaded enthusiast – including an interesting gear train layout, a fusee and chain, as well as a large tourbillon.
The tourbillon deserves special mention, as it is arguably one of the most elaborately finished tourbillon cages in modern watchmaking. And now it finally gets the exposure it deserves – from both the front and back thanks to the open-worked dial – as the dial on the original model concealed most of the tourbillon.” – Richard Lee
A watch dedicated to good timekeeping will ideally boast three qualities – a high frequency of 28,800 beats per hour or more, a large balance wheel with high inertia, and a long power reserve. Most watches have to compromise one or two of these characteristics to achieve the other(s).
The cal. 30-255 PS
However, the cal. 30-255 achieves all three – its high inertia balance wheel beats at 4Hz, which puts it among the top ranks of HDF scorers. And it is equipped with two massive mainspring barrels that unwind in parallel to power the torque-hungry escapement. This on paper, should make it a very stable timekeeper – which is ironically an often overlooked trait of a fine timepiece.” – Richard Lee
The display is inspired by pocket watches with a linear calendar, but Patek Philippe managed the impressive feat of cramming all the calendar discs into a relatively compact watch of 41.3 mm in diameter, while still having them highly legible.
An unusually concise perpetual calendar display
This is achieved with a unique configuration of coaxially-mounted calendar discs within the upper half of the dial, driven by a traditional perpetual calendar mechanism in the lower half. And in typical Patek Philippe style, numerous, patented innovations were incorporated into the mechanism to ensure its reliability – but implemented discreetly without much fanfare.
The cal. 31-260 PS QL
But putting it next to the time-only ref. 6119 above is where the ref. 5236P falls slightly short. Its base movement, the cal. 31-260 PS QL, which was derived from the cal. 31-260 found in the ref. 5235, is a fine calibre but pales in comparison to the outstanding cal. 30-255 of the ref. 6119, which would’ve been ideal to power the perpetual calendar mechanism thanks to its high torque, albeit with the inconvenience of being a manual-wind. And perhaps it is too much to ask for, but the ref. 5236P would’ve been absolutely stellar if the perpetual calendar was instantaneous.” – Richard Lee
Broadly significant
Tudor Black Bay Ceramic: “The Black Bay Ceramic seems like yet another all-black dive watch, but it is one of the most significant watches of the year. Not so much for its intrinsic qualities, though it is a strong value proposition, but because of what it reveals about Tudor’s long-term strategy, and by extension, that of Rolex.
The first Tudor that’s METAS certified
I wrote at length about it, but put briefly, the Black Bay Ceramic cleverly adopted a certification heavily marketed by Omega, but at a far more affordable price. It’s the first Tudor wristwatch that’s a METAS-certified chronometer, making it a Master Chronometer. Read my editorial for the full story.” – SJX
Craftsmanship and quality
Kudoke 2 “Zodiac”: “Admittedly this is a choice laden with bias but its merits stand on its own.
The Zodiac encapsulates a lot of what I appreciate about independent watchmaking and also my goals with collaboration editions. It is unique, distinctive, artisanal, and also a value proposition considering the level of craft relative to the price.
The custom-designed zodiac hour markers incorporate Roman numerals, and engraved in relief for visual depth
The cosmic theme engraving continues on the back
The Zodiac did feel a bit risky during development since Kudoke hadn’t done anything remotely similar before, but I am thoroughly pleased with how it turned out. It is a notable watch of 2021, regardless of whether I had a hand in developing it.” – SJX
Citizen Caliber 0200: “Steel sports watches are a dime a dozen in modern watchmaking due to their explosion in popularity, with varying degrees of success in execution. Nevertheless, the Citizen Caliber 0200 remains a standout – offering exceptional quality within its segment.
Especially precise and fine finishing on the case and bracelet
It is one of the timepieces reviewed earlier this year with much glowing praise – and deservedly so – for the quality of both the case and movement are top notch. The new movement takes the spotlight – a no-nonsense, in-house automatic movement developed by Citizen with aid from La Joux Perret for the well-executed finishing. This is greatly complimented by being packaged in a best-in-class steel case and bracelet.
Despite some minor shortcomings, it is extraordinary enough as a whole that I personally ordered one for myself, and eagerly await receiving it.” – Richard Lee
The affordable
Tudor Pelagos FXD: “Tudor had a good start to 2021 with its launches at Watches & Wonders that were either surprising or appealing. In fact, the line-up was good enough Tudor could have called it a year and done well.
But the brand continued to launch new watches, and ended the year with the best one: the Pelagos FXD “Marine Nationale”. It’s the most serious, but also affordable, “tool watch” of the year – and I knew I had to get one as soon as it dropped.
As excellent as it is simple
The appeal of the FXD lies in the purity of its concept and execution. Unlike the prior Black Bay divers that are have been designed to cater to the civilian market, resulting in frills like “gilt” dials and so on, the FXD has a rugged, even bland styling that screams practicality, making it a sterling example of a no-nonsense instrument.
Admittedly it isn’t a pretty watch, but the FXD is reassuringly handsome in the metal. And its functional features are cool; that includes the fixed strap bars and case back engraving, so it has quickly become a watch I strap on often.”
And the watchmaker has quickly followed up with the Traditionnelle Complete Calendar Openface, which is more striking – with more complicated aesthetics – thanks to a see-through dial that reveals the calendar works.
Initial thoughts
Eminently different from the standard version, the Openface is a strong addition to the brand’s calendar line up, especially for those who find the standard models too simple in style – it has a notably unique aesthetic.
The new look is the result of a surprisingly simple upgrade. Instead of a skeletonised movement – which is the norm for open-faced watches but far more costly – this has a transparent dial that showcases the intricate wheels and jumpers of the calendar module.
Simple as it is, the Openface is nevertheless thoughtfully executed. In typical Vacheron Constantin fashion, attention has been paid to the details in both design and finish to create a pleasing, refined look. One example is the upper section of the dial that’s finished with a radial guilloche, which contrasts with the lower portion in sapphire, giving it visual definition (while also highlighting the branding).
The hour markers are secured with feet on both ends, instead of being cantilevered, for extra stability
And despite the complex appearance, legibility has preserved with the use of contrasting colours and finishes: the straight-grained bridges are coated dark grey, allowing the gold hands and markers to stand out, while the week and month displays are made obvious with white backing.
Admittedly, the Openface doesn’t have the intricacy and fineness of Vacheron Constantin’s finest skeletonised calendar watches, like Overseas Ultra-Thin for example. But it is a lot more affordable, with a price tag of US$47,300, putting it about 15% over the standard version. That makes the Openface a value proposition of sorts amongst the brand’s calendar watches.
Complete calendar
Because the dial is almost entirely transparent, the calendar module comes to the fore, revealing both the mechanics and finishing.
Thankfully the calendar module has been carefully dressed up, as would be expected for a movement with the Poincon de Genève. The bridges and plate are straight grained and coated in dark grey NAC to echo the style of the dial and case, giving the watch a coherent look.
And importantly for geeks, the calendar mechanism is revealed in all its glory.
Though it’s a relatively traditional – and simple – triple calendar, there is an attractive sense of mechanical depth thanks to the sapphire calendar discs, which reveals the wheels and jumpers underneath.
Mechanically the Openface is identical to its closed-dial counterpart. The base movement is the cal. 2460, an in-house automatic calibre that’s serves as the workhorse calibre for many of the brand’s upper-end models, including those with unorthodox time displays.
A watch designer whose talent lives on in his work, the late Gérald Genta was exceptionally prolific – he claimed to have penned over 100,000 creations. His family still possesses some 3,400 original sketches covering a bewildering diversity of timepieces. From that, a hundred sketches have been curated to form Gérald Genta: Icon of Time, a series of four thematic auctions staged by Sotheby’s in the first half of the year.
The brainchild of Genta’s wife, Evelyne, the auctions will offer original sketches of his best known creations, including the Royal Oak, Nautilus, and Disney Fantasy watches – each accompanied by a non-fungible token (NFT).
Three of Genta’s best known designs. Notably, the illustration of the Nautilus includes its case profile, unlike most of his sketches that depict only the front of the watch
Essentially digital representations of the sketches, the NFTs “serve as a record of ownership and proof of provenance for each design, ensuring the value of each physical artwork is intrinsically connected to its digital counterpart which cannot be resold without the NFT that attests to the legitimacy of the piece” according to Sotheby’s.
And these original works will be affordable, with each sketch and its NFT starting at just US$100, CHF100, or HK$1,000, depending on the sale location.
But the highlight of the event is an actual watch – Genta’s own personal Royal Oak. Slated to be sold at the final instalment of the event taking place in Geneva in May 2022, just in time for the 50th anniversary of the Royal Oak, Genta’s watch is a unique example in steel with an 18k yellow gold bezel. It has an estimate of CHF300,000-500,000.
Genta’s own Royal Oak
Pioneering style
The drawings on offer include unique timepieces commissioned by prominent personalities, royalty, as well as established watch brands. While the designs are varied and fascinating, they are typical of Genta, who relied on geometric shapes ornamented by flamboyant details, especially during his later career.
Notably, some sketches are hitherto unseen. Most intriguing is an early draft for the Royal Oak, which shares the characteristic angular bezel – but with few sides – yet is an entirely different watch.
A version of the Royal Oak that never came to life
And a sketch for the Pasha that was never submitted to Cartier, instead Genta created the design with a cap over the crown that’s now the best known version of the model
Among the most extravagant creations were those for sovereigns and royalty of the Middle East. Interestingly, his sketches for these commissions often hark back to his origins as a jewellery designer – before he pivoted to specialising in watch design after realising most of his clients wanted ideas for watches rather than baubles.
A belt and pendant set with green emeralds on the hamsa, or palm-shaped emblem, which was commissioned by a Middle Eastern head of state as a gift to a European leader
Another commission from the Middle East, this one with a miniature painting of the Paul Gauguin’s Eü haere ia oe (which translates as “Woman Holding a Fruit”). This was a one of a series of minute repeaters, each featuring a favourite painting of the gentleman who commissioned them
An extravagant solid-gold box incorporating a perpetual calendar and decorated in champleve enamel depicting a floral motif
While most of Genta’s best known works were produced for watch brands in his early career, he later set up his eponymous brand in 1969, which designed and prototyped wristwatches, and later developed its own complicated movements.
In fact, the all-star team he recruited for his own brand developed several world-firsts, including what was then the thinnest minute repeater wristwatch ever in 1981.
But the highlight of the Gerald Genta brand is no doubt the Grand Sonnerie, which was the most complicated wristwatch in the world at the time. Combining a grande et petite sonnerie with Westminster carillon, perpetual calendar, tourbillon, and even automatic winding, the Grand Sonnerie was also one of the first ever wristwatches to boast a grandeetpetite sonnerie, having arrived just three years after Philippe Dufour debuted the first.
A sketch for one version of the mega-complicated Grand Sonnerie
And Genta’s innovative streak went beyond aesthetics. His was one of the first brands to debut a wristwatch with a bronze case, when he unveiled the Gefica in 1984. The choice of material was practical rather than stylistic, as the watch had been conceived for friends of his who were enthusiastic hunters and wanted a low-key wristwatch that didn’t reflect sunlight.
The De Gefica Safari Montre Beretta, with a matte bronze case
Auction schedule
Gérald Genta: Icon of Time takes place over four auctions in different cities.
Geneva, February 10-24, 2022 Featuring sketches for the Royal Oak, including the unreleased and hitherto unknown first draft
Hong Kong, March 10-24, 2022 Original sketches for the Nautilus and three drawings for the Grand Sonnerie
New York, April 13-27, 2022 Including sketches for a range of Disney Fantasy watches and clocks
Geneva, May 2022 Headlined by Genta’s own Royal Oak wristwatch in steel with an 18k gold bezel, and including oil paintings by Genta inspired by the Nautilus and Royal Oak
An exhibition dedicated to limited-edition watches from A. Lange & Söhne, Exceptional Masterpieces recently concluded after a five-day run in Singapore. The event was fully subscribed every day it was open, but attendance was limited due to health regulations.
Amongst the watches on show were all the Handwerkskunst limited editions. German for “craftsmanship”, handwerkskunst is an apt label for the series, which is made up of watches featuring artisanal decoration executed by hand, most often engraving but also enamelling on occasion.
Inaugurated a decade ago, the series is now a family of seven watches, but each model was limited to no more than 30 pieces, which means the entire series totals less than 200 watches, making them amongst the rarest of Lange watches. So for anyone who missed out on the exhibition, here’s a look at five of our favourite Handwerkskunst editions.
The second of the series, the Zeitwerk Handwerkskunst very much stuck to the formula set established by opening act, the Richard Lange Tourbillon Pour le Mérite Handwerkskunst. While the mechanics remained almost identical, the decoration an upgraded over the standard version with elaborate engraving on both the front and back, but executed in a restrained manner that embodies the low-key style of the German watchmaker.
Precious metal through and through – the case is platinum, while the dial is white gold coated in dark rhodium
With a pronounced grained finish that’s found in almost all models of the series, the dial immediately gives away its Handwerkskunst provenance. Known as tremblage, the finish is more painstaking than the fine graining suggests – it is made up of dimples, each carefully removed by hand from the surface of solid white gold disc. Like most engraving, tremblage is achieved with a burin.
The engraved white gold dial is then coated in dark rhodium, leaving the watch looking stealthy
The bevelling on the time-display bridge gives the dial extra polish that goes well with the slightly sparkly dial
The lettering and power reserve scale are all rendered in relief
As with the dial, the L043.4 is adorned with hand-engraving not found on the standard production counterpart, the L043.1. All of the markings on the bridges are engraved by hand, instead of being done by machine as is the case for the regular production version. And the barrel bears the brand name in relief, while the winding wheels have a solarised finish.
Thirty pieces were made, twice as many as the first Handwerkskunst edition
Interestingly, the movement also incorporates a tiny technical upgrade: a Glashütte pallet lever replaces the Swiss pallet lever. While the difference between the two are merely small changes in geometry, it was a challenged to pull off as the methods for producing such a pallet lever was long forgotten and had to be revived with help from a former employee who was already in her nineties.
2013 – Lange 1 Tourbillon Perpetual Calendar Handwerkskunst (ref. 140.048)
Interesting because it is both low-key and extravagant, the Lange 1 Tourbillon Perpetual Calendar Handwerkskunst is one of rarest Handwerkskunst models, having been an edition of just 15 pieces.
In fact, it is possibly the aesthetically extravagant member of the Handwerskunst family to date, because the dial is entirely engraved with a floral motif, decor typically reserved for smaller components such as the balance cock.
But the floral pattern is only visible up close, which leaves this Handwerkskunst edition quite stealthy – the silvery dial even allows it to pass for the standard model at a distance.
Even the date gets a little extra colour – the numerals are hand-painted in blue
The movement is technically identical to the standard version, as is typical for most Handwerkskunst models, but the L082.1 is fairly complicated to begin with – it has a perpetual calendar that’s integrated instead of modular, and also a tourbillon regulator that’s visible only on the back.
The three-quarter plate has a sunburst graining
But the L082.1 has been is revamped in aesthetic terms, including with a heavily decorative gold rotor. The rest of the movement also gets a slightly different treatment, such as the the solarisation on the three quarter plate that replaces the usual Glashütte stripes.
The cocks are engraved with a motif that’s not found on the standard versions, leaves against a tremblage finish
The brand name is framed by leaves and tremblage
2014 – Lange 1 Tourbillon Handwerkskunst (ref. 704.048)
The subsequent Handwerkskunst edition was yet another Lange 1, and once again with a tourbillon, but fortunately one that was entirely different, in terms of decoration, complication, and tactile feel.
With a monochromatic dial that sports minimal engraving, the Lange 1 Tourbillon Handwerkskunst is the most subtle models in the series to date. The dial is a glossy black, because it is fired enamel – a finished rarely used by Lange. In fact, this is one of only two – and also the first – Lange models with a black enamel dial, the other being the one-off 1815 Homage to Walter Lange in steel, which sold for a whopping US$852,000 three years ago.
But as is typical of the Handwerkskunst, the dial is also engraved, albeit in a less-than-obvious manner. The dial disc is first carved out to create the indices and texts in relief before being covered with a layer of enamel and then fired, a technique known as champlevé. It is then polished to leave the relief markings flush with the enamel.
Forgoing tremblage and floral engraving found on most other Handwerkskunst, the dial is striking in its simplicity. The enamel gives it a deep, almost viscous appearance, a stark look that goes well with Lange’s case design.
At a glance, the L961.3 might seem identical to the L961.1 found in the standard version, but it is certainly not.
For one, the tourbillon regulator incorporates with a stop-seconds mechanism, a major upgrade that arrived 14 years after the original L961.1 was introduced as the hacking-tourbillon was only invented much later, having debuted in the Cabaret Tourbillon in 2008.
And the movement is quite different stylistically, as the three-quarter plate has been open-worked – creating numerous inward angles along the bevelled edges – while the central, “island” bridge is hand-engraved, as are the twin cocks.
While the Handwerkskunst models typically adopt a conservative palette, the 1815 Tourbillon Handwerskunst is flamboyant by Handwerkskunst standards. Arguably the most striking Handwerkskunst edition in terms of style, it combines a dark grey dial with a pink gold case.
The tourbillon cage is larger than that of the Lange 1 Tourbillon, which allows for a slimmer and more elegant curve for the arms of the carriage
Once again the familiar tremblage finish is found on the dial, along with abundant relief engraving – all of the Arabic numerals are in relief, as is the logo. With only an opening at six o’clock for the tourbillon, the dial is relatively simple and almost symmetrical, so there’s nothing to get in the way of the impressive decor.
The movement is mechanically identical to the L102.1 found in the standard production model, which was unveiled just a year before the Handwerkskunst version was announced. But as is typical of the Handwerkskunst family, the movement gets special treatment.
Not only does the three-quarter plate get a fine frosting instead of the usual striping, the outline of the plate has been tweaked to allow for more sensual curves and inward angles. The barrel cover as well as the tourbillon cock have been skeletonised, giving the users a better view into the mechanics.
Open-working the tourbillon cock is a shrewd move, as the moving cage is interesting to observe
Last but not least is the ultimate version of the 1815 Rattrapante Perpetual Calendar Handwerkskunst, which is also the most complicated Handwerkskunst edition, having both a perpetual calendar and split-seconds chronograph.
The number of sub-dials and pushers immediately give away the fact that it’s highly complicated
And the decoration doesn’t disappoint, with an intricacy of design and technique that live up the complex mechanics. The dial, for instance, is first engraved in relief and then enamelled, combining two techniques that are mostly found singularly in Handwerkskunst models (except for the Lange 1 Tourbillon Handwerkskunst, which has far simpler engraving).
The engraving departs from Handwerkskunst models as it is thematic – a cosmic motif with tiny stars against a dark blue expanse. Interesting as it is, the stars on the dial are largish – several times the size of those on the moon phase disc – resulting in a look that’s stylised, whimsical, and unconventional for Lange.
An extra found only on the Handwerkskunst edition, the hunter case back is engraved and enamelled like the dial. It continues the cosmic theme with a relief engraving of Luna, the Roman goddess of the moon, surrounded by a champleve enamel ring of clouds and stars.
The depiction of Luna is artistic but not quite as fine as the engraving found on metiers d’art watches from Lange’s Swiss rivals
But perhaps the most intriguing – and unusual – detail is hidden under the hinged back. The movement has it bridges engraved with stars in relief. This gives it a slightly romantic aesthetic that contrast with Lange’s mechanical prowess, but it is subtle and pleasing.
And because the movement is already extremely intricate in visual terms – the view is dominated by the split-seconds chronograph mechanism – the starry engraving recedes into the background somewhat, so it doesn’t seem excessive (which is could be argued is the case for the hunter back).
Unquestionably the preeminent maker of exotic – and ultra-luxury – sports watches, Richard Mille has just taken the covers off a simple but intriguing watch, the RM 35-03 Automatic Rafael Nadal.
Like earlier watches made for the Spanish tennis player, the RM 35-03 incorporates technical features to cater to the intense nature of the game – at least the way Mr Nadal plays tennis. And in this instance it’s a rotor with variable winding modes. As a result, winding can be halted during a game, preventing excess wear on the winding mechanism.
Initial thoughts
The RM 35-03 is a time-only watch – it lacks a tourbillon unlike the better-known RM 27 Nadal – but it has all the qualities that makes it a Richard Mille, most notably the lightweight, tonneau-shaped case in brightly coloured carbon composite along with a skeletonised dial.
It’s a look that screams Richard Mille, and also a signifier of wealth and status, since the watch is hard to get and also extremely expensive for a time-only. But fortunately the RM 35 does possess technical qualities that make it interesting despite being a “hype” watch.
This version has the front and back case plates in white Quartz TPT and Carbon TPT, with a case middle in Carbon TPT
A second variant with the entire case in Quartz TPT
The highlight of the RM 35-03 is the patented, “butterfly” rotor, which is essentially comprised of two halves that can be rearranged – thanks to a smartly simple mechanism – in order to vary the winding efficiency.
Priced at US$220,000, the RM 35-03 is pricey for a watch without complications to say the least. But it is also affordable in Richard Mille terms, though retail prices are usually a moot point for such watches since availability is short and wait lists are long.
The butterfly rotor in regular mode with the two halves closed
Sport Mode
Self-winding wristwatches are typically equipped with a slipping-bridle mainspring, meaning the coil of the spring slips against the inside wall of the barrel when it is fully wound, preventing over-winding that might break the spring.
While this slipping mechanism a simple and effective set up, it does have a minor downside – continual slipping creates wear and tear as the spring scrapes the inside of the barrel (which is usually well greased), creating metal shavings within the barrel. That’s exacerbated with excessive winding, when the rotor turns “at full speed when the watch is worn by someone practicing a sport” in the words of the brand.
The butterfly rotor in Sport Mode, where the halves are spread symmetrically around the central the axis
Richard Mille’s solution to the problem is intuitive: a rotor with variable geometry that alters its centre of gravity, effectively changing the rate of winding along a scale from zero to maximum. So when the watch is worn during extreme activities, winding is stopped altogether.
Notably, this feature can be set by the wearer. “Sport Mode” for rotor can be easily activated via a pusher at seven o’clock on the case. This activates a series of gears that alter the shape of the winding mass, dubbed the “butterfly” rotor by the watchmaker.
The mechanics behind the butterfly rotor looks simple at a glance, but are intriguing. The rotor consists of two halves that are indirectly coupled via intermediate wheels geared in an overall 1:1 ratio. Thus, the two halves rotate together at the same speed.
The wheels pass through a pivoting lever, which acts as a mechanical “differential”. When this lever is rotated, it mechanically induces an offset within the gearing of the two rotor halves, therefore pivoting the two halves to the “open” position – the heart of of the ingeniously elegant mechanism.
The lever itself is controlled by a spring-loaded toggling cam that’s actuated by the “Sport Mode” pusher. When the pusher activates Sport Mode, it releases the spring-loaded cam, which in turn rotates the pivoting lever – spreading the two rotor halves apart symmetrically and putting them in perfect balance. This makes the rotor less susceptible to the motion of the wrist – since both sides of the rotor are now equally weighted – and thus minimises winding of the mainspring.
A coiled spring which stores energy in the actuation cam that spreads the rotor halves apart
And when Sport Mode is deactivated with the pusher, the cam is cocked back into the spring-loaded position, which also resets the pivoting lever back to its original position. This causes the two halves of the rotor to close in on one another, thus restoring the full winding efficiency of the rotor.
Key Facts and Price
Richard Mille RM 35-03 Automatic Rafael Nadal
Case diameter: 43.15 mm by 49.95 mm Height: 13.15 mm Material: Carbon TPT and Quartz TPT Crystal: Sapphire Water resistance: 50 m
Movement: RMAL2 Functions: Hours, minutes, seconds, and adjustable “Butterfly” rotor Winding: Automatic Frequency: 28,800 beats per hour (4 Hz) Power reserve: 55 hours
Strap: Rubber with folding clasp
Limited edition: No
Availability: Only at Richard Mille boutiques Price: CHF195,000 or US$220,000
An online-only watch auctioneer, Loupe This is less than a year old but has notched up several high-profile results, including an F.P. Journe Resonance Ruthenium for US$352,000 as well as a Patek Philippe Nautilus ref. 5711/1A with an olive green dial for US$369,000 with all proceeds going to charity.
And it so happens that one of our very own SJX editions is going under the hammer on Loupe This. Our first collaborative edition, the Habring2 Erwin “Star” was a limited edition of 50, and one of the 50 is now being offered on Loupe This – with a modest estimate and no reserve.
[Update December 24, 2021: The Erwin “Star” sold for US$15,400 including fees on Loupe This.]
For a quick recap: we launched the Erwin “Star” in August 2021 as the first of our 10th anniversary editions. We are proud of the Erwin “Star”. It’s unusual, high quality, and affordable, which probably explains why it sold out almost instantly.
Though it’s a simple, time-only watch, it was made a little bit more special and a little bit different – the standard Erwin already features a jumping seconds, while the dial on our edition is unique to it.
Inspired by “star” dial wristwatches of the 1950s, the dial was tweaked to look more modern and distinct. That was done by changing the proportions and using a vivid blue for the dial that varies with the light. Notably, this is the first Habring2 wristwatch with applied markers. Each of the star-shaped hour markers are stamped, cut with diamond-tipped tool, and then polished for a mirrored finish.
We paid attention to the details during the development of the watch, and that included the depth of the engraving on the case back, which is deeper than usual – and precise enough that the 12-dash ring within our logo was correctly reproduced
This is the second example we know of to change hands, but the first to be offered publicly. The first was sold in a private transaction between two American collectors.
The Erwin “Star” on Loupe This is 43 of the 50-piece series. It appears to be like new and includes the original box and papers.
With no reserve and an estimate of US$4,000-6,000, it is an ideal opportunity for anyone who missed out on it at launch. The auction runs until 12:00 pm GMT-5 (New York) on December 23, or 1:00 am GMT+8 (Singapore) on December 24, and it can be accessed on Loupethis.com.
[Update December 24, 2021: The Erwin “Star” sold for US$15,400 including fees on Loupe This.]
Known for customised watches created for celebrity athletes, Artisans de Genève (ADG) has just revealed its latest project, the Armstrong. Based on a Rolex Daytona ref. 116520, the watch was commissioned by former pro cyclist Lance Armstrong.
Though it looks thoroughly contemporary, it is modelled on the vintage Daytona ref. 6239 “Pulsations”, one of which just sold at Phillips for US$693,000. The vintage inspiration is literal, yet reinterpreted creatively. The Armstrong has been skeletonised and heavily modified, with both the hour register and automatic winding mechanism removed, resulting in an unusually minimalist watch.
Initial thoughts
Leaving aside Mr Armstrong’s chequered past – he was a cancer survivor and then multi-time world champion before getting a lifetime ban for doping – his namesake watch is surprisingly interesting.
Although it is clearly modern in style, the Armstrong is vintage inspired – it is literally a manual-wind, “pulsations” Daytona. In that sense, it is actually a vintage remake with imagination. A significant amount of effort was clearly expended to get there, and the work appears to be of high quality.
Doing away with large chunks of the movements feels drastic, yet the result is intriguing, both conceptually and visually. Or put more simply, it’s weird in a good way.
The customisation is priced at about US$45,000, but that excludes the watch, which the client has to supply. It’s fair enough given the substantial work on the movement, both in terms of modification and decoration.
Lance Armstrong
“Pulsations” Daytona
Commenting in the announcement of the watch, Mr Strong states, “My main inspiration wasn’t sport but retro watches. I liked the idea of counting my heart rate the old-fashioned way — using seconds — and rediscovering what it means to wear and to wind a watch… I loved this sense of opening up my watch and being able to see everything inside it.”
That sums up the essence of the Armstrong. Its key feature is the pulsations scale on the edge of the dial that works with the central, elapsed seconds hand.
The hour counter at nine in a standard Daytona has been removed, not merely in a cosmetic sense, but also mechanically. So not only is the register on the dial eliminated, but also all of the mechanics in the movement relating to the 12-hour register. That leaves a space within the case beside the mainspring that is initially jarring but adds to the airy appearance.
The striking open working is further enhanced by the removal of the automatic winding mechanism, which allows all of the chronograph mechanics to be visible.
The original, 40 mm Daytona case in steel has largely been retained, though several changes were made. The pushers and crown are now black coated and accented in yellow, while the ceramic bezel has been replaced with one of a new design. And the case back was reworked to incorporate a sapphire window and relief lettering on the rim.
The design of the watch is also a nod to Mr Armstrong’s career as a professional cyclist: the pulse rate is an important measurement for athletes, while yellow was the colour of the USPS cycling team when Mr Armstrong was its lead rider.
Key facts and price
Artisans de Genève Lance Armstrong
Diameter: 40 mm Height: 12 mm Material: Steel with ceramic bezel Crystal: Sapphire Water resistance: 100 m
Movement: Cal. 4130, refinished and modified Functions: Hours, minutes, and chronograph with hour and minutes registers Winding: Automatic Frequency: 28,800 beats per hour (4 Hz) Power reserve: 72 hours
Strap: Steel bracelet and rubber strap
Limited edition: Unique piece
Availability: Similar customisation available direct from Artisans de Geneve
Price: CHF42,520 for comparable customisation, excluding the price of the base watch
The TudorBlack Bay Fifty-Eight 925 is a dive watch in precious metal, but still affordable – by a large margin compared to the all-yellow gold version – but no less intriguing than its pricier cousin. The standout feature of the”925″ is obvious from the model name: a case made of sterling silver, which is 92.5% silver by weight.
But the taupe colour scheme is perhaps more unusual, especially for a dive watch. Essentially a muted grey with a hint of olive, the palette makes this the most understated Black Bay to date.
I was impressed when this was released at Watches & Wonders earlier this year, but found it seemingly bland when I first saw it in the metal, albeit tightly wrapped in protective plastic. A few months later, Tudor lent me one for a test drive. The brand had insured the watch and assured me that it was fine to wear it out of the house, so I wore it out the day I received it.
Initial thoughts
A bestseller since its inception three years ago, the Black Bay Fifty-Eight (BB58) quickly evolved from a single model into a line-up of five variants, three of which – gold, silver, and bronze – were launched just this year. Five versions in three years might sound like a lot, but each iteration is vastly different in both style and material, so each has its own appeal. Most importantly, each BB58 variant will likely appeal to different buyers.
Among the BB58s, the 925 is arguably the most unique. For one, a precious metal case is novel for Tudor, a brand that has focused on reliable and affordable watches since its establishment (Tudor did have a handful of solid-gold models in the past but they were not sports watches). Then there’s the fact that sterling silver is rarely used in watchmaking, which makes it intriguing.
Aside from the material, the muted palette is also novel. With its dial and bezel in olive grey, the 925 is more understated than its counterparts – and looks quite different from most dive watches on the market. And the colour also gives it a contemporary feel, making it distinct from other BB58s that are clearly vintage inspired.
During the week that I wore the watch, I found the dial colour more more vivid than it appeared in store or photos. The taupe has a touch of warmth in it, which goes well with the silver case that has a faint hint of yellow in its colour. As a result, the watch is as low-key and classy as a rugged dive watch can be.
Granted, I did not wear the watch for long enough for the case to oxidise (and it will). Once the case gets a bit of patina, its silvery tone will grow less obvious, which will make the dial colour stand out even more I suspect.
The case is a bright, silvery tone when new
And of course, there is the fine build quality. Watch brands all have their respective strengths, and these strengths are varied, from movement finishing to guilloche to ultra-thin calibres. Some brands are so good that they become best in class within a segment.
Tudor’s edge lies in the fact that it’s perhaps the best performer overall in its price category. Its watches have a consistency in quality across all elements, from dial to case and to movement, a feat which is arguably unmatched. And that quality is also consistent across all of Tudor’s watches, regardless of the price. That is evident across all elements of the 925.
Offered either on a fabric or leather strap, the 925 costs over a quarter more than the steel version on strap. The disparity in price is enough that it’s noticeable, even thought the watch is still affordable in absolute terms.
Still, the price is easily justified given the uniqueness of the watch in terms of aesthetics and material, as well as its quality. The 925 will certainly appeal to anyone who likes a 39 mm dive watch with a vintage-flavour but finds earlier versions of the BB58s too stark or too retro.
Taupe
While the silver case is the most surprising element of the 925 on paper, it’s the dial that stands out in person. Perhaps the colour is a nod to the faded, “ghost” bezels of vintage dive watches.
Though the shade is common in fashion, taupe is rarely used in watches, particularly for the dial. The colour stands on its own as modern and minimalist, but for those in the know it serves as a subtle reminder of vintage dive watches with “ghost” bezels.
The taupe bezel and dial give the watch a desaturated look that makes it strikingly different from other Tudor dive watches, which mostly have rich, high-contrast colours. Thankfully the palette doesn’t come across as faux-patina, which might have been the case if it was a graduated grey.
At the same time, the hands and hour markers are restrained and match the silver print on the dial. The coherent colours – plus the silvery tone of the case – creates something of a dress-watch feel, making the 925 less incongruent with formal attire than the average dive watch.
The dial is more than just a pleasing colour. As is executed for Tudor, it does not disappoint under magnification. The hour markers are three-dimensional – stamped, polished, filled with lume, and secured to the dial with pins. And the hands are finished in a similar manner, but their wider, flat surfaces show the finishing better.
Still, the dial details aren’t as elaborate as you might find on a Grand Seiko – they lack the sharp definition of diamond cut markers – but are tidy, clean, and very good for the price. And that solid, workmanship quality is a consistent theme throughout the watch.
Even the “pip” on the bezel is neatly shaped and polished
Silver
The consistency of build quality continues into the case. It is constructed and finished in a neat, workmanlike manner, although nothing about it is especially striking.
Unlike the steel versions that have polished bevels and flanks, the silver case is entirely brushed. But despite the all-matte finish, it manages to be interesting, thanks to the varied directions of the linear graining. The flanks are simply brushed longitudinally, but the lugs are more interestingly executed. They reveal radial lines emanating outward on both the top surfaces and the wide bevels.
The change in curvature of the graining is a result of technology, namely a multi-axis computer numerical control (CNC) machine. This type of CNC mill is equipped with drill bits that can move in three directions, while the workpiece can move in another one or two directions.
To create the lugs, the head of the tool moves in one direction, while the workpiece holding the case rotates, resulting in a radial brushing on the lugs and bevels. While it adds nuance to the form of the case – and hence gives it a more refined look – the brushed and bevelled lugs can be economically replicated in vast quantities thanks to as mass production technology like the CNC machine – making better quality accessible at a lower price.
The same lugs and finishing can be found on the Black Bay Fifty-Eight Bronze
As for the case metal, it is appealing for its colour and uncommon nature. The metal’s novelty alone makes it attractive, especially since dive watches all tend to stick a similar formula in terms of design and materials.
That said, silver doesn’t have an intrinsic value. While silver is a precious metal, it is not expensive – gold costs over 80 times as much as silver on the commodity market. With a hardness comparable to gold, silver should also be straightforward to process and machine.
Alloy science
The final point relating to the case is its appearance over time. Tudor states in the official material for the watch that “use does not affect the appearance of the case of the Black Bay Fifty-Eight 925”.
That presumably means the case is tarnish resistant but not tarnish proof – which makes sense according to knowns science. Tarnish-resistant silver alloys have been around for over a century, but experts agree while the metal can be made less prone to tarnishing, it cannot be made impervious.
Even though the loan watch was newish, I did notice some oxidisation of the silver, specifically on the underside of the buckle. I assume that will also occur on the case after extended wear, and that the tarnishing will differ from watch to watch depending on the wearer’s lifestyle.
Such ageing is typically desirable in watches that have cases made of metals that oxidise – bronze being the most obvious example – but the aged look is clearly not for everyone. The sunken-treasure look of bronze, for instance, is an acquired taste for many.
But silver might be harder to digest than bronze. Patinated silver is arguably less congruent than oxidised bronze, since the former feels like a more refined, formal metal but the later is synonymous with maritime instruments and sailing.
Personally, I can’t say whether I like the patina since I didn’t have the watch long enough for one to develop. It might look beautiful, like old silverware, or it might look odd.
In-house movement
Dubbed MT5400, the movement visible under the sapphire back of the 925 is almost identical to the MT5402 found in the steel BB58, save for a wider base plate to fill aperture of the see-through back (and maybe to allow for thinner case walls to reduce the weight of the precious metal cases).
The open case back sparkled much discussion during the launch of the 925 and its compatriots, for it is rare that Tudor exhibits the movement.
While this is not the first Tudor with a display back – that title belongs to the little-appreciated North Flag – the brand has progressed considerably since the launch of the North Flag in 2015 (which incidentally was the first Tudor with an in-house movement). So it feels like the 925 and 18k are the first Tudor watches with a display back.
The display back reveals a cleanly finished, industrially manufactured calibre.
In terms of decoration, the MT5400 is low key. It’s finished like any other Tudor in-house movement (except that in the Black Bay Ceramic), with the bridges and plates sand-blasted, while the rotor is radially brushed, for a look that’s clean but simple.
The smaller details are attended to, but in a basic manner. The bevelling on the bridges and the countersinks for screws and jewels are all stamped, then the entire component is sandblasted.
It almost feels like Tudor has deliberately chosen to not dress up the movement and it’s a missed opportunity. Even modest tweaks like a fancier rotor or higher-contrast finishing would make a big difference, as demonstrated by the calibre inside the latest-generation Chanel J12, which is powered by a nearly-identical movement from the same factory (that is majority owned by Tudor).
That said, the open case back does the job of indicating it is a mechanical movement inside, and an excellent calibre in fact. Besides a three-day power reserve, it also has a silicon hairspring, which eliminates the possibility of a magnetised hairspring that results in a watch that’ll run fast with low amplitude, gaining up to several hours in a day.
And it boasts details like the full balance bridge that holds a free-sprung balance. The full bridge provides better shock resistance while the latter delivers better stability over time as well as improved isochronism as there are no regulator pins to interfere the hairspring. That matters because these are features are not commonly found in watches in the same price bracket, such as those from Grand Seiko.
The technical qualities of the movements are attested to by Tudor’s own certification process, which guarantees a maximum daily deviation of +4/-2 seconds, a standard that’s also superior to most of its rivals in the same price range. And the movement is also COSC tested and certified.
Conclusion
Like most Tudor watches, the Black Bay Fifty-Eight 925 is great value.
The watch is thoughtfully executed through and through, with a focus on simple quality and reliability rather than frills and enhancements. It does not excel in one, singular aspect, but the every aspect of the watch has been consistently executed to an excellent standard, a reassuring consistency in quality that makes the whole larger than the sum of its parts.
And the 925 is one of the most adventurous watches from the brand in both material and design. The silver case is interesting and unique among its peers. Add to that the taupe bezel and dial – result in an uncharacteristically understated look for a dive watch – and the 925 is a clear sign that Tudor is conscious of its growing audience clientele and diversifying its offerings while retaining its signature styling cues.
Key facts and price
Tudor Black Bay Fifty-Eight 925 Ref. 79010SG
Diameter: 39.0 mm Height: 12.7 mm Material: 925 sterling silver Crystal: Sapphire Water resistance: 200 m
Movement: Cal. MT5400 Functions: Hours, minutes, and seconds Winding: Automatic Frequency: 28,800 vibrations per hour (4 Hz) Power reserve: 70 hours
Strap: Leather or fabric with pin buckle
Availability: Already at boutiques and authorised retailers Price: US$4,300; or 5,904 Singapore dollars
