Leather jackets have been a staple in fashion for decades, and for a good reason. They offer a timeless look that never goes out of style, and they’re durable enough to last for years. However, the traditional way of making leather jackets can be costly and time-consuming, which is why Angel Jackets has disrupted the industry with its innovative approach.
Founded in 2010, a company that specializes in making leather jackets at an affordable price. They’ve managed to do this by cutting out the middleman and manufacturing their jackets in-house. This means they have complete control over the production process, from the design to the final product.
By cutting out the middle-man and manufacturing their jackets in-house, Angel Jackets is able to ensure that their products meet their own exacting standards. This allows them to offer their customers an affordable price point while still delivering a product that is of superior quality to what can be found elsewhere on the market.
Sustainability: Eco-Friendly Materials and Processes
One of the things that set Angel Jackets apart is their commitment to minimising the impact on the environment by not using polluting materials. They source their leather from reputable tanneries and use top-of-the-line hardware and zippers. This attention to detail ensures that each jacket is not only stylish but also built to last.
They pay close attention to the fit, ensuring that each jacket is tailored to fit the body of the wearer perfectly. Their jackets are also designed to withstand the elements, making them suitable for all kinds of weather conditions.
Hassle-Free Returns and 30-Day Satisfaction Guarantee
If for any reason, you’re not completely satisfied with your jacket, you can initiate a return within 30 days of receiving it. All you have to do is contact their customer service team to start the process. They’ll provide you with a return label and instructions on how to send your jacket back. Once they receive your return, they’ll process your refund within 2-3 business days.
Angel Jackets’ return policy is designed to give their customers peace of mind when shopping online. They understand that there can be concerns about the fit, style, or quality of a jacket when purchasing online, and they want to make sure their customers feel comfortable and confident in their purchase. By offering a hassle-free return policy, Angel Jackets is able to provide its customers with a risk-free purchasing experience.
Designing Your Own Unique Jacket
Another unique aspect of Angel Jackets is their recent startup of wholesale bulk customization. Customers can choose from a range of styles and colours and even add their own personal touches, such as patches or embroidery. This allows customers to create a jacket that is truly unique and tailored to their individual style.
Conclusion:
Overall, Angel Jackets has disrupted the leather jacket industry by making high-quality, stylish jackets affordable for everyone. Their commitment to quality, affordability, and sustainability makes them a company worth supporting. If you’re looking for a stylish and affordable leather jacket, be sure to check out their website here. Currently, the store is offering $20 OFF promo code AJ20 and Free Shipping.
Australian brand Eubi dove head-first into the launch of its swimwear in the Lion City, celebrating with a pool party at Orchard’s hip Lloyd’s Inn, complete with a bar and the opportunity for its fashion-savvy guests to try on and purchase its coveted swim shorts.
The brand’s latest collection of bold, colourful, and fun prints reflects the laidback spirit and quirky sense of humour found in its homeland — think subtle motifs of anchors, pineapples, or flamingos, in a range of hues, from varying shades of blue and charcoal to candyfloss pink and lemon yellow.
Don’t let the sense of fun fool you, though; the swimwear has some seriously functional features, including flattering fits, four-way stretch for extra comfort, handy pockets, and extra support in the crotch area — everything the brand’s founders felt was lacking in men’s swimwear when they started Eubi.
The brand’s playfulness is also reflected in the advertising for its latest collection too, which features a pool-party scene of a trio of men stripping down to their Eubi swim shorts, diving and dancing synchronized style, to the catchy refrain, ‘You, you, you, you, you swim with Eubi’, which for Singaporean locals, translates to ‘Eu-yong with Eubi.’
For its Singapore launch, Eubi also injected a bit of Singlish (and humour) into its publicity—including the phrases ‘Free the Jiao!’, ‘Don’t say Bojio’ and ‘Xi Gua sweet Sia’ for its watermelon trunks.
“We’re thrilled to bring Eubi to Singapore and offer our unique range of swim shorts to the city’s fashion-savvy and adventurous crowd,” says Melvin Chee, Eubi’s co-founder, and CEO. “Our goal is to provide high-quality swimwear that is not only fun but functional, plus [gives you] a lil’ extra room to keep your ‘other’ goodies comfortable when you’re out making a splash.”For all orders over $120 or more, shipping to Singapore is free and will arrive within 1-3 days. But to help you celebrate Eubi’s launch, they’re also offering a 15 per cent site-wide discount until the end of March.
Image: James Barnor courtesy of Galerie Clémentine de la Feronnière
With a career spanning over six decades, photographer James Barnor is a renowned figure in the history of photography. The Ghanian creative’s lenses have witnessed and immortalised important societal events. In his home country, Ghana, his studio in Accra was where black and white portraits were taken against the backdrop of a nation preparing to claim its sovereignty.
Image: James Barnor courtesy of Galerie Clémentine de la Feronnière
Besides being a portraitist, Barnor was a photojournalist and photographed prominent figures such as Kwame Nkrumah, Ghana’s first leader following its independence; Princess Marina, Duchess of Kent; and Vice-President Richard Nixon among others. In the 1960s, Barnor relocated to London, where he pursued future studies in photography and settled down, and during this period, he was also contributing to Drum magazine. His contribution to the magazine helped to reconceive the standard for the delicate representation of Black beauty, grace and style.
Image: James Barnor courtesy of Galerie Clémentine de la Feronnière
At 93, he’s still young at heart and is involved in photography. For the new exhibition of Saint Laurent Rive Droite stores in Paris and Los Angeles, creative director Anthony Vaccarello invites Barnor to showcase a selection of photographs with the support of Galerie Clémentine de La Féronnière.
These images, in black and white and colours, serve as symbols of a vivid and fascinating Afro-modernism and offer an unexpected window into a strikingly contemporary and beautiful visual world. About 20 photographs will be exhibited in either of the Saint Laurent Droite locations such as “RUM MODEL”, “LONDON, C.1965-1966” or “DRUM COVER GIRL ERLIN IBRECK”, “KILBURN, LONDON,1966”. A catalogue of the exhibition will be available in the stores as well.
Image: James Barnor courtesy of Galerie Clémentine de la Feronnière
In addition to the exhibition, Barnor will be joined by fellow photographer Campbell Addy, and they will discuss various topics. From the former’s first steps into photography, his take on fashion imaging, his approach to black and white versus colour film, and the importance of passing knowledge to future generations, the duo’s conversation can be watched below.
https://youtu.be/outW8g__Jtw
Like Barnor, Addy is a Ghanaian-born British photographer. Addy, born in 1999, acknowledged James as his moral and artistic role model. Their connection is mutually enriching, and a beautiful example of the generational dialogue Barnor so poetically describes.
If there is one surefire truth about today’s fashion — with its need for spectacles — everything revolves around collaborations. Collaborations between art, design, celebrity culture and fashion have been a driving template for quick success in the industry for years, and no brand has been truly free of its clutches. The persistent news flashes on unexpected releases and increasing pressure to outperform, how can brands create quality partnerships that truly stand out?
Enter Louis Vuitton, the French luxury Maison known for taking things up a notch in the game of collaborations. As a global powerhouse that reaches all generations, geographies and genders, the brand has always looked toward working with artists. Throughout its 169-year history, Louis Vuitton tapped into the dynamic and immense scale of the art world, allowing the brand to expand beyond the boundaries of the fashion sphere — think Jeff Koons and Takashi Murakami. After all, art is meant to be appreciated by all as it is unbound by the same political and gendered principles that dominate commercial fashion.
A prime example of the ideal art and fashion symbiosis occurred in 2012 when Louis Vuitton joined forces with famed avant-garde Japanese artist Yayoi Kusama with a series of capsule collections. Labelled the “ultimate fashion team-up”, the collaboration saw the jettisoning of House codes — where the artist’s “endless energy” became symbolic and stirred reinvention alongside evolution to create a memorable moment in fashion. It cheekily translated her visionary motifs into womenswear and accessories, shaking notions of fashion’s ability to create wearable art.
Ten years after their first collaboration, Louis Vuitton and Yayoi Kusama are betting on the power of the art world once more. The brand rediscovered its previous success with the artist at the end of 2022 with a first drop, featuring yet another takeover of Louis Vuitton’s classic offerings of ready-to-wear, accessories, jewellery and perfumes with Kusama’s infinity dots. For the first time and new to the release, menswear is included in the mix. The first drop revealed interpretations of the famed dots through multiple textures, as seen in the Painted Dots, Metal Dots, Infinity Dots and Psychedelic Flower collections.
For the second drop, the artist’s Radiant Pumpkins, colourful Faces, Flowers, and Infinity Dots and Nets are the focus and these motifs appear on Louis Vuitton’s Capucines and Monogram accessories.
Lea Seydoux
But do customers want more Yayoi Kusama? Fashion certainly does. Site takeovers of Louis Vuitton boutiques across the globe trended on Instagram, where it fired up conversations and further redefined the French Maison’s codes in the mass cultural consciousness. A second and final instalment will make its way to Louis Vuitton boutiques at the end of March. The 93-year old art-world legend has broadly encapsulated infinity as seen through the everyday wear in the capsule collection, and what could be her final piece of work through fashion is definitely one to be a part of.
Argentinian artist Marcelo Martin Burgos now lives and works between Buenos Aires and Madrid. He has been practising sculpture for some thirty years, while also pursuing a career as a filmmaker. He finds his equilibrium through this alternation between immobility and movement, solitary work and teamwork, gesture and speech.
His artistic world is deeply rooted in childhood. The artist spent his early years in an orphanage where his father was the director and he was in contact with the children who lived there, who were also his friends. He remembers: “The place was on a hill, surrounded by trees but far from idyllic; it was eternally overcast by a heavy atmosphere of sadness. I’ve always remembered those kids with admiration. The way they would seek refuge in fantasy. The same way I found solace in art when just a few years later I lost my own father. Those children were the most resilient and brave of all the people I have met in my life.” Marcelo Martin Burgos continues to be fascinated by the imagination of children, which “helps them to make sense of the enormous, mysterious and overwhelming world they are thrown into.”
Polycephalous by Marcelo Martin Burgos. Bronze sculpture, 2017.
To rekindle the power of that imagination and to recapture the joy and freedom he felt in creating as a child, the artist has spent years shedding the academic baggage he received as an art student. A path which is not as easy as it seems: “it takes years to “unlearn” an education in the Fine Arts. The hand and the eyes are trained in a certain tradition, we are taught art history, we learn to imitate. Even worse, we are taught art is a struggle, and that to be a good artist means to cut an ear or drink oneself to death. I spent years trying to be a “serious” artist, I grew tired and bored. Until one day I stumbled upon some chalk drawings a kid had made on the floor of a park, and it struck me. Like a Proust’s Madelaine moment, I went back to the years I would draw just to amuse myself or to escape a reality that was too difficult to comprehend for a child. I had a voice, but for years I was trained to ignore it, to dismiss it.”
Dragoness by Marcelo Martin Burgos. Bronze sculpture, 2022.
His sculptures are crafted in bronze, a noble metal that he values for its versatility and above all, for its golden, mirror-like appearance once it is polished. Long before the invention of glass, the Etruscans were already using polished bronze to create mirrors. The reflective aspect of his creations is a way of inviting his viewers into his works and transforming his sculptures into sensory cues that trigger a memory. “My aim is to elicit images and feelings that will take those who observe my art back to the most creative, awe-inspiring, and frightening time of their lives: the golden age of childhood.”
Winged Demon by Marcelo Martin Burgos. Bronze sculpture, 2017.
This “golden age” is interpreted literally in his sculptures, which resemble statuettes in gold, a material traditionally associated with spirituality and the sacred. This dimension is particularly evident in his latest series, entitled “Monsters.” Although they evoke the spontaneity of children’s drawings, the pieces in this series are also reminiscent of the votive statues of ancient civilisations, which were meant to provide protection and comfort. The art of Marcelo Martin Burgos draws from multiple sources: manga and pop culture, dinosaurs, Toltec and African art. This power of evocation is precisely what gives his sculptures their capacity to resonate in everyone who views them: the sculptures become the means of escape into the memories, the dreams and the meanderings of our inner world.
Menschenfresser by Marcelo Martin Burgos. Bronze sculpture, 2017.
Marcelo Martin Burgos does not worry about the common critique expressed by viewers of contemporary art: “A kid could have done that”. “I would like them to know that that is the greatest compliment that you could ever give an artist, especially me”.
Accessories brand Mlouye is making waves in fashion circles for its unique sculptural designs made from responsibly sourced materials. However, the brand’s founder, Meb Rure — who grew up surrounded by fashion magazines on account of her mother being a tailor — eschewed the industry at first, instead opting to study industrial design in her native Turkey.
It was through her training in design that she learned about the importance of creating a product that fulfilled a need — and because fashion’s raison d’être is based on desire, Rure instead honed her skills on furniture. It wasn’t until she took a turn designing laptop bags that her own desire to marry inspiring designs with practicality and purpose in smaller-scale objects took hold.
For SS23, Mlouye presents its coveted, hero design — the Sera Tote — in new colourways including vanilla, cinnamon, and coffee, as well as candy-floss pink and frosty blue. The bag’s different colours emphasize the brand’s mastery of construction; the harmony of hues highlights the architectural design.
The atrium of New York’s Beekman Hotel serves as the inspiration for the tote. Its clean lines and archways are reflected in the bag’s geometric leather panels which are deceivingly flexible, neatly expanding outwards to allow enough room for all of your on-the-go must-haves. And although 100 per cent of Mlouye’s leather is sourced from Italy, each of the panels is cut and stitched together using upcycled offcuts from other styles.
In order to bring these complex structures to life, Mlouye employs the use of cutting-edge technology alongside the craftsmanship of skilled artisans from Rure’s homeland, so that each detail — including the suede drawstring, the detachable leather strap, and the double handles — reflects the architectural spirit of the style.
The brand offers free express shipping worldwide and covers duties and taxes for all countries. So if you’re after a sculptural statement that’s environmentally conscious and made to last in both construction and style, Mlouye’s Sera Tote is a worthy investment.
Reality television star Kim Kardashian is the new owner of the Attallah Cross. She outbid four other bidders at the recent “Royal & Noble” sale conducted by auction house Sotheby’s on 9 January 2022. The pre-auction estimate for the amethyst cross was between £80,000–£120,000, but the mogul paid a staggering £163,800 for it.
In a press release by Sotheby’s, Kristian Sprofforth, head of jewellery said: “This is a bold piece of jewellery by its size, colour and style which cannot fail to make a vibrant statement, whether it be of faith or fashion — or indeed both.”
Sprofforth further added that the auction house is “delighted that this piece has found a new lease of life within the hands of another globally famous name.”
The Attallah Cross was ever publicly worn by the late Princess Diana in 1987 to a charity gala in support of Birthright — an organisation that works to protect human rights during pregnancy and childbirth.
It is said that the Attallah Cross was crafted in the 1920s by court jeweller Gerrard. Some of its most famous works include the Cullinan I diamond that is found atop the Sovereign’s Sceptre that is used at every coronation since Charles II in 1661 and will be seen again in the upcoming coronation of Charles III this coming May 2023. Additionally, the storied jeweller also crafted Princess Diana’s sapphire and diamond engagement ring, which is perhaps the most famous royal engagement ring in recent times.
The pendant features 11 square-cut amethyst stones set in the shape of a cross and surrounding it are circular-cut diamonds arranged in a floral pattern. It measures approximately 5.4 inches by 3.7 inches and the total diamond weight amounts to about 5.25 carats.
Its namesake, Naim Attallah, bought the jewel-encrusted cross in the 1980s. The late businessman, who was a good friend of Princess Diana, frequently loaned the pendant to her for private events and other engagements. But soon, this iconic piece of jewellery will once again be in the spotlight at events and red carpets after being bought over by Kim Kardashian.
Blackpink Lisa wearing the Bvlgari Bvlgari x Lisa Limited Edition Watch
K-pop idols are gaining more attention these days as announcements of new brand ambassadors at various luxury fashion houses grabbed headlines in the industry. Starting with Jimin from BTS as Dior’s latest brand ambassador to fellow groupmate Suga at Valentino and Big Bang’s Taeyang new role at Givenchy, luxury brands are cashing in on the growing fame of these South Korean artistes. In a similar vein, Bvlgari and Blackpink’s Lisa has announced a new collaboration, the Bvlgari Bvlgari x Lisa Limited Edition watch.
The timepieces are available in a 23 mm-diameter and 33 mm-diameter steel case. Other than steel, the watch is also crafted in 18K rose gold with a “BVLGARI BVLGARI” engraved bezel. Its dial features a sunray pattern that changes its colours from green to blue and purple, depending on how the light interplays with the watch face or when viewed at different angles by the wearer. The versatility of hues is akin to the different façades of Lisa, from being a singer to a rapper and muse for Celine.
Apart from being a skilled timepiece maker, Bvlgari is an iconic jewellery brand with a long history. Hence, surrounding the dials are 12 diamonds that act as hour markers and these gemstones are swept over by two rose gold hands. Furthermore, the rose gold crown is affixed with a cabochon-cut rubellite — one of the brand’s emblematic signatures. Powering this exquisite timepiece is a quartz movement.
On the closed caseback shows the engraving of the Swiss Alpine flower, the edelweiss, which is also Lisa’s favourite flower. “For my first collaboration with Bulgari, I chose my favourite flower, the edelweiss and designed the sketch with ‘L’ initial in the middle of the back case,” the multi-hyphenate shares of her inspiration in a caption on Instagram. In addition to being Lisa’s favourite colour, the edelweiss is also a homage to Bvlgari’s watchmaking manufactures in Switzerland.
While we were busily assembling and curating a list of festive Chinese New Year watches for 2023, Parmigiani Fleurier came out of left-field with the 42mm Tonda PF Xiali Calendar in steel, with trademark knurled platinum bezel. Going well beyond a thematic Year of the Rabbit novelty approach, the Xiali Calendar is a complete Chinese calendar; in fact, xiali means Chinese traditional complete calendar, which also means that this watch has two calendars in its name. Technically, the Chinese calendar combines features of both solar and lunar calendars so there are really two calendars in play. This means that there is a lot of complexity to go through here, because the Chinese calendar cannot be turned into a perpetual calendar. So yes, the Xiali Calendar is an annual calendar.
To get it out of the way, Parmigiani Fleurier is known for its forays into calendar complications, with the Xiali Calendar following up on the Hijiri Perpetual Calendar and the Gregorian Annual Calendar (like Deployant, we also recall a Hebrew calendar but we too might be mistaken). You might recall that the Hijiri, an ode to the Islamic calendar, won the Innovation prize at the Grand Prix d’Horlogerie de Geneve (GPHG) in 2019. According to the manufacture, calendar complications are a personal pleasure for Michel Parmigiani, hence the focus on them. Given that this is the case, let us first begin by looking at what the Chinese calendar tracks. We are no experts on non-Gregorian calendar systems so we will have to take all this at face value. Caveat emptor, as they say.
To begin with the combination of solar and lunar indications, these are synchronised by the addition of a 13th month. This allows both cycles to coincide every three years, approximately. Just considering the word “approximately” there must have given the watchmakers pause, but there is more! The solar year is divided into 24 periods, not the 12 we are accustomed to; and new years are mechanically challenging because it is always the arrival of spring, which for the Xiali Calendar is some time between January 21 and February 19 (the second new moon after winter solstice, if you want to go down this rabbit hole).
And then there is the matter of the 60-year cycles involving the lunar years and months, where the years are named and the months are numbered. Given that this requires astronomical observation, it is quite impossible to standardise via a mechanical movement, although the automatic calibre PF008 is reportedly fantastically complicated, with 353 components and a structure purpose-built to deliver user-intervention free functionality for 12 years. We will return to the movement, and adjusting the time, in a bit, but we are not done with calendar stuff yet. As a bit of trivia, it is useful to note that the Chinese New Year and the Lunar New Year are not the same thing, as there are plenty of other cultures that also have a lunar new year.
So how does all this play out on the dial? Quite neatly, as you can see, which plays to the strengths of the Tonda PF collection (more on this, briefly, later). Hours and minutes are indicated by the usual skeletonised and rhodiumised white gold delta hands, and that is it for regular timekeeping. Starting from the outermost display, the chapter ring around the dial, this one displays the 24 solar periods, via a central baton hand. The three-level subdial at 12 o’clock indicates the name of the year, zodiac animal and corresponding element (one for each level, from outside in); this subdial also uses a coloured marker to signify the end or the beginning of a 12-year cycle. The subdial at 3 o’clock shows the day number of the month, from 1 to 29 or 1 to 30; an aperture within this subdial indicates if the month is long or short. Phases of the moon are indicated at 6 o’clock (as is traditional in watchmaking), and this is synchronised with the aforementioned day number (exclusive to the Xiali Calendar); the month number is displayed at the 9 o’clock subdial, with the aperture indicating if a 13th month is present (if not, nothing shows). All calendar indications are in traditional Chinese, including the numerals, and that about covers it for time displays here.
As expected for the Tonda PF collection, the dial is in the typical grain d’orge or barleycorn guilloche, this time in Imperial Red (emphasis is the brand’s). Markers are white gold (rhodium-plated) and so is the brand’s cartouche bearing the logo, moved to the space between 1- and 2 o’clock for the first time. Adjusting the calendar is accomplished by the pushers in the case middle, which should only be necessary should the watch run down its 54-hour power reserve. Good views of the movement are not yet available, and we have not yet seen the watch in person to comment on the finishing, but expect not to be disappointed, given Parmigiani Fleurier’s track record here. We will leave it here, and conclude with the comments of both Michel Parmigiani, and brand CEO Guido Terreni.
“Calendars are a radiography of civilizations. It’s something magical because the calendar comes from the observation of humans as well as of nature. Nature is full of codes that are beautiful to discover. It’s always harder to talk about nature when you are in an urban area. It’s better to immerse oneself in nature and its rhythms in order to create and to stimulate creativity. By observing nature, one can travel through history and trace the development of civilizations. I think of the Maya and the Toltec cultures, which had calendars that were very similar to the Chinese calendar. Calendars were born from a need to understand nature’s seasons, to plan the times for sowing seeds and harvesting crops, to anticipate and manage the winter’s cold and the summer’s heat. The calendar exists because we need to anticipate the phenomena of nature’s nurturing,” said Michel Parmigiani.
“This year is indeed a very special year. This is a project that I’m very attached to, and it is the nucleus of this year’s collection. The Parmigiani Fleurier Tonda PF Xiali Calendar is a complete Chinese calendar, born from Michel’s passion for cultural calendars. And it is very dear to me because it is also about respecting and understanding different cultures. What sets civilizations apart is the ways in which they interpret time. The Chinese calendar is among the most difficult calendars to master because it’s both a solar and lunar calendar together. For the first time on the wrist, you will be able to see all the elements of the calendar that are not cyclical. It has been a great challenge to master,” said Guido Terreni.
On the back of the menswear fashion season, several brands have announced new additions to their line-up of global ambassadors. At luxury fashion conglomerate LVMH, it has announced that Jimin from BTS will be its new global ambassador. He joins a coterie of South Korean K-pop stars like Jisoo from Blackpink, Sehun of Exo and Astro’s Cha Eunwoo.
Fellow stablemate Givenchy has also announced that Big Bang’s Taeyang has been appointed as its first male global ambassador. While over at Louis Vuitton, Chinese actor Dylan Wang is the brand’s newest global ambassador and starred in a video campaign for its collaboration with Japanese artist Yayoi Kusama.
The spade of appointments at the brands under LVMH follows the reshuffle of its leadership at the different Maisons. Christian Dior’s CEO Pietro Beccari will succeed Michael Burke as Louis Vuitton’s CEO and Delphine Arnault, the eldest daughter of Bernard Arnault, will take the helm as CEO of Dior. Perhaps the cogs are already at work even before the new management assumes their roles next month — a greater emphasis on the menswear market in Asia.
According to the market research company Imarc, the global menswear market reached a market value of US$533.3 billion in 2021 and the firm expects the market to hit US$746.9 billion in 2027. The CAGR for the sector is predicted to reach 5.92 per cent between 2022 to 2027.
Supporting this projected trajectory is the growing appetite for fashion among men. Since 2016, sales growth for menswear has consistently outpaced womenswear as reported by Euromonitor. More recently, due to the rise of streetwear, demand for menswear shot up even more. Coupled with the general shift towards casualisation, it is unsurprising that luxury brands like Louis Vuitton, Dior and Givenchy are putting more resources into its menswear department.
Other factors are also at play like the ease of buying via e-commerce, increasing purchasing power, the rising influence of social media and celebrity endorsement. These help to drive market growth and interest among male buyers. But more specifically, LVMH’s appointment of Asian ambassadors is telling of the group’s focus on the region. Spending power in the region has grown significantly over the years as income also increased in tandem. Asia’s GDP is forecasted to reach 4.5 per cent in 2023, as per a release by IMF.
Not only is the LVMH group focusing on its menswear department, but fellow competitor Valentino has also announced a new brand ambassador. Suga, another boy band member of BTS, will front the Maison’s Essentials line. For these newly appointed ambassadors, the common thread that binds them all is the influence that they hold.
Jimin, Taeyang and Suga were likely chosen because of the huge cultural power K-pop now holds in the world. More than just music icons, these artistes have now become the embodiment of style and assume the role of tastemakers. Furthermore, in a recent report by Morgan Stanley, South Korea is now the epicentre for luxury spending. The country outspends economic giants like China and the US, raking in US$16.8 billion in revenue and translating to a 24 per cent increase in 2022. The younger generation, who has grown up listening to their music will be greatly interested in emulating their idols and one of the fastest ways is through fashion. This presents an opportunity for brands to not only become associated with the ambassador, but it will also become the “trusted brand”.
Riding on emerging celebrities is a proven method for success, as with the appointment of Dylan Wang. The Chinese actor has over 17 million Weibo followers and the video campaign that he did for Louis Vuitton’s Yayoi Kusama collaboration received more than a million reports and close to 700,000 likes on the social media platform. Brands are definitely interested in making sure that they are at the forefront of the cultural movement and capture the attention of the burgeoning youth spenders.
Suppose one were to look at the various appointments at a macro level. In that case, LVMH is trying to prop up sales in the Asia region as tension in Europe and inflation is likely to dampen consumer confidence. As a precautionary measure to cushion the possible repercussions and continue its growth. The group is directing its effort to Asia, which is said to be the next economic powerhouse. With such huge potential, it remains to be seen who else would be chosen to be the next brand ambassador.
While the TAG Heuer Carrera Chronograph 60th Anniversary Edition is definitely not the star of the brand’s novelties at the LVMH Watch Week in Singapore, it is a good headliner. The Carrera was launched in 1963 by the legendary Jack Heuer, and we have covered the gist of the collection elsewhere, and TAG Heuer is going to be celebrating this iconic collection across the year. In other words, this 2023 model might soon be in the rearview as Watches and Wonders Geneva approaches in March. To be clear, this 600-piece limited edition Carrera Chronograph 60th Anniversary is definitely going to be one of the last versions of this watch.
In its presentation for the Carrera Chronograph 60th Anniversary Edition, TAG Heuer plays up the legibility focus of the original design. We also know from TAG Heuer Creative Director Guy Bove that the brand works hard to hew close to that legibility focus, and this 60th Anniversary Edition reflects that by referencing the 2447 SN model of the late 1960s (as opposed to the actual first Carrera, because that was a manual-winder, but you may recall that reference 2447 SN was in production from 1963). Those who may have been expecting a manual chronograph here will be disappointed, but it should never have crossed anyone’s mind that TAG Heuer would actually deliver on that; there is also no manual chronograph in the brand’s in-house inventory.
Most of the relevant action takes place on the dial, which like many variants of reference 2447 SN had, is a tricompax layout of chronograph subdials in the so-called ‘panda’ setup. In fact, there the dial of the Carrera Chronograph 60th Anniversary Edition could have been lifted from the old reference, with the vintage Heuer logo in place at 12 o’clock. The black stripes bisecting the hour and minute hands as well as the markers is present, and so are the double-stops above the logo. Of course, the automatic calibre Heuer 02 powers the watch, so the chronograph counter is at 9 o’clock while the minute counter is at 3 o’clock; it was the reverse for the originals from the 1960s. Likewise, tritium is out and SuperLuminova is in, case size is 39mm, and water-resistance is 100m (the original was probably something like 30m but we will have to check on that).
Purists should take note of the various ways the 2447 SN differs from the tribute Carrera Chronograph 60th Anniversary Edition, but also how this special edition differs from the core collection Carrera. The 60th Anniversary Edition has a pin buckle rather than a deployant clasp, for example. We will finish here with a note that we are excited for the Carrera anniversary, but for now are very impressed by the electronic pieces from TAG Heuer, including Aquaracer Professional 200 Solargraph and the All-Black Connected Calibre E4, which can tell you the time on Mars (or elsewhere in our solar system). We will come back to that in a general story that covers the highlights from the LVMH Watch Week.
Getting new clothes for the new year is an age-old tradition during the annual Spring Festival celebrations. As with all time-honoured customs, the symbolic meanings behind are what people value as it emphasises the idea of change and leaving the “old” behind. Also, who doesn’t want to look good in the new year and make an impression? From Gucci to Dolce & Gabbana and Dior, here are some Chinese New Year Capsule collections to buy and kickstart your Year of the Rabbit on the right foot.
An eclectic mix of colours, prints and details, Gucci’s Chinese New Year capsule collection is a playful take on the zodiac of the year: rabbit. Across the Italian brand’s men’s and women’s collections is a curated selection of silk blouses and graphic shirts with bold geometric designs in contrasting colours and a special iteration of its iconic handbags like the Gucci Diana totes and Horsebit 1955 shoulder bags.
For this year’s Lunar New Year collection, Fendi focuses on reinterpreting Marc Jacobs’ Fendi Roma logo in red and white. The re-envisioned colour palette is set to usher in “good fortune and joy” for the year ahead. From the knitted ensemble of skirts, sweaters and the signature bags such as the Baguette, the logo is plastered on the front and all around the ready-to-wear pieces. For menswear, Marc Jacobs’ declination of the Fendi Roman logo appears on pieces like sweatshirts, tracksuits and buttoned cardigans. To complete the capsule collection, the Fendi Flow and Fendi Match sneakers get reconfigured in the auspicious tones of red and white.
Dolce&Gabbana goes back to nature for its Lunar New Year capsule collection this year. The limited-edition release takes inspiration from the fauna and flora — particularly the rabbit and daffodil. “The Special Collection sees the rabbit and daffodils, which are symbols of spring and renaissance, as key elements, giving a new take on limitless vitality,” the brand explains.
Featuring three tones of black, pink and blush pink, the zodiac of the year is printed on an array of shirts, dresses, skirts and accessories. Surrounding the rabbit are floral elements, and these blooming details are also seen on heeled sandals and scarves. To add some fun to the collection, Dolce&Gabbana debuts the new Portofino sneakers with bunny details, which the brand says is a nod to intricacy and intimacy.
At Dior, its Lunar New Year collection across men’s and women’s hark back Mr Dior’s love of gardens and the colour red, who saw it as “the colour of life”. At the former, Kim Jones collaborates with ERL to unveil a collection that is an ode to the Water Hare. Coming in a patch, the zodiac can be found in oversized version on knit sweaters, shirts, shorts and denim ensembles. The iconic animal embellishes the B27 Low Top sneakers, B23 sneakers, quilted Dior Oblique Mirage and the Saddle Venice Bag.
Elsewhere in the women’s collection, the capsule features the Jardin Magique, which is a print to celebrate the year of the Rabbit in 2023. Inspired by the magical gardens depicted in the novel “Alice in Wonderland”, the mesmerising pattern appears on denim jackets, silk t-shirts and cashmere sweaters.
The rabbit, in Eastern culture, epitomises beauty, elegance, goodness and intellect is honoured by Loro Piana in its 2023 Lunar New Year Capsule Collection. As much as it is a celebration of good fortune, this special release exemplifies the marriage between ancient Chinese culture and Italian tradition and workmanship. The clothes feature a red rabbit motif logo on the brand’s signature yarns and fabrics like Baby Cashmere to Cashfur, which gives it a soft silhouette and a cosy fit.
It is often said that diamonds are a girl’s best friend, but let’s be honest: a little shine cannot do us any harm, irrespective of gender. Besides, some of us may want to go the extra yard when it comes to adorning the wrist.
This article gives an in-depth insight into a few of the top diamond watches for men and women from renowned watchmakers worldwide. It will help you decide which watch compliments your personality best so you can make it part of your wardrobe for 2023.
Jacob & Co. Crystal Tourbillon Diamond Men’s Watch
This masterpiece is unquestionably the most fashionable and audacious item on the diamond watch market. Costing almost a million dollars, this timepiece features a gorgeous skeletal dial and an excellent 18k white diamond round case. It will be the envy of your entourage if it is within your price range.
The watch is one of the largest watches available, measuring 14 mm in thickness and 47 mm in diameter. Its case houses the Jacob & Co. 7 caliber movement. It also has a scratch-resistant sapphire crystal and an 18k white gold fixed bezel set with baguette diamonds.
Patek Philippe Grand Complications Celestial 18K Gold Diamond
This watch is a marvellous creation by the renowned Swiss luxury watchmaker Patek Philippe. It belongs to their Grand Complication line, which sits atop the most luxury watch collections list.
The sky-chart dial has silver-toned hands and a date scale on its outer ring, furthering the watch’s striking appearance and excellent functionality. The bezel is set with 38 baguette diamonds and instantly grabs attention from all sides.
The most notable feature is the moon phase function, which adds to the other remarkable features. A 44mm 18k white gold case and a blue alligator leather strap are included with this spectacular piece.
Bulgari Octo L’Originale Watch
You cannot expect a list of top diamond watches to be complete without this stunning work of art. It is undoubtedly one of the best pieces you can buy, made unique by its wonderful details.
The baguette diamonds in the thin bezel catch the light and sparkle without overshadowing the frame. Hence, the pristine 44mm platinum case and its skeletonized movement can be seen clearly. By framing the piece just enough, the diamonds let it sparkle in its own way.
Underneath the sapphire crystal, the watch’s complex mechanisms do their work. This testifies to the outstanding attention to detail and Bulgari’s ability to separate itself from the competition.
Hublot Classic Fusion Tourbillon 18K King Gold Diamond
This chic Hublot timepiece comes in a combination you won’t find in most other diamond watches: featuring a tourbillon in addition to being a skeleton watch. You can’t help admiring the Swiss-made piece’s complicated yet gorgeous mechanism via the scratch-resistant sapphire crystal.
The bezel is fixed and encrusted with baguette colourless diamonds. The round-case analog watch is 45mm in diameter and has a 50-meter water resistance rating.
A black alligator leather strap is added to the 18k gold case as an accessory to complete its lustrous design.
Breitling Colt Lady Diamond Watch
Breitling Colt’s diamond watches for ladies are renowned for their distinctive look, making them a contender among the top luxury diamond watches for women. They do a tremendous job of blending the rigor of a luxury sports watch with the sophistication of high-end design.
One of the greatest diamond watches for active ladies is the women’s Breitling Colt Lady watch, which stands out thanks to its 33mm casing and exceptional water resistance, which can be as much as 500m for some variants.
Breitling doesn’t believe that women need to give up strength for beauty. Hence, the watch comes in many forms while delivering a delightful blend of style and functionality. It has configurable watch features and numerous diamond pavé settings.
Joe Rodeo Women Diamond Watch
10.25 carats of real diamonds are set all over the stainless-steel watch case of this Swiss-made Joe Rodeo Madison watch.
The white mother-of-pearl face, one of the more remarkable features, makes this rectangular diamond watch stand out and gives it a unique look. A woman’s watch that has been iced out and covered in a stunning assortment of genuine diamonds is a statement.
Joe Rodeo is one of the most well-liked diamond watch companies due to its ability to understand how to make even the smallest details significant. This also makes them a highly sought-after brand by celebrities.
18k Gold Ladies Diamond Watch Audemars Piguet Royal Oak
This Audemars Piguet Royal Oak has a 27mm case, a white mother-of-pearl dial with diamond hour markers, and a complete diamond case, bezel, and band.
We believe that even the pickiest women will appreciate this AP watch’s scratch-resistant sapphire crystal, diamond mosaic dial, and iced-out 18K yellow gold case and strap.
The elegant dial features glistening diamond hour markers and the emblem at the 12 o’clock position. It also has a bezel embellished with 9 carats of sparkling diamonds and sides and a band covered in crystals. The piece will take your wardrobe to the next level by glittering from every angle.
Engraving the case of the Parmigiani Fleurier La Rose Carrée
Nowhere is industrial production more emotive and appealing to the broader world than in watchmaking. From understanding the biggest suppliers such as ETA to niche independent watchmakers such as Roger Smith in the UK, it seems everyone wants to know how watches are made. Of course, when it comes to looking under the hood, as it were, there is not much point if you do not know what to look for, but we are getting ahead of ourselves. Backtracking a little, stating that “everyone” wants to know about the screws and bridges is a big claim. There are no studies looking into the nitty gritty of watch production, and the desire of the watch-loving public to learn about it, as far as we know.
On the other hand, given the lengths by which demand for mechanical watches is outstripping supply, it is only natural that watch enthusiasts wonder about what is happening in the manufactures. If demand goes up, production should rise to match, and this is indeed the expectation. For this expectation to match reality though, it is certainly helpful to know how watch manufactures work… which is where our invitation to visit the Parmigiani Fleurier manufacture comes into the picture.
Image: Parmigiani Fleurier
What we can say here, with regards to Parmigiani Fleurier, is that it can produce watches entirely with internal resources and know-how. To be absolutely clear about it, the following are the only things Parmigiani Fleurier sources from external suppliers — sapphire crystals, synthetic rubies, leather straps (from Hermès, famously), bracelets and mainsprings. If you are a regular reader, you might recognise that list from our Parmigiani Fleurier story early last year.
Having already delved into the workings of Parmigiani Fleurier back then, we thought we would complete that picture by actually visiting the Fleurier and La Chaux-de-Fonds facilities that make up the Parmigiani Watchmaking Centre. But wait, why are Parmigiani Fleurier watches made in La Chaux-de-Fonds in the first place, and what is this Parmigiani Watchmaking Centre? And thus the complexity begins, and by reading this perhaps you will better understand why the Tonda PF — introduced just last year — remains such a tough get.
As a quick aside here, because we will not dwell on it, but the sharp-eyed amongst you will have taken note that the absolutely amazing Tonda PF bracelet does not come from Parmigiani Fleurier. That surprised us when we recalled it in the aftermath of the release of the Tonda PF (the tl;dr on this collection is that does sports luxury at the highest level). The brand has a supplier for the bracelet, one that (presumably) worked on the similar but totally different Tonda GT bracelet. While Parmigiani Fleurier has not revealed who makes the bracelets, CEO Guido Terreni told us that he specifically wanted the design evolution on the PF bracelet, rather than the same Tonda GT bracelet, including the specific details about how it fits and how it looks.
The picturesque settings of watch manufactures look nothing like contemporary industrial zones.
This squares well with Terreni’s past statement that making the screws in-house is not that spectacular, compared with actually making the watch, or indeed being able to restore an antique timepiece. Parmigiani Fleurier is, after all, a watchmaker, not a producer of watchmaking movement screws. This paragraph will stand as a counterpoint to the argument that vertical integration is the answer to everything. This is especially important here because the Parmigiani Watchmaking Centre does indeed produce its own screws. It is also important because founder Michel Parmigiani cut his teeth on watch restoration, and it is the reason Parmigiani Fleurier and the Parmigiani Watchmaking Centre exist.
Underscoring this are the images of the in-house restoration of the Parmigiani Fleurier La Rose Carrée. As we noted in our story on Luxuo.com on this, the pocket watch took 12 months to complete… or 25 years… or 100 years… or maybe more than 500 years. La Rose Carrée is the real reason Parmigiani Fleurier is included in our Legacy issue. It speaks to the intent of Parmigiani Fleurier to preserve and advance the craft of watchmaking. This is exactly why Terreni speaks in glowing terms of Michel Parmigiani’s “black belt in watchmaking,” because that is how he sees the art of restoration. Indeed, this is the very reason the Sandoz Family Foundation financed the creation of the Parmigiani Fleurier brand and the entire Parmigiani Watchmaking Centre.
To complete the picture, you should recall that Parmigiani Fleurier’s production facilities extend beyond the two locations mentioned, just as its expertise goes beyond the making of commercial pieces. We did not get to visit escapement-maker Atokalpa and high-precision micromechanics company Elwin this time, although we did briefly get acquainted with the restoration atelier in Fleurier itself before we had to scamper off for our interview with Terreni. Fortunately, we have learned enough about all the production facilities over the years that we can provide a brief introduction.
The reason for getting into all of this, and drawing a comparison between the disparate worlds of the Tonda PF and La Rose Carrée is to illustrate the watchmaking philosophy of Parmigiani Fleurier. It is a more poetic, and visually pleasing, way of understanding how the contemporary and traditional can both coexist and support each other.
On that note, La Rose Carrée is a collaborative work, with a Louis-Elisée Piguet grand sonnerie and minute repeater movement (made between 1898 and 1904) that was acquired by Michel Parmigiani in the late 1990s. A Parmigiani Fleurier restoration team went to work on this movement, alongside the technicians at LAB but also outside experts such as dial-maker LM Cadrans and chain-maker Laurent Jolliet. The involvement of an outside dial-maker is intriguing but Quadrance & Habillage was probably busy with the oversubscribed Tonda PF, or was perhaps unfamiliar with the onyx dial of the pocket watch.
With the Tonda PF, the situation was quite different of course. Indeed, the collection was developed in record time, debuting in less than a year after Terreni took over as CEO. Such rapid development is simply impossible at most manufactures, yet Terreni felt it was feasible at Parmigiani Fleurier because everything needed to create the collection already existed. That, in a few words, is exactly how impressive this Watchmaking Centre is.
While some watch brands can present sizable corporate offices, and perhaps even beautifully restored chateaus, these are often just so much window dressing. Whatever else happens in these locations, watchmaking is frequently peripheral. Not so at Parmigiani Fleurier, where the entire system of etablissage that characterises traditional Swiss watchmaking has been assembled from the ground up in some cases. There are a few parts to the watchmaking hub here, and they are not owned by Parmigiani Fleurier, per se. Instead, all are owned by the Sandoz Family Foundation, including the watchmaking brand. The various parts of the Fleurier watchmaking hub are broken down as follows:
Bar turning is what this firm is best known for, which is a process of making components out of metal bars by machining them as they rotate. Elwin happens to make its own CNC machinery, which demonstrates the level of its mastery. It also develops its own specialised software. Interestingly, this small company of just 20 makes each employee responsible for his or her own production process, much as one watchmaker handles his entire process. The firm produces screws, pinions, spindles and wheels.
Atokalpa
This amazing firm does what few others can: produce the components of the escapement. These are the escape wheel, the pallet fork, the balance wheel and the balance spring. According to Parmigiani Fleurier, Atokalpa performs such processes as stamping, cutting, bar turning, and forming teeth on computer-numericalcontrolled machines (commonly called CNC) with a precision of up to 0.001mm. Finishing processes, both structural and aesthetic, are also performed on the aforementioned escapement components (where relevant) here. In terms of aesthetics, these processes include snailing, circular graining, polishing and bevelling. Every component that requires finishing receives attention, which is a nigh-unbelievable attention to detail. In most other watchmaking firms, all of this work is done off-site. The Swatch Group firm ETA does all of this for innumerable brands.
Vaucher Manufacture Fleurier (VMF)
Michel Parmigiani told Revolution in 2013 that in order for Parmigiani Fleurier to fully utilise the capacity of Vaucher, it would have to make between 20,000 and 25,000 movements, and that this is unlikely to happen. In order to optimise the manufacture’s potential, it supplies other parties, even though it was built to supply Parmigiani Fleurier. The most famous of these outside firms is Hermès of course, with the luxury firm owning 25 per cent of Vaucher, and Richard Mille.
Bridges and plates are made here, and movements are assembled. Finishing, including handfinishing, also happens in its workshops. There is a hightech side here too, with a research and development department that handles all the watchmaking innovation. The technical drawings of all movements emerge from this department, specifying all operations to be carried out. If Michel is the spirit of Parmigiani Fleurier, Vaucher Manufacture Fleurier is its central nervous system.
A specialist in the making of watch dials, this firm has mastered guillochage, sandblasting, satin-finishing, snailing, eparnage and graining, among others. Since 2017, Parmigiani Fleurier has been touting the white grained finish on its dial, and this is a technique Quadrance & Habillage has mastered. Basically, the white grained effect is produced by rubbing silver powder onto a brass plate using a horsehair brush. Needless to say, it is a labour-intensive task that must be done by hand and requires the absolute concentration of a highly skilled artisan.
Les Artisans Boitiers (LAB)
As the name suggests, this is the casemaking outfit of Parmigiani Fleurier. Water-resistance and structural integrity of the watches are ensured here. While CAD and CNC machining are the meat-and-drink of LAB, the company is also able to produce cases entirely by hand, using traditional tools. This is of course where the extraordinary 64mm white gold case, with double hunter structure, of La Rose Carrée was formed. Engraver Eddy Jaquet created a Rose Carrée motif for both covers. As you can see, the roses are square, which is reportedly a reference to the form rose petals take when they start to wither. Handworked to the nth degree, the covers are also awash in blue.
“The blue of La Rose Carrée expresses the colour of a body of water as one would see it from the sky – with all the nuances and subtle changes in the shades of blue according to the various depths,” said Michel. Deceptively simple looking in pictures, there are actually four layers of blue grand feu enamel, applied by artistic enameller Vanessa Lecci. It is worth bearing in mind that both the engraving and the enamelling appear the same on both covers, which is a very impressive feat.
Beyond that, all Parmigiani Fleurier case middles receive hand-polishing attention, which is hard to fathom. It is worth noting that the expertise of both LAB and Quadrance & Habillage are used by at least 18 famous names in watchmaking.
Swiss watchmaker Montblanc summits a new mountain with its 1858 Iced Sea Minya Konka Limited Edition, a variation on the immensely popular Iced Sea range of dive watches launched by the brand last year. When we met Montblanc’s Managing Director for Watchmaking Laurent Lecamp in Geneva in 2022, he told us that people had started calling the collection the ‘Iced Tea,’ and the Minya Konka model finally has the right dial colour, a deep and bright red. You might wonder what is going on here, and for that we have to go back a bit to the 2018 debut of the 1858 collection, and Montblanc’s quest for the right sort of dive watch to fit its mountaineering ethos.
The 1858 collection was meant to celebrate the literal Mont Blanc, and the brand’s attendant love of all things high altitude. If you know your mountains, this explains the name of this latest limited edition, with Minya Konka being the highest peak in China’s Sichuan province. In any case, it was unusual in early 2022 when Montblanc announced that its first proper dive watch, with bracelet and everything ISO 6425-certified, would be part of the 1858 collection. The watchmakers and executives at the brand struggled to figure out how to connect the winning mountaineering spirit they celebrated with the depths of the sea that so fascinated watch buyers everywhere — the dive watch is likely the most popular type of high-end tool watch in the world. According to Lecamp, the solution was to be found in glaciers, and that is what the dials of the Iced Sea models evoke.
Just as the blue, green and black of the core collection Iced Sea are all colours that one can find within glaciers, the red of the Minya Konka is also tied directly to what you can see on that mountain at sunset. While we have not seen the watch in person, Montblanc suggests that the 3D laser-engraving of the mountain, in colour, explains the colour of the dial; the caseback is also engraved with the Chinese characters ‘中国四川 贡嘎瑞霞’ (China Sichuan “China Sichuan ‘Gong Ga Rui Xia’”). It looks quite lovely, but it seems one must look elsewhere to discover the inspiration for the red.
This must have something to do with the red rocks at the Hailuogou glacier, and the way the light hits the mountain, as the brand illustrates in its visuals promoting the 1858 Iced Sea Minya Konka Limited Edition. The watch is a limited edition of 285 pieces, which is a tenth of the altitude of that the aforementioned glacier. It must be a happy coincidence that there is also a connection here with tea, in our opinion, which is amongst the many things China is associated with.
In all other ways, the Minya Konka Limited Edition is the same as the core collection Iced Sea watches, including the knurled unidirectional bezel with ceramic bezel insert, the once-forgotten gratté–boisé dial technique, the 300m water-resistance, and general size (41mm diameter and 12.9mm height). While this watch is mainly targeted at the Chinese market, we are told that it is available in Singapore ($5,500) and Malaysia (MYR15,900). It comes with both an interchangeable steel bracelet and black rubber strap with a red outline.
Founded in St Tropez in 1971, the iconic swimwear and resort wear label offers elegance on holiday and at home. It is best known for its premium men’s swim shorts, which feature bold colours and characterful prints, including the brand’s signature turtle logo. Each pair of shorts goes through an arduous 32-step manufacturing process — from the initial weaving to the final stitching of the label — and is meticulously crafted from a specially-treated, fast-drying polyamide. Optimal comfort and fit are ensured thanks to in-built briefs with no centre seam, and a carefully tailored cut promises to flatter every silhouette.
While the summery swim shorts that it is known and loved for remain Vilebrequin’s most coveted items, the label has, in more recent years, expanded its range to encompass all manner of attire. In 2013, a womenswear collection was released, offering women’s swimwear, clothing and accessories, all imbued with that same spirit of St Tropez. A children’s range also exists, and seasonal collections are regularly launched — including an aprés ski collection and cruise collection — so that fans of the brand can sport Vilebrequin all year round across the friendship group and family.
Don’t let its fun-loving prints fool you: Vilebrequin has a laid-back reputation, but it is serious about sustainability. As of 2021, 50 per cent of the label’s collections were crafted using recycled or recyclable materials, a figure that is expected to rise to 80 per cent this year. Furthermore, with the oceans as its top priority, Vilebrequin is deeply committed to marine conservation. It recently launched the Vilebrequin Foundation, an independent foundation that aims to protect our oceans by raising awareness, investing in research, and advancing the pursuit of innovative technology. Styleand sustainability, what’s not to love?
To honour the 25th anniversary of Fendi’s iconic Baguette bag, the Italian fashion house has joined hands with American jeweller Tiffany & Co. to create an exclusive iteration of the bag. Dubbed “Tiffany Baguette”, this exclusive handbag is made entirely out of sterling silver and engraved with lilies and roses — the national flowers of Italy and New York State.
This one-of-a-kind bag is part of the Fendi Baguette “hand-in-hand” initiative, a grassroot partnership with local craftsmen across Italy. For the first time, the brand has looked beyond its home base and partnered with Tiffany & Co.’s “Makers” — artisans at the famed jeweller’s hollowware workshop in Rhode Island. The bag takes about four months to craft, and it epitomises the savoir-faire of both maisons.
A homage to heritage and age-old know-how, a unique silversmithing technique called “Chasing” is used to craft the Tiffany Baguette bags. Fendi further explains: “Typically, in silversmithing, shapes are formed out of the silver before any patterns or details are added. The sterling silver Tiffany Baguette, however, was crafted around the floral pattern itself.”
Weighing approximately 2,356 grams, the bag is both a statement piece and a work of art. And to accompany the metal version, Fendi is releasing a dedicated capsule of Tiffany Baguette bags in smooth leather, shiny croc leather embellished with diamonds and silk satin. The bags also come in various sizes: medium, nano and pico. This collaboration between two giants of the luxury fashion industry is representative of the long-standing house codes of both parties.
The fashion industry in 2022 saw a slew of notable collaborations from Gucci x Adidas to Dior x Birkenstock, Burberry x Supreme and Louis Vuitton x Nike. And with this new collaboration between Fendi and Tiffany, 2023 looks set to be a year where partnerships will continue to reign.
The contemporary marketing machine that powers Swiss fine watchmaking is, arguably, inextricably linked with the story of Hublot. Famously, the brand emerged from what was then a shocking idea: what if you combined gold with rubber in a luxury timepiece? Such watches are everywhere these days, from the most storied watchmakers to independents working with a completely classical mien. This fact alone was not enough to turn Hublot into the powerhouse it is today, with approximately 60,000 watches produced annually; the brand is one of the most prominent faces of Swiss watchmaking today, what with it being the official timekeeper of the FIFA World Cup, which you cannot have missed, even if you are not interested in the football (and call it soccer).
While all watch collectors associate Hublot with its former boss, the magnetic Jean-Claude Biver, its success is the result of the work of an entire team, one of whom is the current CEO Ricardo Guadalupe. Enticed by Biver to join him at Hublot in 2004, Guadalupe has been at the brand for all its hits, including the explosive trendsetter that was the Big Bang in 2005 and the controversial marketing campaign featuring former F1 supremo Bernie Ecclestone in 2010. That last one was about a literal hit, and correctly predicted a startling growth in criminals targeting the watch collectors in Europe.
Trends were a big deal for Hublot under Biver, who still urges watchmaking brands to seize the opportunity with unoccupied niches, or special offerings. Since Guadalupe took on the top job in 2012, Hublot has largely stayed the course, enshrining its forward-thinking approach in its own brand identity. “Hublot, in order to succeed, had to be different compared to other traditional brands,” Guadalupe told Gulf Business in 2021. “Why else would someone buy a classic Hublot from a 40-year-old brand when they can have beautiful watches from brands that have been in existence for over 100 years?”
We caught up with Guadalupe when he was in town a couple of months ago for the launch of the Hublot boutique in ION Orchard.
Before getting into the story of Hublot itself, you became CEO a little more than 10 years ago. How did you handle the challenge of stepping out of the shadow of Jean-Claude Biver? Arguably, his reputation continues to loom over the brand itself.
In fact, I was already in the brand since 2004, so (I know Mr Biver’s style)… and I was part of the brand’s success even before I took over (as CEO) in 2012. Of course, I am different from Mr Biver, who was very closely linked to Hublot (as a larger-than-life personality) and my priority when I took over was to have the brand stand on its own. The big challenge was to make the brand bigger and more important than any one person, and we achieved that. Today, Hublot alone is an important brand in the watch industry. What I want is for Hublot to stand on its own merits when, one day, I leave the brand.
Hublot was founded slightly more than 40 years ago, in 1980. What are some principles or values that Hublot continues to emphasise?
Hublot represents the Art of Fusion in watchmaking, and the brand did it in 1980 for the first time. It came up with a watch made of yellow gold (a traditional luxury material) with a rubber strap, which is a modern material. This fusion is what we call the Art of Fusion, linking tradition with innovation.
What phase do you think Hublot is at with its “Art of Fusion” motto?
We work on three pillars, and we can bring fusion into design. The Murakami watch, for instance, is a fusion of the art of Murakami and the Hublot art, and we realise a watch that becomes a work of art.
I think consumers are waiting for this kind of product because a mechanical watch today is not important for telling time. It’s important for what it represents, the object (and attendant emotions) it represents.
When it comes to materials, we always try to be innovative. We have coloured ceramics such as red and yellow. We industrialised sapphire crystal in 2016, and we are the only brand to have coloured sapphire, and produce sapphire crystal watches at a certain price point, even though they are expensive. We work on different alloys too (including Magic Gold and King Gold).
And from the movement side, we created the Unico chronograph calibre, various special calibres, and our tourbillon. We are creating new calibres for the future, but it takes years of development, and not months. We try at every level to be innovative.
That’s the key element for the success of Hublot in the future.
Speaking of the future, we are seeing unprecedented demand for fine watches. Do you think it really is unprecedented, and how is Hublot coping?
Yeah, it’s true, demand is really high and I’ve never seen that in my career. I think what I have done in the last 10 years at Hublot (sort of anticipating this moment in history) is building a manufacture, an integrated manufacture, being able to produce ourselves, not everything, but parts of the production of movements and in material innovation as well. This allows us to have quite good flexibility in production…of course (this does not mean) we can double our production like this [snaps his fingers]. I think we can manage to grow (and keep up with demand) with the investments we have made in our own industrial capacity.
We have also built strong relationships with our suppliers; we form an important part of their business. This is useful because when you are important to a supplier, you can ask for more and maybe they allocate more for you than other brands. Of course, we share suppliers with a number of brands… Being loyal to our suppliers over a number of years is also important to us, especially during the Covid lockdowns because many suppliers had a tough time, and had to fire staff… we tried to support as much as we could.
How does Hublot optimise its product strategy with the ever-changing taste of consumers?
We try to be innovative and creative and invest a lot in R&D in materials, movements (and in mechanics), and design. These are the three main pillars on which we work.
We try to create trends, and with our innovations and creativity, we can please the existing consumer and new consumers coming in with what we can offer. The key element is always to be innovative, and we do it more by instinct. We don’t analyse other trends; we create the trend.
How has Hublot’s presence in football helped the manufacture reach its marketing goals?
We entered football in 2006 with a very small partnership, and then in 2008, we had the Euro cup in Switzerland. And Mr Biver, at that time, thought about which sport we could support as a partner to communicate about our brand.
If you look at tennis, it’s quite complicated; if you look at golf, it’s complicated. And for football, there is no watch brand. Football is a very popular sport; it talks to not only our potential consumers but billions of people. Football has brought us brand awareness.
When I started working at Hublot in 2004, people in Switzerland didn’t know about Hublot. Today we can say that, in general, people know Hublot is a watch brand. And thanks to football, it was an accelerator for brand awareness, especially with the Hublot Big Bang Unico-shaped Referee Board that we had in Brazil.
Billions of people have seen it, so it is very positive for us and allowed us to be a strong brand in the world thanks to football.
Hublot ambassador Kylian Mbappé is currently one of football’s biggest stars. What do you admire most about him?
Kylian Mbappé wearing Big Bang e FIFA watch
To take an active player was a decision. When you have an active player, you can have good and sometimes negative parts, such as injuries or issues in his private life. When you have a legend like the late Pelé, he will remain a legend forever. But at a certain point, I saw this link between a legend and an active player, and I saw it through Kylian Mbappé. Even Pelé sees him as (a successor of sorts) because he won the World Cup at a very young age as Pelé did; they have similar looks and playing styles.
Mbappé accepted to be our ambassador; I think he’s a great personality, very positive. He has values of being serious and passionate, and he has success, so that’s important.
Ambassadorship is one of the main pillars of Hublot’s marketing strategy. What are some values that Hublot looks out for in potential ambassadors?
First of all, we need to have good alchemy in human relationships. An ambassador has to like our brand and not just do a commercial deal. So we always have dinner or spend a moment with the ambassador before signing anything. Of course, they have to carry the values of passion, having success and being aspirational to the young generation.
Villa Medici offers a spacious living area to house the Fendi Casa collection. Image: Fendi Casa.
With the help of the Mobilier National, Fendi and the French Academy in Rome — Villa Medici announce their most recent partnership to renovate six welcome Salons at Villa Medici, including the magnificent Grand Salon, with a new aesthetic that will foster innovation and modern design.
The creative vision of Silvia Venturini Fendi, Artistic Director of Accessories and Menswear at Fendi, and Kim Jones, Artistic Director of Couture and Womenswear at Fendi, has resulted in a transformation that highlights the fusion of modern design and tradition, transforming Villa Medici into a location that preserves exceptional know-how while fostering tomorrow’s heritage.
Virgola dining chairs designed by Chiara Andreatti for Fendi Casa. Image: Fendi Casa.
READ MORE: A Look at Fendi’s First Home Décor and Lifestyle Accessories Collection Since the 17th century, the French organisation known as the Mobilier National has funded the arts and crafts. Its goal is to maintain and transmit the extraordinary craftsmanship of its 130,000 pieces, including tapestries, carpets, furniture, clocks, chandeliers, pottery, historical textiles, etc., while also ensuring their conservation and repair.
The Villa Medici is the result of a historical stratification that gives it a distinct architectural and decorative identity. This historical stratification began with the Renaissance and continued through the centuries, right up to the work of the artist Balthus in the 1960s and 1970s and the designer and scenographer Richard Peduzzi in the early 2000s, both of whom took on the task of managing the institution.
With the assistance of the Fendi Architecture department, Kim Jones and Silvia Venturini Fendi designed their proposal for Villa Medici with a focus on colour as its main component. The new interpretation of the Salons combines a variety of design, interior fitting, and conservation-restoration skills. The original tones of the wall painting served as a starting point for choosing the palette for each room, which is especially evident in three specially designed hand-knotted carpets with graduated shading and wholly made from recycled French wool.
The “Welcome!” sofa system with armchairs designed by Chiara Andreatti for Fendi Casa. Image: Fendi Casa.
The concept was also influenced by the intention to establish a relationship between the past and the present through recent creations bearing the Fendi Casa and artistic directors’ signatures as well as those produced in unique collaborations with designers. The salons get a new look from a collection of pieces by French, Italian, and Italian-French designers, including Noé Duchaufour-Lawrance, Ronan and Erwan Bouroullec, and Toan Nguyen. The distinctive shapes and materials of Rome served as a source of inspiration for Noé Duchaufour-Lawrance. His Borghese table, which he modified for the Salon des Pensionnaires, features the outline of umbrella pines, and the tables he made specifically for the Salon de Lecture and the Salon Bleu were inspired by the Via Appia Antica’s paving.
The Salon Bleu and Salon de Lecture both include Chiara Andreatti’s Virgola chairs, and the Salon des Pensionnaires feature her Welcome sofa and armchairs for Fendi Casa. The Sandia couch, created by Toan Nguyen and made by Fendi Casa, is the focal point of the Petit Salon and is coloured in a warm orange-rusty tone to match the wall painting. The Belleville Armchairs, created by Ronan and Erwan Bouroullec and manufactured by Vitra, are displayed prominently in the Villa Medici’s Grand Salon.
A bit of old and a bit of new — modern furniture from Fendi Casa blends with beautiful Roman figurines. Image: Fendi Casa.
This selection of contemporary pieces of furniture will interact with antique furniture that Balthus has chosen or altered, Richard Peduzzi’s geometric lighting designs, and prints by past Academy Fellows of classical sculptures from the 18th century.
The connection between traditional and modern art is continued on the walls, where Villa Medici is now home to several tapestries, largely created by women artists, in a remarkable collaboration with the Mobilier National. The rooms also feature tapestries from the Academy’s collections, including works by Louise Bourgeois, Sheila Hicks, Aurelie Nemours, Alicia Penalba, and Sonia Delaunay, as well as Raoul Ubac, Edoardo Chillida, and Patrick Corillon. These tapestries are from the so-called “Indes” series and the cycle of the Quattro Stagioni on preparatory cartoons by The Grand Salon, where historical and black and white tapestries coexist, is the culmination of the intelligent mixing of tapestries. This room has the air of a modern gallery.
The Virgola dining chairs in a different fabric, dot the dining hall of Villa Medici. Image: Fendi Casa.
The Quattro Stagioni cycle tapestries were restored by the Bobin Tradition workshop over a two-year period, and the decorations in the Grand Salon at Villa Medici were restored under the supervision of Pierre-Antoine Gatier, Chief Architect of historic monuments, during this remarkable introduction of contemporary design to the historic Salons of Villa Medici, which had not undergone any significant changes for 20 years.
Groove & Groovy armchairs and ottoman designed by Toan Nguyen. Image: Fendi Casa.Colourful and expressive artworks decorate the walls at Villa Medici. Image: Fendi Casa.
Last but not least, this renovation provided an opportunity to improve the sound of the Villa Medici’s Salons. Devialet, a partner in the project, used its knowledge of cutting-edge acoustic engineering to design custom acoustic panels installed behind the tapestries of the Grand Salon to improve the space’s sound experience without changing it.
Through this unique cooperation and patronage, Fendi affirms its dedication to preserving the creative inheritance, igniting the Maison’s enduring relationship with the Eternal City, which serves as a key source of inspiration for the entire endeavour.
At this year’s Grand Prix d’Horlogerie de Geneve (GPHG), H. Moser & Cie picked up the Tourbillon Watch Prize for the Pioneer Cylindrical Tourbillon Skeleton, adding to its tally of wins at the prestigious watch industry awards. These include the double wins in 2020 for the Endeavour Cylindrical Tourbillon H. Moser & Cie x MB&F (Audacity Prize), and the Streamliner Flyback Chronograph Automatic (Chronograph Watch Prize). And these are just the most recent achievements for the Schaffhausen-based watchmaker, which was established in 1828, 40 years before its neighbour, IWC started up. In fact, H. Moser & Cie was making watches some 11 years before the brand that would become Patek Philippe was founded, and close to 50 years before Audemars Piguet got its start. Despite this, it may surprise you to learn that in 2012, the firm was staring down the barrel of bankruptcy.
Many storied names in watchmaking have faced this fate, despite more than a hundred years of know-how and capacity. H. Moser & Cie seemed to have it all in 2012. It boasted a fully integrated manufacture that could not only draw upon its close to 200 years of creating fine timepieces, but also something few others could do: the ability to produce its own regulating organs and balance springs, via its sister company, Precision Engineering AG. Such assets are indeed very rare, but the firm was nevertheless in bad shape, and had no obvious saviour.
Fortunately, MELB Holding, the independent Swiss family group owned by the Meylan family knew a winner when it saw one. This is likely to be because the family itself was steeped in the watchmaking trade — the Meylans are distantly related to watchmaking legend Charles-Henri Meylan, who was active in Le Brassus at the same time as Jules Audemars and Edouard Piguet. At the helm of MELB, Georges-Henri Meylan was famous in his own right, as the retired CEO of Audemars Piguet, where he built many lasting relationships in the watchmaking trade, including in Asia, which we will come back to.
After doing what the company calls “emergency due diligence,” MELB Holding agreed to rescue H. Moser & Cie, becoming its majority shareholder in 2012. What followed was not simply a change in direction, rather something altogether more subtle yet engaging. George-Henri’s son Edouard took the reins of H. Moser & Cie as CEO, supported by his brother Bertrand, and leaned into innovation and disruption to create a future for the independent watchmaking firm. Crucially, the new leadership was not interested in radically changing the watches, by embracing the emerging sports watch trend, or really by jumping on any sort of bandwagon.
“The idea was to draw on what had already been done well — and there were lots of good things — and to further improve this by adding a bit of our own personality, i.e. by respecting the past but incorporating a contemporary and occasionally irreverent edge,” Edouard noted in the press release announcing the 10th anniversary of the Meylan family’s rejuvenation of H. Moser & Cie.
Instead of being trendy, H. Moser & Cie actually gained traction for starting trends, being by turns loudly caustic (the Swiss Mad Watch and the Moser Nature Watch) and quietly revolutionary (by removing the brand name, and indeed all the markers, from the dial). A favourite of ours is the Swiss Alp Watch Concept Black in 2019, where even the hands are dispensed with, although there is a tourbillon at 6 o’clock; the brand makes a habit of releasing at least one such concept piece that speaks to who H. Moser & Cie is every year, since 2016. Perhaps the most significant watch that signalled what H. Moser & Cie would become was the Endeavour Perpetual Calendar Funky Blue, with its startling gradient electric blue dial. If nothing else, H. Moser & Cie was renowned for its perpetual calendars, so this 2015 watch combined something everyone already knew about the brand, but now with a twist. The watch also had a raw leather strap, foreshadowing the Swiss Mad Watch and other irreverent concept timepieces.
As wild and polarising as some of those moves and watches were, they had the intended effect of getting H. Moser & Cie some much needed attention. The brand finally had a presence befitting its fine watchmaking skills, and collectors took notice. In the last 10 years, H. Moser & Cie has reported a fivefold increase in production, accompanied by an even more impressive eightfold increase in turnover. Today, its profitability is significantly higher than the average in the Swiss watchmaking sector, and it is riding the second wave of interest in independent watchmaking. Arguably, H. Moser & Cie was at least partially responsible for creating the wave.
These waves of interest in independent watchmaking had long been crashing into Singapore’s shores, where collectors are always on the lookout for rare gems. Although H. Moser & Cie only began its relationship with regional distributor Pacific Time Pte Ltd in 2019, the watches were already known in Singapore. The Meylan family, on the other hand, had a much longer relationship with the distributor, or rather the family behind it. In his days at Audemars Piguet, George-Henri Meylan had established a relationship with Anthony Lim, the man who started what would become Cortina Holdings in Singapore, as Edouard told collectors and press at H. Moser & Cie events in Singapore and KL, Malaysia. Pacific Time is a wholly owned subsidiary of Cortina Holdings Group, which also owns Cortina Watch and now Sincere Watch.
From the left: Bertrand Meylan, Sharon Lim, Jeremy Lim and Edouard Meylan.
Watchmaking is all about connections, and relationships that last generations. This is as true of the watches as it is of the people behind the watches, and behind the scenes. Today, H. Moser & Cie employs close to 100 people in offices all around the world, from Switzerland to the Middle East and Hong Kong. Its core watchmaking competencies remain as strong as ever, and it tends to partner with the best in the trade to deliver superlative watches to collectors. The brand is thus set to continue on its audaciously classical journey, with a dash of acerbic wit. No doubt you will encounter H. Moser & Cie in the metaverse before too long…
