man with handbags and watches
man with handbags and watches

Founder of Xupes, Joe McKenzie

Joe McKenzie and his father Frank founded Xupes in 2009, selling a handful of pre-owned Cartier watches from their home in Bishop’s Stortford. The company now sells a curated collection of vintage handbags, jewellery, art and design pieces alongside refurbished luxury timepieces. Here, he speaks to Candice Tucker about sustainable luxury, the rise of the digital marketplace and future collectibles

1. What inspired you to enter the pre-owned luxury retail industry?

I’ve always been interested in and participated in the circular economy. When I was 13, I was buying and selling clothes on eBay. I’ve always had an appreciation for nice things (but couldn’t afford them!) with an interest in engineering. Buying pre-owned gave me the ability to own and enjoy nice clothes for a few months and then, often sell them for double what I paid. When I was 15, I taught myself to repair airsoft gearboxes. Airsoft was an increasingly popular sport at the time and I imported parts from China to offer one of the first repair services in the UK. This was my first proper job that gave me the ability to save up some money. My parents have always taught me the importance of independence and I guess my entrepreneurship started from a young age inspired by my father and grandfather who both ran their own successful businesses.

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The mechanics of watches always fascinated me (my great grandfather was a clock maker) and when I was lucky enough to be gifted one, I became immersed in the world of horology. With the knowledge and experience of buying and selling on eBay, I saw an opportunity to redefine a market that was growing and where others were not offering service or quality. I thought to myself: why shouldn’t the experience of buying a second hand (or pre-owned as we call it) luxury watch be the same or better than buying one new? This is how the idea of Xupes began, in my bedroom at university, and I set out to redefine the perception of buying a luxury pre-owned item. I was completing a degree in photography at the time, and I used this experience to focus on creating a brand that could become a leader in the sector.

watches

A selection of pre-owned luxury watches from the Xupes collection

2. Why are vintage watches becoming ever more popular at a time when everyone has a phone that tells the time and also a smart watch?

This is a topic which has been widely discussed. At first, people thought the smart watch would have a significant impact on the luxury watch market. But customers who own a luxury watch appreciate it for many other reasons beyond convenience. Smart watches provide a service and the technology that helps us streamline our lives day to day. A luxury or vintage watch is a work of art, something with history that tells a story and is an extension of our personality, that one day might be passed on to loved ones. They also can appreciate so have become collectable and in today’s world and alternative asset class. Often, for these reasons our customers have both for these very different purposes.

3. Have any watch brands become noticeably more popular since the pandemic?

The pandemic has had one major impact to our sector: it has accelerated a shift towards digital/online channels versus the high street, a shift that was happening already, but is now probably 5 years ahead of where it would have been had the pandemic not happened. At the start of the pandemic this created a rush of brands struggling to re-organise their businesses to be able to sell online, but it is only now, 12 months on, that many of them have managed to set this up properly whilst others are still developing their operations to cope with this change. I also think consumers are more conscious of the impact their purchasing is having on the planet, bringing a wave a focus on more sustainable luxury, within which the circular economy will play a huge part in years to come.

Read more: Uplifting new paintings by Sassan Behnam-Bakhtiar

This has all meant we’ve seen considerable demand grow across our most popular brands, which people couldn’t easily buy during the pandemic. Examples are Rolex, AP and Patek Philippe, but we’ve seen a new demand in vintage across these brands as well as Cartier, Omega, IWC, and Jaeger-Le- Coultre as customers start to diversify and deepen their interests and collections. Some of the more niche independent brands have also increased in their desirability such as FP Journe, George Daniels, Philippe Dufour, Laurent Ferrier and Moser & Cie. My personal belief is that next year will also be big for the Audemars Piguet Royal Oak as it is the model’s 50th Anniversary. I expect prices for vintage Royal Oak’s to increase significantly. Prices in the past 12 months have risen across the pre-owned sector in varying amounts driven by this shortage of supply.

4. What is the decision process when deciding which brands you choose to sell?

We created Xupes through interest and passion for what we do. Our whole service is built around experience and taking time to educate and often learn from our customers. We apply this to the collection we offer and only purchase around 5% of what we are offered. This is because we’re selective about quality, provenance and also the brands and models we select. We believe our collection of watches is one of the best in the industry. Whilst we want our customers to have the right variety, we won’t sell anything and everything and 75% of our inventory is focused across five key brands.

002_Daytona-Stainless-Steel-Gents-6239

A pre-owned Rolex Daytona Stainless Steel watch

5. Is there a clear demographic of the people buying pre-owned watches?

The demographic where we see the largest portion of our customers is 35-50 and 75% male as you might expect. The watches we sell are expensive items often purchased for a special occasion to commemorate a milestone in life or to celebrate a birthday or other event. It’s hard for our team to remember that people often work hard for years to treat themselves to a luxury watch. So many of our customers are professionals from a variety of walks of life. It’s important to add however we have seen an increase in our female customer base; one of our best customers is a female watch collector with over 150 watches in her collection. And we’ve also seen a shift new 20–35-year-old customers buying their first watch with a view to investment, something they can also trade up through our part exchange service.

6. Which contemporary watch brands do you envisage being future collectibles?

We’ve seen Richard Mille sustain huge growth in residual values in the pre-owned market over the past three years. Twelve months ago, we discussed whether this could and would continue, and whether it could be a fad and go out of fashion, but the demand and prices remain strong, and Richard Mille has done well to maintain demand. I believe some of the independent brands could become hugely coveted in the future as the watch market continues to grow. We’ve seen this with FP Journe and Laurent Ferrier as I mentioned as many pieces are made in such small volumes versus say Rolex or even Patek Philippe. We also witnessed the recent discontinuation of the Nautilus 5711 which saw prices spike by 25% in 24 hours in a market where this watch already commanded nearly 3 times premium on the retail price. Lange & Sohne’s release of the Odysseus was another example of a leading brand bringing out a steel “sports” watch which now commands a large premium. Rolex sports watches are always a safe investment and will have future collectability.

Find out more: xupes.com

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dancers
dancers in the desert

Still from Within, directed and choreographed by Benjamin Millepied with music by Thomas Roussel. Photograph by Melissa Roldan

To celebrate the launch of their latest timepiece, Richard Mille invited choreographer Benjamin Millepied and composer Thomas Roussel to create a short film incorporating original dance and music. Here, Abigail Hodges takes a closer look at the performance and watch design
silver watch

RM72-01

The Richard Mille 72-01 Lifestyle In-House Chronograph is the brand’s first flyback chronograph made entirely in-house, and through its design it aims to weave together tradition and modernity – a concept which is also at the heart of WITHIN, a short film created by Benjamin Millepied and Thomas Roussel, set in the desert landscape of southern California.

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The film brings together the physical wonder of a ballet performance and the powerful sound of orchestral music to celebrate the precise art of watchmaking and Richard Mille’s bold, contemporary design aesthetic.

dancer in the desert

dancers

Both images: stills from Within. Photography by Melissa Roldan

While Millepied’s choreography – performed by two dancers – reflects how classical structure and form may be artistically reinvented, Thomas Roussel’s composition blends orchestral and electronic elements to create a dramatic, vibrant soundtrack which was performed by the 50 musicians of the London Symphony Orchestra and recorded at St. Luke’s Church in London.

Read more: Philanthropist Keith Breslauer on combining business & charity

The watch itself aligns with Richard Mille’s avant-garde approach to time-keeping and design (the watch face, for example, features only the numbers three, eight and eleven), but it is also one of the brand’s subtler and more elegant models. Worn on the wrists of both dancers in the film, it pairs perfectly with their formal costumes and the stark, dramatic landscape.

Watch the film below:

For more information visit: richardmille.com

 

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underwater photographer diver
underwater photographer diver

An underwater photographer wearing the Blancpain Bathyscaphe Flyback Chronograph. Image by Harald Hois

Swiss watch brand Blancpain has long championed the exploration and conservation of our oceans through their Bathyscaphe range of innovative underwater timepieces. Chloe Frost-Smith takes a closer look at the collection’s newest additions

Widely recognised as the luxury watchmaker for the underwater world, explorers, oceanographers and underwater photographers have worn Blancpain since their creation of the first modern diver’s watch, Fifty Fathoms, in 1953. The Swiss brand’s latest additions to the Bathyscaphe line delve into its deep-sea history while continuing its long-standing commitment to the protection of the oceans.

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The Bathyscaphe Day Date Desert Edition and the Bathyscaphe Flyback Chronograph introduce an earthy aesthetic into the collection’s previously nautical palette, with two new colours in beige and green featuring on the strap and face of each model respectively.

underwater watch

The Bathyscaphe Flyback Chronograph

While the sandy tones of the Day Date Desert Edition might not immediately conjure up a connection to the ocean, they have been designed to evoke the Nevada Desert where Ernest H. Brooks II, a pioneer of underwater photography and contributor to the Edition Fifty Fathoms project, made a spectacular dive in 1962. Descending into the depths of Devils Hole in the infamous Death Valley in Nevada, Brooks photographed an endangered species of pupfish exclusively found in the Devils waters for the first time.

leather strap watch

The Bathyscaphe Day Date Desert Edition

Although vintage in appearance, the Day Date Desert Edition is undoubtedly modern in mechanism. Boasting a five-day power reserve and a 43mm satin-brushed steel case which is water-resistant to 30 bar, the latest Bathyscaphe model comes with all the essentials for a diver’s watch which are also useful for daily wear.

Read more: Nadezda Foundation’s Nadya Abela on running a children’s charity

watch on man's wrist

shark underwater

The Bathyscaphe Mokarran Limited Edition timepiece (above) and researchers with a great hammerhead shark. Image by Thomas Pavy

In addition to the brand’s annual support to expeditions and major oceanographic projects as part of the ongoing Blancpain Ocean Commitment, Blancpain is now dedicating a diver’s watch to the protection of the Great Hammerhead shark. The conservation-themed Bathyscaphe Mokarran Limited Edition is limited to 50 pieces, with $1,000 of each sale donated to the Mokarran Protection Society, a non-profit organisation that is committed to researching great hammerhead populations in French Polynesia. Fitted with a display caseback, the tropical green Mokarran is engraved with a hammerhead on the rotor of its caliber 1318 movement.

Find out more: blancpain.com

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Artist painting
Artist painting

Marc Ferrero in his studio

Marc Ferrero’s unique practice of ‘Storytelling Art’ combines aesthetic styles and visual references from different artistic movements and cultures to create striking, narrative-driven paintings. His most iconic artwork ‘Lipstick’ first appeared on the watch face of Hublot’s Big Bang One Click last year, and this month, marks the launch of the latest edition in monochrome. Here, we speak to the artist about visual storytelling, the language of colour and man versus machine

Artist in the studio

Marc Ferrero wearing his Hublot watch

1. Tell us about the concept of Storytelling Art.

Artistic movements will always be a mirror of their generation. To me, a simple graphic representation doesn’t speak loudly enough to create big emotions, but stories touch many different sensibilities. Telling a story, means that you enter in the imaginary world of  people. Nobody is passive in the face of a story, because it mixes two different concepts, inaccessibility and identification.

Each time somebody stands in front of one of my paintings they can relate to it through their own story; this creates a very dynamic relationship between the public and me as the artist. Faced with a graphic representation you are a spectator; faced with a storytelling painting you are an accomplice… it makes a big difference.

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I created the Storytelling Art movement because I thought the field of painting needed a new approach. The normal process for most painters is to start from reality, to create a personal vision. I reverse that process by starting from my imaginary world and creating an entirely new world that is expressed through stories and fictional characters.

Compared to the other visual arts, the evolution of framing in painting is close to zero. I purposefully try to create different framings in order to produce more dynamic images and suspense. Storytelling art is not a graphic style, it is all about interpretation. The fact is all paintings tell some kind of story, but with my work, nobody will discover its story through an audioguide… The story is expressed on the painting directly.

Fiction, manipulation and fusion are the main words of Storytelling Art movement. What could be more connected to the time we are living in now?

2. What’s the story behind your iconic artwork ‘Lipstick’?

The central subject of the LIPSTICK painting is a woman wearing large black glasses. In art history, when an artist wanted to create a feminine subject, he made round shapes. For me, what a woman says is as important as how she looks; this is the definition of a ‘modern woman’. My way to express that psychological reality is to use angles, lines, and Cubist forms through the glasses. The LIPSTICK rebalances all these lines because it is a symbol of femininity. All around the main subject, there are many different realistic portraits of woman, who express the different roles that a modern life can offer.

artist watch

Big Bang One Click Ferrero Steel Red

3. How did you go about adapting the design for the latest Hublot Big Bang One Click?

The first time we met with the Hublot team in Switzerland everybody felt in love with my series of LIPSTICK paintings so it made sense to use that design. We worked as a team with Hublot’s graphic designer to translate the spirit of the painting onto a smaller scale. Usually, I work on a much bigger scale so I had to rework some outlines of the different figures around the central subject. To reproduce a painting onto a watch without trying to find the balance between the size of the dial and the spirit of the
painting itself would be a failure for sure. The strap is based on a stencil that I made specially for Hublot; it completes harmony of the watch.

Read more: How Hublot’s collaborations are changing the face of luxury

4. There’s a distinct graphic quality to your paintings – what inspired this style and what role does colour play?

Storytelling Art is a fusion of all kind of graphism on the same plane. This creates different values of time and space, which is absolutely necessary if you want to express several ideas or a specific story through a painting. Until now, an artist typically belonged to one graphic movement only, but to me, that’s old fashioned and doesn’t represent the time we are living in, but it all depends on the purpose of the painting. For example, my most recent paintings are based on abstraction to express a dehumanised world and the struggle of my characters in a society ruled by mathematical formulas and machines. I stick the characters onto the canvas in a comic strip, creating a fusion between abstraction and graphism which has a very powerful visual impact.

Colours have their own language in my work. For example, red is the colour of passion, audacious people and glamour, blue is the colour of transparency that expresses quiet places and the respect of tradition, but if you go to turquoise, it will express tropical places, holidays… Orange is the colour of energy, violet is the colour of dreams, yellow is a very convivial colour etc. Black and white fit with all other colours but never compete with them. Black has no movement and white is the colour of the future. I love to mix, and experiment with colours to create great harmonies.

5. Are you especially drawn to a particular type of story or character?

Mixing the verticality of a painting and the horizontal concept of a story opens up new fields of possibilities. The stories I’m working on go through the filter of my art.

Graphic tools offer me the possibility to divide a story in different sections of graphic styles. Pop art, for example, tends to fit very well with the heroes of my story. The ‘banksters’ of the story are expressed through Cubism. The world of the machines is treated through surrealism and abstraction, which fits
with the idea of a dehumanised world or the opposite idea of a dream world.

When I’m working on a story, I experiment. My studio is a laboratory, not a place where I copy myself. The type of stories and characters I love to create must fit with my imaginary world and my specificity of being a painter, but it could be a surrealistic modern fairytale or a kind of dream with a V8 engine.

Artist painting in studio

6. What are you working on now?

I am working now to adapt one of my stories with movie producers in Los Angeles. The climax of the story speaks about a dark idol who has changed the value of time and created the acceleration of the world. It is a world led by magic mathematic formulas and machines. The heroes (Lisa L’aventura, Duke Spencer Percival, Cello Di Cordoba) have created a secret network called ‘La Comitive Society Club.’ All the members of that network are connected through another measurement of time, in which the time is not based on hours, but on emotions and colours. The time of human emotion will fight the time of acceleration… It is a story about the fight between humans and machines.

Find out more: ferreroart.com; hublot.com

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man wearing watch
man wearing watch

Hublot ambassador Maxime Plescia-Büchi. © Hublot SA

Hublot is celebrated for being the most pioneering and original brand in the world of haute horlogerie. The first watch brand to sponsor international football, the first watch company to make an all-black watch with black dial, numbers and hands, the company famously mixes precious and base metals and materials in its timepieces, and counts sports stars and athletes on its roster of fans. Its partnership with London-based Swiss tattoo haute artiste Maxime Plescia-Büchi takes luxury to a different dimension, as Millie Walton discovers through a conversation with CEO Ricardo Guadalupe

Next year Hublot will celebrate its fortieth anniversary. In the world of Swiss watches, that roughly equates to early adolescence, but, as Hublot’s chief executive Ricardo Guadalupe assures me, “You can be young and have success”. This, in fact, neatly sums up the brand’s aspirational ethos and hugely successful marketing strategy. Through select partnerships with the likes of Usain Bolt, Richard Orlinski, DJ Snake and Maria Höfl-Riesch, the brand has developed its own culture encompassing everything from music, sport, cars and contemporary art to luxury destinations such as Courchevel, Zermatt, Saint-Tropez and Mykonos. The idea is, as Guadalupe puts it, “to create a universe of Hublot”.

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Today, the brand has 4.8 million followers on Instagram, which is not only reflective of their young consumer base – 60 per cent of Hublot’s customers are aged between 20 and 40 years old – but also the changing nature of luxury itself. “The young generation don’t have in mind which are the standard brands of [the luxury] industry. When you’re older, you’re less likely to move to another brand, your choices are already made,” explains Guadalupe. “That’s why we speak to very young consumers, as young as fifteen. We want them to one day dream of getting a Hublot watch.”

watch with blue strap

The Big Bang Sang Bleu II in titanium pavé

This forward-thinking approach is most clearly demonstrated in Hublot’s choice of collaborations and specifically, the brand’s decision to associate with the art world and notable figures from contemporary urban culture such as renowned tattoo artist and designer Maxime Plescia-Büchi who has now been collaborating with the brand for just over four years. “I think they really took a chance on me at every level,” says Plescia-Büchi, but as a Swiss national, watches were already an integral part of the designer’s identity well before Hublot came along. He recalls flicking through adverts for early luxury sports watches in his collection of vintage National Geographic magazines and even once interviewed Jean-Claude Biver (the former president of LVMH Watches and chairman of Hublot) for an issue of a magazine that he was then running. Nevertheless, receiving an invitation to design the iconic Big Bang must have been exciting.

Designer at work

Plescia-Büchi at work on the Big Bang Sang Bleu

“I prepared some quite radical designs alongside some more conservative options,” says Plescia-Büchi, reflecting on the design process of his first timepiece, the Big Bang Sang Bleu. ‘To [Hublot’s] credit, it was 100 per cent their decision to go with the weirder one.” With a few adjustments – “we had a lot to do in terms of translating how to make [the 2D design] into a watch” – the timepiece launched in 2016 with an initial run of 200 pieces. Crafted largely from glass and titanium, the Big Bang Sang Bleu was a celebration of pure form and geometry, taking influences from architecture, philosophy and Plescia-Büchi’s own tattoo designs. The original idea was to feature the geometric pattern printed onto the watch face with the hands on top, but the designer envisioned more depth and suggested using the shapes as the hands themselves. Given the delicate art of watchmaking, the final version, which features three octagonal discs instead of hands to indicate the hours and minutes, is a huge achievement. “Seeing the watch finished,” Plescia-Büchi admits, “was the closest thing to having a child.”

Read more: Princess Yachts CEO Antony Sheriff on a new generation of yachting

Hublot’s collaborators, unlike with a lot of brands, work with the watchmaker on an ongoing basis, thus becoming an integral part of the brand’s identity. For the Big Bang Sang Bleu II, which was released at the end of 2019, for example, Plescia-Büchi refined the original design to create a more three-dimensional case and inverted the facets to restore Hublot’s iconic porthole shape. “It’s about combining my DNA and Hublot’s DNA to create something new that is also true and faithful to both of the origins,” says Plescia-Büchi. “Something that I find extremely pleasant is that when you’re designing watches you work over many years on slow incremental changes, which is actually quite akin to designing tattoos. You get time to continue improving the design, which is different from designing fashion, for example, because you have a quicker turnover. You can come up with something crazy and the next season, people will have already forgotten.”

Tattoo hand holding watch

The Big Bang Sang Bleu II in gold

The designer was, in fact, approached by another watch brand before Hublot but declined the opportunity: “It wasn’t the level of prestige where I thought I could be”. Though fifteen years ago, Hublot might not have made the cut. Success truly came from the brand when they started “to connect tradition and innovation,” explains Guadalupe, a concept that is at the heart of Hublot’s universe and rooted in a deep understanding of their consumers’ expectations and lifestyles. “The young generation in particular are looking for something iconic with a strong personality and identity,” says Guadalupe. “For men, especially, a watch is the main way to really differentiate yourself, it expresses who you are.” Part of the appeal of buying a Hublot watch is gaining access to the ‘family’ and all the perks that come with it. Football-loving collectors, for example, are invited to all of the games at Chelsea FC with whom Hublot has an ongoing partnership. Indeed, Hublot was the first luxury watch brand to ever support football, again demonstrating a deep understanding of consumer culture as well as a highly innovative marketing strategy. Since 2008, the brand has been the official timekeeper of all of the UEFA men’s European Championships as well as the FIFA World Cup since 2010, and this year, marks the beginning of the brand’s relationship with UEFA’s women’s football.

When it comes to women’s watches, Hublot is still developing – the brand sells only 25 per cent to women – but their approach is unique in the sense that their designs differ very little for the female audience. With the Sang Bleu timepieces, for example, the ladies’ versions are embellished with diamonds, but otherwise remain the same. Look for a women’s collection on the Hublot website and you won’t find it; the watches are listed only by their collection. “It’s no longer men who buy watches for women as gifts. Women decide to buy whatever they want,” says Guadalupe.

Hublot x Women’s Football

Men shaking hands

Aleksander Ceferin, UEFA President & Ricardo Guadalupe, Hublot’s CEO

Over the past few years, women’s football has increased significantly in popularity with US-based data company Nielsen revealing that approximately 314 million people are now interested in the game. It is perhaps no surprise then, that Hublot recently announced its support, becoming the Official Partner of the Women’s EURO 2021. “In the end [football] talks to the consumer. It doesn’t matter that not everyone can afford to buy a luxury watch, if they know Hublot is a watch that’s positive,” says Ricardo Guadalupe. But the partnership works both ways. As Guy-Laurent Epstein, Marketing Director of UEFA Events SA, puts it, Hublot’s presence as a world-famous brand is “proof women’s football can be supported on its own merits”.

Find out more: hublot.com

This article was originally published in the Summer 2020 Issue.

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Reading time: 6 min
Pastel coloured timepieces
Pastel coloured timepieces

Set with 50 diamonds, the new limited editions of Spirit of Big Bang are uplifting evolutions of the Swiss brand’s iconic collection

The colourful collection of new limited edition Hublot timepieces features an uplifting pastel palette, alongside some bolder takes on Spring shades. Chloe Frost-Smith selects her favourites

Big Bang Sang Bleu

Continuing the Swiss brand’s collaboration with Maxime Plescia-Büchi, visionary tattoo artist and founder of Sang Bleu studio, the intricate geometrical centrepiece of the Big Bang Sang Bleu is softened by a dusky pink face and matching strap. The option of a gold bezel adds warmth to the design whilst the stainless steel version provides a more classic look.

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Watch with gold face and pink strap

Big Bang Sang Bleu with a King Gold bezel

Spirit of Big Bang

For a brighter pop of pink, the Pink Ceramic Diamonds Spirit of Big Bang is as fresh as it is traditionally feminine. Set with 50 diamonds, the delicate design details of this piece include a satin-finished case, and a white rubber and pale pink alligator strap. Also available in light blue, the colour options for this model are both cheerful and calming.

Pastel coloured watches

Spirit of Big Bang with two pastel variations and a king gold bezel

Spirit of Big Bang King Gold Rainbow

A sparkling showcase of the full colour spectrum, this vibrant edition features over 400 multi-coloured baguette-cut gemstones which make up the colours of the rainbow, a symbol of joy and optimism. The entire dial of the 39-mm model is covered with sapphires, rubies, topazes, tsavorites and amethysts to achieve the striking display. To complete this uniquely chromatic piece, the seven recognisable colours are also blended on the strap to bring the design full circle.

Read more: Isolation relaxation with Monterey Bay Aquarium’s live jelly cam

Rainbow watch with colourful strap and watch face

Spirit of Big Bang King Gold Rainbow

For more information visit: hublot.com

Watch this space: our upcoming Summer Issue features interviews with Hublot CEO Ricardo Guadalupe alongside Maxime Plescia-Büchi.

 

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Man walking across stadium wearing watch
Blue sports watch with mechanical face

The RM 11-04 Automatic Flyback Chronograph Roberto Mancini has been designed to celebrate the heritage of Italian football

Richard Mille’s latest timepiece has been designed in collaboration with Italy’s football team manager Roberto Mancini to celebrate the sport’s heritage. Here, Chloe Frost-Smith marvels at the timepiece’s unique design features

Designed with football fanatics in mind by the Italian national team’s manager, the RM 11-04 Automatic Flyback Chronograph Roberto Mancini makes complicated look cool, with a dedicated dial for tracking half-time, extra time and overtime.

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Set in the  patriotic colour palette of Il Tricolore alongside the recognisable blue belonging to the Squadra Azzurra, there are hints of Italian footballing heritage throughout the design. The timepiece uses a rotor with variable geometry, allowing it to be easily adapted to suit the wearer’s activity levels – you simply adjust the setting of the rib’s placement for the rotor to either speed up when worn at leisure, or slow down in moments of the highest movement.

Man walking across stadium wearing watch

Roberto Mancini wearing the RM 11-04 Automatic Flyback Chronograph

Displaying match time on the basis of two 45-minute halves and up to 15 minutes of stoppage time, the pusher can be pressed at 4 o’clock to actuate the fly-back function which repositions the hand at 12 o’clock, ready to start the second half. Should extra time be awarded, the fly-back can also be reactivated to reflect these additional minutes ensuring the wearer never loses track.

Back shot of a blue watch with exposed mechanics

The watch can be easily adapted to suit the wearer’s activity levels

But the watch isn’t just for football fans. Encased in the almost indestructible Carbon TPT and water-resistant to 50 metres, the RM 11-04 is set for the most extreme of adventures.

For more information visit: richardmille.com

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Luxury watch shown front and back against blue background
luxurious timepiece pictured against a dark blue background

The Panerai Luminor Marina Bucherer BLUE in Titanium/DLC with proprietary automatic movement. 10,400 GBP.

The latest in a series of chronograph collaborations between Bucherer and Panerai pays tribute to its namesake colour in more subtle ways than its aquatic palette, says Chloe Frost-Smith

In the past the BLUE collection has included partnerships between Bucherer and the likes of Piaget, Chopard, and TAG Heuer, but this latest collaboration with Panerai takes a more laid-back approach to the luxury timepiece.

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Originally created for the Italian navy’s submariners, the reinterpreted Panerai Luminor Marina Bucherer BLUE retains the oceanic origins of its Panerai predecessors in the model’s more traditional Italian design elements, alongside contemporary updates including an anthracite denim strap with beige stitching which gives the watch a more relaxed look and feel.

More modern still is the matte blue sandwich dial with vertical satin stripes enclosed within a DLC-coated titanium case, a combination which is unique to the model and a first for Bucherer. A handy strap-changing tool is also included for versatility.

For more information visit: bucherer.com

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Man on ski slope wearing a red fleece with skis on his shoulder
Man on ski slope wearing a red fleece with skis on his shoulder

Olympian skier Alexis Pinturault, who was involved in designing the red, white and blue RM 67-02 Automatic

Irene Bellucci meets World-Cup-winning Alpine ski racer Alexis Pinturault and super-G skiing and giant slalom snowboarding Olympic gold medallist Ester Ledecká on the powdery slopes of Courchevel to talk winning, the thrill of the race and their roles as ambassadors for luxury watchmaker Richard Mille

Alexis Pinturault is France’s most successful skier, notching up 23 World Cup victories and representing his country in five World Championships and two Winter Olympics, most recently winning four bronze medals in the giant slalom event.

LUX: What does skiing mean to you?
Alexis Pinturault: Doing any kind of sport is a kind of mindset. It brings you education, respect, confidence. It is a way of life.

LUX: Are you very competitive?
Alexis Pinturault: Yes, maybe too much, but I am getting better. It’s important to know your competitors, but on the day of the race, there is just you. I try to be more accepting about losing, but I used to find it very difficult. Alpine skiers are a bit crazy.

Follow LUX on Instagram: luxthemagazine

Product image of watch with blue strap

RM 67-02 Automatic

LUX: Describe a typical training day for you.
Alexis Pinturault: I wake up at 6 or 6.30, warm up and have breakfast. I’ll be on the slopes by 7.30 for an inspection at 8.30, and take my first run at 9.30. Depending on the results, we might go ahead with a second inspection and run. We’ll then have a break, review progress and then I might have some physiotherapy. On the rare day that I’m not training, I’m not very patient. My wife and I are very active: we go hiking, diving, walking. Never just chilling on the beach.

LUX: What do you feel just before the start of the race?
Alexis Pinturault: I’m very focused on the moment. When I’m skiing, it’s all about instinct and I don’t have time to think about what I’m doing. If you start to think about it, the race is already over. When we are racing, we are like animals.

LUX: What do you consider “success”?
Alexis Pinturault: Success is an achievement. For a sportsman, it’s reaching a goal, like the Olympics. But even once you’ve achieved your goal, there are always other goals to reach for.

LUX: What are your other goals for the next five years?
Alexis Pinturault: I want to win the World Championship here in Courchevel in 2023, and then maybe the next Olympics in 2026.

LUX: Do you feel pressure to set an example for the next generation of skiers?
Alexis Pinturault: You do feel pressure when you spot all the kids and all the people cheering for you at the finish line, waiting for autographs and selfies and wanting to spend time with you. But it’s amazing to come back to Courchevel and ski with the kids from the ski club.

Read more: Inside Andermatt’s newly opened concert hall

LUX: Are you a watch enthusiast?
Alexis Pinturault: Yes. I got my first watch from my grandfather, and another one after I got married.

LUX: Do you wear your Richard Mille watch during competitions?
Alexis Pinturault: Yes, it’s lightweight and I wear it under gloves and a protector for slalom and giant slalom races. I was involved in designing some of the details and suggested white for snow, and red and blue to represent the French flag.

LUX: Is there a connection between the brand and your sport?
Alexis Pinturault: Yes – we are both focused on pushing the limits, always looking and trying new ideas.

Woman in ski gear and helmet on ski slopes

Olympian skier Ester Ledecká

At the 2018 Winter Olympic Games in PyeongChang, South Korea, Ester Ledecká triumphed in both the super-G Alpine skiing event and the giant slalom in snowboarding. This feat made the Czech athlete the first person to win gold in two separate disciplines at the same Winter Olympics.

LUX: Can you describe the feeling of skiing downhill?
Ester Ledecká: Pure freedom. When I ride down the hills, I can feel little fireworks inside my heart. The feeling is even stronger when I’m competing! Everyone asks me, “How are you going to celebrate after the race?” and I always reply that I have already celebrated. Nothing better can happen after the run because I’ve already experienced the best feeling in the world.

LUX: Why do you do both snowboarding and skiing?
Ester Ledecká: For me, this is an easy question to answer. It’s because I love both of them too much! I don’t want to be bored by either of them.

LUX: How do you win races across both disciplines?
Ester Ledecká: There is no tutorial for it. I worked hard, I started when I was two years old and I have trained every day for 22 years. It takes a lot of training, and you need to learn how to lose – billions of times – before you reach some kind of result.

Read more: Spring Studios Founder Francesco Costa on creative networking

LUX: What is your relationship with time?
Ester Ledecká: Actually, I am in a race with time. I don’t race with other girls, I race with time. It doesn’t matter if it’s snowboarding or skiing. It doesn’t matter who’s next to me. I just need to be fast.

Product image of a green watch against a black background

RM67-02

LUX: Does your Richard Mille watch help?
Ester Ledecká: Richard Mille gave me my first watch. The design of these watches is all about precision and details. There are no excuses; everything needs to be perfect. I love the way you can see all the details inside the dial; other brands hide the workings of the watch, but Richard Mille’s are perfect. When I met the Richard Mille ‘family’, I fell in love with the whole team. This watch is much more than a pretty thing I have on my wrist, it’s a reminder that I’m part of something very big. The company supports me not as a sponsor, but like a real family. They are with me if I win or if I lose. When I’m wearing my watch, I remember that someone’s got my back.

LUX: Do you wear the watch during the competitions?
Ester Ledecká: Sadly no, because it doesn’t fit under my suit and protection for downhill and super-G. But I can wear it to play other sports because it’s so light.

LUX: Who else supports your career?
Ester Ledecká: I am lucky to come from a very supportive family. My grandpa [Jan Klapáč] was a world champion in ice hockey and he taught me how to love sport and how to lose. He showed me how beautiful and fun a professional sport can be. To become a professional athlete you need a lot of passion. You have to sacrifice a lot, including your personal life. It’s a tough job, but he taught me how to love even the hardest parts of my job. My mum also comes with me everywhere, she’s never missed a race – apart from one on the other side of the ocean because she is afraid to fly.

LUX: What are your future goals now that you’ve already won so much?
Ester Ledecká: I haven’t won anything at all, I am just at the beginning. There is a long way in front of me. Even in snowboarding, there is still something to improve. I still have a lot of races to win in skiing. That will take a long time, but step by step…

LUX: Can you describe Alexis?
Ester Ledecká: Fast. Cute. And one of my skiing idols.

Thank you to the Hôtel Annapurna in Courchevel, owned by Pinturault’s family, for hosting LUX. For more information visit: annapurna-courchevel.com

This article was originally published in the Autumn 19 Issue.

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Reading time: 6 min
Two watches resting on a white wall with ocean in background
Two watches resting on a white wall with ocean in background

The Classic Fusion Mykonos is available in two versions, featuring titanium or king gold

Hublot’s latest series of classic fusion chronographs is a celebration of the laid-back Mediterranean lifestyle

Evoking the mood of luxuriously languid days on board a superyacht, Hublot has selected a nautical colour palette for their ‘Cruise’ collection, a new limited edition trio of classic fusion chronographs. The timepieces are named after, and pay homage to the Mediterranean islands of Ibiza, Mykonos, and Capri with varying shades of blue contrasted against striking white and metallic details.

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Luxurious blue and white watch pictured on sand

Hublot’s Classic Fusion Ibiza limited edition timepiece

Ibiza

The dominant colour of the model dedicated to the ‘White Isle’ is complemented by a blue ceramic satin-finished bezel and 45-mm case enclosing the chronograph movement, bound by a bi-material strap in cerulean blue rubber and white alligator leather. Characteristic of the brand’s innovative fusion of materials, these highly resistant and waterproof strap components are beautifully stitched in blue, alongside the polished and engraved back case and matte white dials.

Luxury watch lying on a white wall with ocean in background

The Classic Fusion Mykonos

Mykonos

Incorporating a similar combination of materials, but with the option of either king gold or titanium, the Mykonos model fully showcases the mechanisms of the watch, revealing the inner workings of the self-winding chronograph movement. Sapphire crystal sits at the centre of the dial, reflected in the Aegean blue lacquered small seconds hands and matching blue ceramic bezel and strap. The most striking element comes in the form of a small rotating windmill aligned at three o’clock, distinguishing the model with the island’s iconic attractions.

Read more: OMM’s Creative Director Idil Tabanca on creating an art institution

Luxury blue and white watch pictured on sand

The Classic Fusion Capri

Capri

The most relaxed of the three models, the Capri watch is decidedly lighter in colour with a sky blue satin-finished dial housed in a ceramic case of the same bespoke blue. The white lined rubber strap adds a touch of sporty chic, bringing a different dimension to this easy-to-wear collection.

Chloe Frost-Smith

For more information visit: hublot.com

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Hublot logo projected onto Tate Modern facade with Bucherer
Product image of Hublot Bucherer luxury timepiece

Hublot Classic Fusion Bucherer Blue Edition

Hublot’s recently launched timepiece in partnership with Bucherer is at the top of our Christmas list. Here’s why it should be on yours

1. It’s classically beautiful

Dark blue and ageing copper make for an elegant, timeless look.

2. It’s limited edition

Often a loose term, but in this case, it’s actually true. Only 30 pieces have been made.

3. It’s two for the price of one

It’s designed by Hublot for the Bucherer Blue Editions collection, which means you get to say you have a Hublot watch and a Bucherer watch…

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4. It’s unusual

Hublot’s Art of Fusion concept seeks to combine unexpected materials; in this case, the watch’s case brings together ceramic and bronze.

5. It’s wearable with anything

Okay, so it might be slightly on the smarter end of the scale, but it’s surprisingly hardy too. The strap combines blue rubber with alligator leather for extra durability and comfort, and it’s water resistant up to 50m.

6. It will get better with age

Bronze is a material that develops over time, meaning it will only get more and more beautiful.

Convinced? You can buy online via: uk.bucherer.com/hublot-bucherer-blue-editions-watch

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Luxury Corum watch shown on a man's wrist with rectangular watch-face
Luxury Corum watch shown on a man's wrist with rectangular watch-face

The Heritage Corum Lab 01

Luxury Swiss watch brand Corum is known for its boundary-pushing designs and adaptability. Following the relaunch of the iconic Golden Bridge collection with a brand new all-black aesthetic, we asked the brand’s CEO Jérôme Biard six questions.

Luxury watchbrand Corum's CEO Jérôme Biard

Jérôme Biard

1. What comes first innovation or heritage?

Innovation comes first as it becomes very quickly heritage: time is flying. We need innovation to go forward.

2. How does Corum capture and hold the attention of millennials?

We like to play with our Bubble collection and artistic partnerships. We are also coming out with disruptive collections like our new Corum Lab 01.

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3. Are women becoming more influential in the luxury watch market?

Women represent 50% of the population on earth which means that we have the potential to expand. Also, watches are more and more used as fashion accessories and specifically created for women, they do not make a man’s watch into a woman’s watch. This is the reason why, we recently launched the Eleganza, the epitome of classic female elegance and subtly. We also launched during Baselworld our new Golden Bridge Round Jewellery. Beside, we have Elisabetta Fantone, Canadian pop artist + Juliette Jourdain, French photographer as ambassadors since 2016.

Luxury women's watch collection by Corum

The Eleganza collection by Corum

Corum watches Golden Bridge luxury timepiece with brown leather strap and gold detailing

The Golden Bridge, Corum’s iconic timepiece

4. Is there such thing as a unique design?

We launched the Bubble collection in 2000 to push our customers limits and introduce them to the quirkiest designs on the market. At 52mm, the statement Bubble is instantly recognizable due to its size and weight. On the other end of the scale, we recently launched the Bubble Mini, a 17mm cocktail watch that can be stacked or worn alone.

Our in-line baguette movement set in our Golden Bridge has been unique on the market since its launch in 1980, and there is still nothing else like it.

Read more: Why Lake Como’s appealing to a new generation of travellers

5. Will smartwatches take over?

I don’t think that classic watches are in competition with smartwatches. I believe that people will always desire hand-crafted pieces made from luxury materials and know-how. The style, the craftsmanship exceed the function.

6. What’s your favourite Corum watch and why?

It’s difficult to choose only one. Golden Bridge + Admiral Legend 42 mm blue bracelet and blue dial. We recently launched the Admiral Legend 42 Cabinet de Curiosités de l’Hotel de Crillon par Thomas Erber, beautiful!

Discover Corum’s collections: corum-watches.com

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Reading time: 2 min
Richard Mille Ambassador Mutaz Essa Barshim wearing the new RM
Mutaz Essa Barshim, Qatari Silver Olympic Highjump Medalist

Mutaz Essa Barshim wearing the ultra light RM67-02

Ultra-luxe watchmaker Richard Mille combines artistry, technology, a nod to architecture, Kitty Harris speaks to their latest partner, Qatari Silver Olympic Highjump Medalist Mutaz Essa Barshim about time and the new RM67-02 Automatic watch.
New ultra light watch designed by Richard Mille for Mutaz Essa Barshim

The RM67-02

LUX: You hold the Qatari national record and Asian record for the best mark of 2.43m. How old were you when you started high jumping?
Mutaz Essa Barshim: I was around 10-11 years old when I started. I began in track and field because my father used to be an athlete. When I was young, he always took me to the stadium, so it was always important to me. But I started running, doing cross-country, long-distance, mid-distance and as I grew up, I stopped liking distance running. I didn’t enjoy just running and at the club, I saw the other kids doing jumps and trampolining. For me, naturally as a kid, it seemed much more fun. Back then, I wasn’t thinking at a professional level. I only wanted to not have to go home and do homework and do something fun instead. I spoke to my coach at the club and told him I wanted to join the jump group and he allowed me too. It later developed.

LUX: Why Richard Mille out of any of the people that you could have partnered with?
MEB: He is simply the best!

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LUX: How did you come to partner with Richard Mille?
MEB: The first time I met Richard was in the Rio Olympics after my competition. We talked and he is a really nice, friendly guy. He told me he loved the way I jump and he wanted me to join him in the family. I said, of course I’d be very happy to. We had been talking about the watch and he asked me if I jump with watches. I said no, because they’re too heavy. Richard said that he could make something very light for me. So I said, let’s do it! I know about Nadal’s RM27-03 Tourbillon watch and it is very light. He said he could do it even lighter than that and I was very impressed. Since then, we have been talking back and forth and sharing ideas.

LUX: Were you involved in the design process?
MEB: Initially, the main target was for me to jump with it – something that wouldn’t affect my jump. It wouldn’t be worth it if it was something heavy that disturbed my performance. Since we realised that he could make something lighter, we discussed design. We thought it could be something with maroon and white, to match my kit. I wanted something elegant and sexy – I didn’t want it to be thought of as a sport watch.

LUX: You said that the watch came out of a necessity for being light. Would they bring you designs that you would tweak, or were you given final products?
MEB: Firstly, we would get a prototype drawing. This would be computerised and three-dimensional. He would ask what I thought. I wanted to see a side angle picture, so I could see how thin the watch was. He said it was so thin that I won’t be able to feel it. When I saw the picture, I was really impressed. He would then show me the back and ask my preferences and how I wanted it to be engraved. What shall we write down? We would discuss the colours and how to change them. Of course, none of the mechanics is to do with me. It’s all his work and genius. I think asking him about the mechanics would be disrespectful, because I know he would make it the best. When it came to the final product, I really was impressed!

richard mille watch designed for olympic highjumper mutaz essa barshim

Side view of the RM67-02 designed for Mutaz Essa Barshim in maroon and white to match the athlete’s kit

LUX: There is a symbiosis and as you said, you needed something that didn’t affect you when you jumped. What are the commonalities between your practice and your watch?
MEB: Quality. It is the main objective. High jumpers don’t use any objects, they just have to use their bodies in the perfect way, otherwise you will injure yourself. Timing – a few seconds can make a difference between a perfect jump and a really bad jump. You could lose a medal. That’s what this watch is about – quality and timing. Ticking at the right moments. I want something sexy and elegant, with quality and timing.

LUX: By being in the Richard Mille family – you are amongst some of the best sportsmen and women. How does it feel?
MEB: It feels great. The one thing I really love about Richard and how he selects his athletes and ambassadors, is that everybody is so humble and down-to-earth. He is not only selecting people because of what they achieve in sport. He also looks at their social energy, what they value in society and how they interact with different people. I’ve met most of the guys and everybody is so nice. They are so inspiring and they are role models. I feel that is the type of character he wants. Once you’re in, you’re in – it is a family. You don’t want to bring someone in that will destroy this family. Everybody is highly professional, but at the same time they are very nice people. It is just a pleasure to be among them.

Read next: Zermatt’s most exclusive ski chalet

LUX: Timing is obviously crucial to your life. But what do you do in your free time?
Mutaz Essa Barshim: Get interviewed! I don’t have so much free time, since I only have one month off a year. In my free time, I like to stay home. I’m rarely home, as I’m always travelling. I really just want to be home with my mother and my friends, relaxing.

Olympic athlete and richard mille ambassador Mutaz Essa Barshim outside the Mount Street store in London

Outside the Richard Mille Mount St. boutique

LUX: What is the life of an Olympic athlete like? You work for eleven months a year. You work and you train.
MEB: You always travel and train, train, train. It is always about what is next. To answer that question, you need to be even more professional than before. It is very hard each time. Especially when there is so much expectation about who will win each time. There is always pressure you have to deal with. In order for a professional athlete to keep that, you need to limit yourself. You can’t go out all the time, because your body needs to recover. This means a lot of treatment and recovery time to make sure you avoid injuries. Since you travel a lot, nutrition and drinking a lot of water to not get dehydrated and tear muscles is also very important. It is hard and at the same time, you need to balance it with training. You must also relax your mind and ease up to be fresh mentally. You need to hang out with friends, and at the same time you have commitments to your sponsors. There are social responsibilities. The life of a professional is nice, but you don’t have much time to yourself.

LUX: What is next?
MEB: In March, we have the indoor World Championships in Birmingham. That is the biggest target for the Winter. For Summer, we have the Asian Games and the Diamond League, which is the world circuit. We have a couple of high class meets also in the Summer. The World Championship is the main goal at the moment.

richardmille.com

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Artistic shop front of Hublot boutique Hong Kong
Street art inspired shop from of Hublot boutique in Hong Kong to appeal to younger generations

The Hublot boutique in the IFC Mall, Hong Kong

Jean-Claude Biver was celebrated as the saviour of the luxury mechanical watch industry when it was threatened 40 years ago with virtual annihilation by the rise of battery-powered watches. Now head of watches at the world’s biggest luxury group, he explains how the melding of high and low culture is the best chance of the industry’s survival for the next decades.
LVMH President, Jean Claude Biver portrait image

Jean Claude Biver

The promotion of luxury goods using so-called low culture is a relatively new development. Nobody could have imagined this in the past. Fifty years ago, nobody would have believed that football could be an appropriate arena for luxury. And in some parts of the world it remains so; for example, in China, sport is still not considered a part of luxury. It is only recently, under the initiative of President Xi Jinping, that entrepreneurs are being encouraged to invest in sport.

This change towards the popularisation of luxury culture is not just in my sector, that of watches, it is across the luxury industry in general. Years ago, who would ever have conceived of jeans selling for more than $100? We have seen it in fashion, which is taking a lot of inspiration from the street, and in music. Look at rappers, with music coming from the street. Today, we really have a mash-up: luxury went down to the street, and street goes up to luxury. It’s like a shaker. Everything was previously stratified into classes but now they are being all mixed up and everyone takes inspiration from each other. It started a while back. The first people to do this were English musicians such as The Beatles, The Rolling Stones and The Animals in the 1960s, who dressed totally disruptively when everyone was making their children mini papas and mamas, going to church with their blazers and fine-wool trousers. Now the difference is that it’s not just the guys from Liverpool and Manchester changing everything, it’s the guys from the ghettoes, too. And it’s a global attitude.

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The most significant indication of this trend for me is that Hublot has become extremely successful with a very big turnover in China, where five years ago, we could barely sell one watch. Everyone was saying that in China they do not perceive sports watches as being part of luxury; they wanted wonderful dress watches like Vacheron Constantins and Patek Philippes instead. Zenith [Biver’s traditional watch brand] was outperforming other brands in China, and now Zenith is selling less than Hublot because young Chinese people refuse to wear the watches their parents were wearing. They don’t want to buy classical watches any more.

It’s the same with other goods; people don’t want classical furniture any more, they want modern furniture. People want contemporary art because a new generation brings with them new trends and influence. We are now in the middle of a change of generation and this movement will be very strong. By 2030, in just 13 years, those people who will be shaping the century will have been born between 1990 and 2000, they will be between 30 and 40 and will be bringing a huge change in culture and philosophy. You can see it happening now. Check how many 18 year olds drive cars – they are not interested anymore – and very few are wearing watches. Every generational change brings with it new trends into markets, and if a brand doesn’t get it, the brand will disappear.

Read next: The first comprehensive Jasper Johns exhibition in the UK in 40 years

Examine what is happening all around us now: Supreme surfboards have teamed up with Louis Vuitton, yet a few years back could you have imagined a luxury brand doing a partnership with a surf brand? Classical brands will shrink, though they will not disappear. A very classic car make such as Bentley, when it was in the hands of the British, was shrinking and slowly dying but then the Germans bought it and decided to modernise the brand. The old generation objected but whatever doesn’t evolve will die.

And while there are exceptions – for example, a Submariner or Daytona watch from Rolex – almost everything has evolved. And even if you take a look at those watches, you will see that they have undergone a subtle but significant evolution over the years. This happens even with contemporary brands – take Google’s first logo and its logo today; the evolution has been enormous.

Boutique interiors of Hublot in Beijing

The success of Hublot Boutiques, such as this one in Beijing, is down to the rise in interest of a young generation in the brand’s watches

We now have different luxuries which we didn’t have before. The idea of accessible luxury was previously inconceivable. This is because we have promoted luxury through marketing, rather than through prices, which blurs boundaries. For the super-rich now, luxury means uniqueness, something others cannot buy, which is why Lapo Elkann has started Italia Independent, creating bespoke cars which other people cannot get or buy. That is top luxury. And there is a scale. A young woman dreams of a Hermès bag in leather; the next step up is crocodile, then with a gold clasp, then with a gold clasp with diamonds, becoming more and more exclusive. Then you end up having something nobody else has.

The association of luxury with street culture, and the blurring of lines, is becoming stronger all the time. You have rappers who sing “F*** your mother” and they are invited by President Obama to have dinner at the White House – it is incredible. Similarly, designers don’t know where to find ideas. Punk hairstyles, tattoos all over your body: these are underworld or underground concepts that have become socialised. Forty years ago tattoos were for the criminal underworld, David Beckham socialised them, now every millionaire has one.

I can’t pass judgement on whether this is good or bad – it just indicates the socialisation of our society. And social media, a key vector in that change, makes life much more difficult for brands, because your brand is an environment which is much more competitive. On social media every brand has the same share of voice as yourself; and now the young generation has a lot of curiosity and much less loyalty to brands. So that makes it more difficult.

Read next: Meet the artists who blur the boundaries between words and pictures

Our greatest challenge is to see if we can seduce this young generation to wear watches. The biggest asset our industry had between 1980 and 2010 was the Swatch effect. It was a 50-dollar watch, but it was full of colour, innovation, joy of life; it was fashionable. People could wear it without it looking like a stupid cheap watch. So every child was suddenly wearing a watch. This young generation, born in the 1970s, have been wearing watches since they were 10. They graduated onto their next watch, an IWC, a Rolex, eventually a Patek Philippe, all started by that first purchase of a Swatch.

Now the question is, who promotes watches to children? We hoped Apple would have, but it doesn’t seem children are wearing Apple watches, and we might have a problem later, because this generation does not wear a watch now and may not do so later. For them, it doesn’t seem natural to wear one; people feel more comfortable having a tattoo on their wrist than a watch. It’s a big and educational challenge for the industry. We have to do some fundamental work which we never had to before. Once, it was normal to wear a watch; twenty or thirty years ago, 99 per cent of people were wearing a watch. Now few of this new generation think that a watch should be worn.

And so, bringing the argument back full circle, we try to make this young generation dream about us by entering their lifestyle, and when our brand starts to belong to their lifestyle, if we are considered part of it, we have a chance they will buy our watches. And we reach their lifestyle by following their influencers. If you go with Alec Monopoly, he’ll be an influence on them; when we associate ourselves with One Republic, that is another. It’s not about product, it’s about lifestyle and our brands being part of it. If you want to seduce them with gold watches, forget it; that’s not what attracts them. To seduce the new generation, we must understand their lifestyles.

Jean-Claude Biver is president of LVMH Watch Brands and chairman of Hublot.

 

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Reading time: 7 min

Francois Paul Journe is the CEO of the eponymous Geneva-based watch company that is the ultimate object of desire for some of the world’s most discerning collectors. For our Luxury Leaders series, he talks to Darius Sanai about how F.P.Journe’s watch business has thrived as an independent, focused on scientific precision, in a world dominated by luxury groups.

Francois Paul Journe watchmakers at work

FP Journe watchmaker’s atelier

LUX: Why have you succeeded where so many others have failed?
Francois Paul Journe: I believe we have to go back in time to explain. Watchmaking schools do not teach to conceive a watch and being a watchmaker is not synonymous with changing a battery. I was lucky enough, after finishing my watchmaking school, to work with my uncle Michel, renowned antique horology restorer in Paris and learn “on the field” to repair complicated watches, benefit from his experience and discover a world of culture the school does not teach. My uncle was also the curator of the Musée des Arts et Métiers in Paris, I discovered the most astounding creations by the great French Masters and that obliged me to go further in my research, in order to create watches as beautiful as theirs. But I had to work tirelessly and acquire a real knowledge of the horological history. You do not acquire this kind of experience at school. I became totally passionate and horology became my life.

At the time, there were maybe 15 collectors who were interested to buy authentic horology as the quartz was revolutionising the watch industry and haute horology was not any more in the trend. I had to wait for the taste of clients to revert to real horology until about 1991 when I sold my first wristwatch with tourbillon. I set up my own independent manufacture, to remain independent above all and not have to depend on anyone. From then on, I created a full collection and I never stop selling my watches after that.

Read next: Jean-Claude Biver on the evolution of luxury

Also, F.P.Journe is the only manufacture in the centre of Geneva, and we are producing 95% of the haute horlogerie components necessary to make our watches, dial and cases included. We also offer a true watchmaking art. Each certified watchmaker makes a specific watch according to his technical sensitivity, and performs all production stages from beginning to end without anyone interfering in the process. A long lost privilege in today’s industrial watchmaking that is more and more segmented.

This is why my horology is different, authentic and respecting the fundamentals of haute horology. Above all, I remain in my own path, innovation, quality and independence. And collectors appreciate our authenticity, transparency and our permanent researches for precision, innovation and exclusivity.

Luxury watchmaker and owner of eponymous brand FP Journe

Francois Paul Journe

LUX: How does history inform your brand?
Francois Paul Journe: I respect the history of horology as a musician would study Mozart. If one does not understand the philosophy of the ancient grand watchmakers which only goal was to make watches that were giving the exact time, then you only create gadgets.

LUX: How can you make a product stand out to a consumer who owns everything?
Francois Paul Journe: Our collectors who can have the best money can buy, and above all, exclusive objects know that I am running an independent manufacture with an integrated production of all the components necessary for the making of our watches. It includes the creation and production of all its dial and watch cases which echo our 18 karat rose gold movement in perfect harmony. We are the only manufacture in the world to do so. My goal is continue my pursuit of precision in creating innovative precision chronometers in the respect of the fundamental values of haute horology and I will not disrupt this rule under any circumstances.

Read next: Sky high with Bombardier private jets

LUX: What is luxury?
Francois Paul Journe: Luxury is a term that has been perjured and used outrageously. It means excellence, know-how and innovation, within a limited production combined with genuine craftsmanship, an exclusive design with a genuine authenticity. It is also a desirable object that is not a necessarily a necessity.

LUX: How do you honour tradition while still innovating?
Francois Paul Journe: You can certainly innovate but you have to respect the fundamentals in high horology that have pertained for over 2 centuries, and there are not many horologists doing so today. I am proud to be one of the only fervent defendants of the fundamental values of haute horlogerie. We have a real manufacture and we continue to produce our watches as if they were scientific objects. That is how watches were considered in the 18th century.

LUX: What are the biggest challenges you’ve faced as the owner and CEO of a luxury brand?
Francois Paul Journe: Independence is in your genes; for me it is not negotiable. Many of the challenges I set for myself would be difficult to achieve if I depended on large financial groups, on a financial side as well as on a creativity side and on a component production side. When I create a new calibre, I can modify components as I please in no time as they are made in our manufacture and I don’t have to depend on a supplier either.

As an independent, we have to demonstrate a strong resistance against big groups and provide a genuine authentic concept and rely on ourselves only. We thus have to be self sufficient and control our production as well as our sales network. That is why we have opened our own network of boutiques which are offering the best possible service to our client, a professional approach of high horology and a perfect knowledge of our collections, without mentioning receiving our clients in a décor at the image of our brand. But creativity is our most powerful weapon to exist and coming out of groups’ shadow.

Big groups sell industrial watches, and we are selling authentic high horology watches. I can only hope a certain public will know how to make the difference and do justice to the genuine values of craftsmanship that we will never cease to perform.

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LUX: Would you define F.P.Journe as a discovery brand?
Francois Paul Journe: I don’t know what you mean exactly by a discovery brand. We can be called a discovery brand in the sense of innovation as we are producing innovative mechanism, or reunite different technical developments another brand have not put together, i.e. the Tourbillon Souverain with remontoir d’égalité and we are the only ones to do so. If you mean a recent brand, yes we are not for the general public but we are one of the best known brands in the world of collectors.

FP Journe watchmakers at work

FP Journe watchmaker’s atelier

Francois Paul Journe plush room

The entrance to the FP Journe Manufacture in Geneva

LUX: How many watches would you recommend an individual owned?
Francois Paul Journe: I cannot tell a collector how many timepieces he should own, each collector has a collection that correspond to his taste but also its financial means. If he has only a few watches and he is happy with them, it is fine but he is not really a collector. But it is also fine if a passionate collector owns one models of each available in my collection .

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LUX: What innovation are you most proud of?
Francois Paul Journe: The Tourbillon has been my first fascination of course and the resonance phenomenon has been occupying my mind for years in order to produce my Chronomètre à Résonance with 2 mechanical beating in opposition and auto-regulating each-other. But the watch I am most proud of is certainly the sophisticated Sonnerie Souveraine, the most difficult and most accomplished horological creation never realised and the one that has certainly given me the widest challenge in my career. It means six years of research for the Invenit and 10 patents for the Fecit, over 500 components, 4 month of assembling, adjusting and fine tuning, and this without counting the manufacturing of the components entirely produced in our manufacture in the centre of Geneva.

Operating a chiming watch has always been risky. If you do the slightest thing wrong, like setting the time while the chimes are engaged or ringing, you damage precious mechanisms. My challenge was to create a Grande Sonnerie that was safe to use, and what sets it on a higher plane is that it is the only grand strike clock watch safe to use existing today.

LUX: How do you relax?
Francois Paul Journe: I work a lot and I do not have so much free time. Mostly it is dinner with friends, tasting good food and good wine, and enjoying each other’s company. And Formula 1 racing.

fpjourne.com

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