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

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.

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.

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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

The new Oyster Perpetual Submariner, 41mm in Oystersteel. © Rolex/Alain Costa

LUX discovers Rolex’s striking new editions to the iconic Submariner, Datejust, Oyster Perpetual and Sky-Dweller collections

The New Submariner

Submariner Date © Rolex/Alain Costa

Rolex’s history with the world of diving dates back to 1926 when the brand invented the now iconic waterproof Oyster case. Following a series of experiments in collaboration with diving pioneers, the brand launched the Submariner in 1953 as the first divers’ wristwatch waterproof to a depth of 100 metres. Since then, the brand’s Submariner collection has gained iconic status with the Oyster case now guaranteeing waterproof to a depth of 300 metres.

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The latest editions to the divers’ collection – the Oyster Perpetual Submariner and Oyster Perpetual Submariner Date – both feature a redesigned, slightly larger case in the classic aesthetic of Oystersteel. Other variations of both watches include a 60-minute graduated Cerachrom insert in coloured ceramic, allowing divers to monitor their dive times.

Oyster Perpetual Datejust 31 in white Rolesor. © Rolex/Alain Costa

The New Datejust

Four new white Rolesor (combining Oystersteel and 18 ct white gold) versions of the Oyster Perpetual Datejust 31 include a diamond-set bezel and aubergine dial with the three other timepieces fitted respectively with a mint green, white lacquer or dark grey dial.

Oyster Perpetual 41 in Oystersteel. © Rolex/Alain Costa

The New Oyster Perpetual

Rolex’s Oyster Perpetual collection features direct descendants of the brand’s original 1926 Oyster waterproof case. The latest model, the Oyster Perpetual 41, is available with a silver or black dial, whilst updates of the Oyster Perpetual 36 feature a range of vibrant lacquer dials in candy pink, turquoise blue, yellow, coral red and green.

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Both models are equipped with Rolex’s newly launched movement, calibre 3230, which offers gains in terms of precision, power reserve, resistance to shocks and magnetic fields, convenience and reliability.

Oyster Perpetual Sky-Dweller, 42 mm, 18ct yellow gold. © Rolex/Alain Costa

The New Sky-Dweller

The perfect watch for frequent travellers, the Sky-Dweller displays the time in two time zones simultaneously and has an annual calendar. This latest 18ct yellow gold version of the Oyster Perpetual Sky-Dweller is fitted with the brand’s innovative Oysterflex bracelet made of high-performance black elastomer, promising both durability and comfort.

Find out more: rolex.com

The Big Bang Unico Teak Italia Independent, only 100 of which were made

Hublot is fusing smart technology with sleek design to enthral a new generation of customers. Jason Barlow reports

Hublot is enjoying a renaissance. A renaissance that began with four weeks in the global spotlight this June, its prominence during the most compelling football World Cup in a generation exposing this most quixotic of watch brands to a huge new audience.

Inspiring an allegiance between a brand and a client is way more complicated than simply (expensively) forging a partnership with the world’s biggest football tournament, Formula One, or any number of individual ambassadors. Clearly, it helps. But it also helps when the brand in question has something genuinely interesting to say. There are lodestar names in the world of haute horology – Rolex, Patek Philippe, Audemars Piguet – and there are arrivistes, upstarts. Too many to name, in fact, and each freighted with a different set of promises. But certain attributes rise above the rest. Innovation. An engineered aestheticism. Authenticity. This last one is a cornerstone of the entire luxury edifice, and takes time to establish.

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Some get there with incredible rapidity: to take an example from a parallel world, Bugatti began making cars in 1909, artisanal Italian supercar maker Pagani only in 1992. The latter’s cars are the Fabergé eggs of the automotive sphere, precious beyond belief, Pagani’s connection with its clients the ne plus ultra of the car world. Or think of the Marchesi Antinori winery, whose classic Chianti production spans an incredible 26 generations, all the way back to 1385. An astonishing HQ in Bargino, Tuscany, acts as a temple to Antinori’s status and relentless ambition.

Hublot CEO Ricardo Guadalupe and Jean- Claude Biver, head of watchmaking at LVMH

Hublot made its debut in 1980, but has navigated its way to a position of formidable brand power. In 2017, it enjoyed a record year, with a growth in sales of 12 percent, against an industry-wide backdrop of reduced revenues. How has it achieved this? CEO Ricardo Guadalupe’s approach is a fascinating one to dissect. “At Hublot, we strive to have technology at the service of the aesthetics,” he explains. “For us, it is not a battle but a right mix to find.”

I ask Guadalupe to delineate the brand’s ambassador strategy.

“Firstly, we go where our clients are! We continuously focus on our customers, we elaborate our partnerships in accordance with the interests of our clients, to better suit their needs and their expectations. Football, cars, art and music are such areas where our customers are.

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“We are partnered with FIFA and UEFA, which are the two most important organisations in the football universe. And with Ferrari, which is certainly the most famous car brand in the world. We do things
according to our motto: ‘First, unique, different.’ When entering a new partnership, we always research to fuse our world with that of the ambassadors. What is important is that the potential ambassador is already a Hublot client and that he/she loves the brand. This really matters for us.”

Brand ambassador Usain Bolt

It’s sometimes tempting to think that many high-end brands are 70 percent marketing confections, 30 percent watch. Tuning this approach with the right sensitivity and science is something Guadalupe and his team are acutely aware of.

“We try to have the same strategy for all the countries in order to allow everybody to be part of the Hublot world,” he says. “But of course, we have some differences and some specificities for some markets. In China, we do not do print advertising, only digital. We also stage events around our boutiques or around the department stores where we are present. We have some ambassadors linked to their country: [pianist] Lang Lang is known all around the world but in China he is even more than a superstar.

“Our prices start from about £3,000 and we have a large selection at different prices. It means every person with a budget for a luxury watch can find his or her Hublot timepiece. Besides, we indeed think that we sell a dream, but it is not necessarily the most expensive watch. It is just about the emotion the client shares with their watch.”

The Big Bang Referee watch, to coincide with the 2018 World Cup

Entry points are moot. When former CEO of Hublot Jean-Claude Biver (now head of watchmaking at LVMH, to whom he sold the brand in 2008) decided to lower the barriers to TAG Heuer ownership to bring in the next generation of customers, it risked diluting its appeal to older, wealthier, arguably more discerning clients. Here, too, is another link with luxury brands beyond the watch world, and it had to be done. Ask any CEO in the automotive sector to outline the challenges they face, and high on the list will be reaching millennials. They simply don’t have the same relationship with cars that their parents did, partly because connectivity means something very different in 2018 than it did in 1988. The smartphone is the device that conquered the world, not always beneficently. So, how does Hublot tackle this challenge?

“As in the car, your first watch cannot be a Hublot,” Biver says in his typically forthright way. “You need some culture and knowledge, and most importantly you probably need to buy first one or two ‘classic’ or ‘traditional’ watches, before being ready for a disruptif and fusion watch.”

And what of the threat posed by so-called smart watches? Here, surely, is the item craved by millennials, at the expense of traditional watch-making.

“I am fully aligned with Mr Biver’s view,” says Guadalupe. “Smart watches should be considered as an advantage for the Swiss watchmaking industry because they conquer the wrist of people who weren’t wearing any watch. Moreover, one day, those young clients will also be interested in owning a piece of art on their wrist – and this is what we do.”

Hublot watches are still made in Switzerland

The brand collaborated with tattoo artist Maxime Büchi

Guadalupe also believes that Hublot’s very youth permits the disruption desiderated by so many brands, including some heritage names. It also liberates Hublot from the urge to simply reboot past successes. Instead of yet another tribute to something, he’s more interested in using new material, such as ceramic or sapphire. The partnership with Ferrari is emblematic of this approach: Hublot’s Techframe imports Ferrari’s expertise in advanced materials, to thrilling effect – how does titanium, King Gold or PEEK (polyether ether ketone) sound? Working with Italia Independent’s Lapo Elkann also maximises
the opportunity for what the fabulously flamboyant scion of the Agnelli family calls ‘contamination’. Tattoo artist Maxime Büchi has worked wonders there.

Read more: Château Mouton Rothschild supports restoration of Versailles

But back to connectivity, and Hublot’s unique manifestation of the concept.

“We created our first connected watch, the Big Bang Referee 2018 FIFA World Cup, as it was a specific need expressed by FIFA,” says Guadalupe. “Wanting a customised watch for the referees, FIFA asked Hublot to conceive the perfect watch to accompany them on the pitch during matches.

“Moreover, it was not possible to have all the necessary information on a mechanical watch, that is why we did a connected one. Nevertheless, it has all the attributes of the iconic Big Bang. Its emblematic architecture cut out of the lightness of titanium, its bezel decorated with six H-shaped screws, its Kevlar insert. Even the display on its analogue mode dial could pass for the same aesthetic as that of the automatic models. It is certainly a connected watch, but it is first and foremost a Hublot watch.”

Hublot’s ‘digital boutique’ launch in New York

Two other over-arching trends can’t be ignored. Firstly, does the resurgence of interest in ‘analogue’ – more vinyl records were sold in 2017 than any year since 1988 – favour Hublot?

“I think we must combine the two together,” says Guadalupe. “Digital is important and we must be into it if we want to keep in the era of time, but at Hublot, we keep thinking that it is important to merge tradition and innovation. It is not because we created a connected watch that we are forgetting the past. A key of our success is we are able to find the good balance between those elements.”

The other is the rise of ‘experiential luxury’, the realm that exists beyond the mere act of acquisition. This is a major preoccupation in the luxury world.

“Hublot is aware that the key asset of an excellent customer relationship is based on trust, availability and flexibility,” says Guadalupe. “We have innovatively imagined a ‘virtual’ digital boutique that perfectly complements the role and presence of its physical boutiques around the world. By remotely offering its customers 3D-facilitated access to its products, knowledge and knowhow, Hublot is successfully creating a new bespoke customer service, and preserving the essential denominator of any relationship – that is to say the human connection. It is a new customer experience that is beginning in the United States before being rolled out across the entire world.”

Hublot’s moment looks set to continue.

Discover Hublot’s collections: hublot.com

This article originally appeared in the LUX Beauty Issue. Click here to view more content from the issue.

The Zenith El Primero Elite

With its revolutionary new mechanism, Zenith has challenged a 300-year-old watchmaking standard. Rachael Taylor meets the innovator behind the brand

In the Jura mountains, a high-altitude stretch of Switzerland deeply embedded in watchmaking heritage, Julien Tornare is operating a start-up. A 153-year-old start-up. Or at least that’s the way the Zenith chief executive views his leadership of this watch brand in flux.

The past couple of years have been stacked with innovation for Zenith. At global watch fair Baselworld in 2017, the maison delivered a reboot of the quite aptly named Defy collection that has shaken up not only its own offering, but the watchmaking status quo. The star of that first new wave was the Defy El Primero 21, a high-beat chronograph that can offer timing accuracy to 1/100th of a second, should you need to be absolutely sure which of your colleagues can complete the morning coffee run the swiftest.

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The Defy Classic with a blue alligator leather strap

Six months later came the really big news. Defy Lab, an experimental line of watches powered by silicone oscillators, not metal, had the watch community ready to self-combust. This was the first time that someone – Guy Sémon, a physicist and former French navy pilot, who is now the general director of Zenith’s sister brand TAG Heuer, to be exact – had successfully challenged the 300-year-old balance spring method developed by Dutch horologist Christiaan Huygens, the man responsible for the satisfying swing of an oscillating weight on your wrist.

What in traditional mechanical watchmaking once required 30 individual metal components, can now be done with just one silicon part. As well as reducing possible mechanical complications by having only one component to maintain, and making the watch lighter, this alternative silicon-driven mechanism also uses less power, and so increases the power reserve of the watch.

Zenith watches are still made in its atelier in Le Locle, Switzerland

The Defy Classic

When the Defy Lab watches were launched, just 10 were made, and these experimental timepieces were very much sold as experiences. For an entry fee of CHF29,900, a small group of connoisseurs was inducted into the Defy Lab. Each was flown first class to Switzerland to collect their watch, and have dinner and a wine tasting session with Tornare and his boss Jean-Claude Biver, the charismatic president of Zenith parent company LVMH’s watch division. Between jovial sips and nibbles, the two pressed upon these early adopters that by supporting this launch, they are now part of watchmaking lore, and also that their watches might be less than flawless.

“There might be some corrections,” admits Tornare. “I told them, you’re buying the research so your watches may not be perfect. They understand that they are part of the turning point, not only for Zenith but for the whole [watchmaking] industry.” Rather than be put off, this collusive, pioneering spirit has the collectors rapt – and connected. “On their own initiative, they have created their own WhatsApp group,” says Tonare.

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While the Defy Lab launched to much fanfare – with watches delivered by drone to a packed-out preview as Biver shouted, “We are the future of watchmaking!” – the use of silicone has had its detractors, who are worried that this game-changing engineering could destroy traditional horology. “Every time we change something you have two different reactions,” muses Tornare. “Purists are often against change, but when you get to the wider population of clients and millennials, that’s what they want. They want to buy something that brings something new and creative. We have to work between these worlds.”

Though he refers to the purists as friends, it is the more adventurous crowd that Tornare is really pursuing with the new direction in which he has been pushing Zenith since his arrival at the brand 18 months ago. “I worked a lot with Mr Biver [when I first joined], we exchanged a lot on the DNA of the brand,” he says. “In 153 years of history, there has always been a very strong spirit of innovation. Now the big question is, how do we keep millennials interested in mechanical watches? If we don’t want to become a museum brand, we have to keep bringing new things.”

When speaking of Zenith’s innovation, Tornare refers to the El Primero, which, when it launched in the 1960s was the first Swiss-made, fully integrated automatic chronograph, making it revolutionary at the time. And the line remains one of the most respected automatic chronographs in its price range today. Yet, like the rest of the Swiss watch industry, Zenith got complacent in the boom times. “The whole industry became a little bit static, especially in the past 12 to 15 years when all the brands did so well with the first generation of Chinese [wealthy consumers] buying anything at any price. Maybe the industry became a little bit lazy. Global brands tended to look to the past, including Zenith. It’s very important to wake up. We need to build from our heritage, but also create for the future.”

The Zenith building’s facade bears the initials of founder Georges Favre-Jacot

Zenith’s manufacturing facility was renovated in 2012

Tornare is applying this methodology not only to the products that Zenith produces, but to the entire company ethos. And with freshly installed ping-pong tables and cosy weekly breakfast chats with the entire team, he is consciously creating a start-up culture within a heritage luxury business. The concept is so alien that the highly respected IMD business school in Lausanne, at which Tornare himself studied, is currently working on a case study about Zenith and the challenges of being a retrospective start-up.

The Defy Classic with a titanium bracelet

Yet, for Tornare, who has spent much of his 25-year career in watches outside of his Swiss homeland, taking jobs in Hong Kong and the US, it makes perfect sense. “We have to think differently,” he says. “Swiss watch companies, and those located in the mountains, such as Zenith, are turned to the past. When I came on board, I started talking about a start-up spirit. I want to be innovative and dynamic.”

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With a large staff deeply ingrained in Swiss watch culture, spread over 18 buildings, it was a hard sell at first. “The first [breakfast] sessions were difficult as it was a bit of a one-way speech and people were not interacting, but by the fourth session they got the exercise and one watchmaker stood up and asked, ‘Why don’t we have big celebrities like other brands?’,” says Tornare, who deftly responded that the lack of star power comes down to budgetary issues. “For me, though, it’s not about ideas to implement, it’s about the exchange and to make them feel part of the adventure.”

Stacked watch plates during manufacturing

The next step in that adventure is to commercialise the Defy Lab watches. “From the very beginning, we didn’t want to have 10 prototypes and then stop there,” says Tornare. “I still remember as a kid at the Geneva car show, you could see so many great cars looking like space ships, but they would never get on the market.” This isn’t what he wants for his brand.

Moving Defy Lab beyond science experiment status to full-blown innovator requires scale, and Tornare is “95 percent sure” that just after Baselworld 2019 at the end of March next year, Zenith should release a more commercial offering of these watches. Production levels will depend on keeping to a strict testing schedule, but Tornare is hopeful of producing between 400 and 600 watches, which he expects to be offered at a more accessible sub-€15,000 price tag.

The margin of error is so high for the silicone oscillators, that should the shape be out by a micron (the silicone is cut by laser and hand corrected), it will not keep time accurately, and as such, each watch needs to be individually tested. Tornare should know more at the end of the summer, when his team return from their holidays and bring back the Defy Lab watches they have been testing in different environments. Not quite the strict lab conditions we expect from Switzerland, but this crowd-funded research most definitely fits in with the all-new modern attitude of this evolving watchmaking legend.

View Zenith’s collections: zenith-watches.com

The UR-105 provides an analogue and digital display of the time

URWERK’s unique approach to high horology has established it as one of the most creative and desirable brands in the industry. URWERK’s watches are like nothing else on the market, reinventing the design of a timepiece to put function and artistry above conventional wisdom; and, despite their modernity, taking inspiration from the Huguenot tradition of clock making that once changed the world. LUX Editor in Chief Darius Sanai speaks with Felix Baumgartner about innovations and collaborative design

LUX: You grew up around English clockmaking rather than watches. Can you tell us a bit about your early education in the industry?
Felix Baumgartner: Absolutely, my grandfather worked at IWC, but my father didn’t really like the big company structures; he was more into history, antique clocks. So after working at IWC for a brief period, my father opened up his own atelier at home, where he still restores clocks. That was my school, it was where I learned about clocks, and also about watchmaking because it is similar. There’s a difference in proportion between clocks and watches, and watches are only 120 years old, before that you only had clocks.

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When I grew up in the beginning of the 90s I saw a watch industry which was very much focussed on watches with very traditional tourbillon, but all the time there were the same complications and the same approaches, which, for me, was not at all contemporary. From my mother, I learnt a contemporary open-mindedness (my mother loved, and still loves, contemporary art, architecture and music) and from my father I learnt the history, knowledge and mechanical passion. However, it was difficult to bring these two things together so I started working with Martin Frei (co-founder of URWERK). Martin isn’t actually a designer, he was working in film and painting at the time we met, but it was so interesting for me to work with someone from the artistic world to create a new concept for a watch, and to think about what a watch can be today.

Felix Baumgartner at work in the URWERK studios

LUX: Had anyone else taken this approach in high end horology?
Felix Baumgartner: I think in high end watchmaking we were the first. You have Audemars Piguet; in the 70s, they made the Royal Oak, and the Royal Oak as a case is very contemporary. It is a very, very nice watch but they concentrated on the case, and didn’t look at the movement. In traditional watchmaking, you always have a case and then you have the movement inside, it is very separate and what is unique about our approach is that we create one piece, in which the movement and case speak together. What we do is very pure, very minimalist.

LUX: Did you know that people would want something like this at the high end or did you just hope? How did you create the market for your watches?
Felix Baumgartner: We were very naive! I was 22 years old, Martin was a bit older, but we were both very young, we are still young… You have to understand everybody had these polished wooden cases with a nice golden watch and we wanted to disturb the old values. When you look at architecture, or cars for example, the design process moves on but the watchmakers in Switzerland still continue with the same methods.

A lot of other watch brands try to copy what was done 100 years ago, but it is changing. 20 years ago we were absolutely alone, apart from at the entrance level where you always had contemporary watches such as Swatch; Swatch was absolutely up to date. In the middle range you had Tag Heuer and Omega. But we’re not businessmen, I’m a watchmaker and Martin is an artist, we love what we do, it’s 100% passion. We showed up at 22 years old and some people hated it, others were astonished, they didn’t know what was going on.

Read more: Swarovski x Design Miami/ designers of the future

LUX: The mechanical movement in your watches is very advanced and sophisticated…
Felix Baumgartner: Yes, we are working with the latest materials and because most of our mechanisms didn’t exist in the past, we have to invent them, which is challenging.

The UR-210 is our most complicated watch today, but it still feels simple. It is a very nice way to tell the time, because you can read the time actually without having to turn the wrist. We only make 150 watches per year, it’s a very limited production. The parts are made in Zurich by a very specific professional team, and then in the town of Aarau there’s a team doing the research, the technical dossier, the engineers and prototyping and in Geneva you have final assembling and then the communication side.

The UR-210 in black platinum

LUX: The people who buy Urwerk what do they have in common? It seems that buying watches like yours is like collecting art or cars…
Felix Baumgartner: Yes, to me, the watchmaking of today is an expression of mechanical artisanal art. It’s a little machine that you have on your wrist, which you can understand, you can hear it, you can feel it and at the same time it tells you the time. But it also is kind of a jewellery, a “bijou” for men, also for women.

LUX: How does your collaborative design process work?
Felix Baumgartner: I’ve known Martin for 25 years, and we’ve worked together on URWERK for 20 years. We call our design process: ‘ping-pong’. We meet, but also speak on the phone almost everyday. Martin lives and works in Zurich, whilst I’m in Geneva most of the time so we play with ideas then he sends it over and I send it back, it’s a ping pong. Largely though, I’m still the mechanic and he’s the aesthete.

Read more: Luxury handbag brand Moynat opens with style in Selfridges, London

LUX: Unlike many luxury brands, you don’t do any kind of celebrity marketing. You say that the product speaks for itself, what do you mean by that?
Felix Baumgartner: We are lucky because we do not have to go the ambassadors, to the actors or to the important people in the industry, they are coming to us. For example, Ralph Lauren is a collector of several works, Jackie Chan wore the UR-202 in a film and basketball player, Michael Jordan. Robert Downey Jr has worn our watches in movies too. Usually companies like Sony Pictures ask a lot of money for product placement, but it was Robert Downey Jr who asked us, not the other way round!

LUX: What’s next for URWERK? Any big plans?
Felix Baumgartner: Let’s say it’s already happening, we are working on a new invention which we will present in a few months…

To view URWERK’s collections visit: urwerk.com