Luxury Lifestyle

Composite materials are, by far, the most interesting of all such options in watchmaking. We classify them with all other exotic materials, including sapphire crystal, because there are very few of these types of watch cases, once one separates bimetallic ones.

On the other hand, watches that combine metals, polymers and ceramics do count as properly exotic, such as the Ulysse Nardin Diver (Air). As you can tell, we are using our editorial prerogatives to define exotic and, since the word is redolent of bias and opinion, why not!

In our original story about composites two years ago, we used an AI-derived definition for composites. Here is one from a commercial producer of composites: “A composite material is a combination of two materials with different physical and chemical properties.

When they are combined, they create a material which is specialised to do a certain job, for instance, to become stronger, lighter, or resistant to electricity. They can also improve strength and stiffness.

The reason for their use over traditional materials is that they improve the properties of their base materials and are applicable in many situations.” (Source: TWI Global).

No specific strength, toughness, or any other characteristic works for all composites. A strange myth abounds, though, that composites might not be suitable for water-resistance, but this message did not reach Casio nor the various shipbuilders who deploy carbon fibre and other such materials in their hulls. The bottom line on material properties when it comes to composites is that each material has to be judged on its own merits.

Having made all these points and caveats, a watch like the Hublot Big Bang Meca-10 Concrete Jungle proves our point that the excitement in watch cases comes from. We are particularly enamoured with this watch because we discussed concrete in our composite special. While Hublot has been plying its concrete craft since 2016, concrete has been making its mark on human civilisation for hundreds of years.

For reference, here is what we wrote in 2023: By many accounts, and no shortage of hard evidence, the Romans were extraordinarily successful with concrete. They were not the first to get to this material, but their particular recipe is widely recognised as being closest in terms of properties to what we use today. This extends to the use of the material to build jetties and other partially submerged structures – the Romans were the first to use a type of concrete (opus caementicium) that can set underwater, which is a property we take for granted today.

Some of the ruins are still with us today, and structures such as the Pantheon in Rome continue to be public buildings in the 21st century, alongside other major tourist attractions such as the Colosseum. We should note here that concrete also demonstrates that composite materials sometimes appear in nature as well, because barnacles secrete a sort of organic concrete to bind themselves to substrates.

Of course, metals will also remain an attractive option in the exotic department. We refer here to metals such as tantalum, which grace parts of the case of the new F.P. Journe Chronomètre Furtif, and aluminium, which forms the entire case of the Franck Muller Vanguard Royal Bauxite. Aluminium has also been embraced by brands such as Bvlgari for many years, so it is hardly completely novel. We expect brands to continue these efforts, perhaps experimenting with something bold, now and again.

This story was first seen as part of the WOW #79 Summer 2025 Issue

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Founded in Rome, Carbonikon operates at the intersection of design and material science, applying aerospace-grade carbon fibre engineering to the luxury accessories market. The company’s roots in aeronautical manufacturing inform its commitment to structural performance, product longevity and lightweight design. Rather than rely on aesthetics alone, Carbonikon’s handbags and briefcases are positioned as long-term assets that combine industrial-grade precision with practical utility. By focusing on resilience and efficiency over seasonal trends, the brand challenges traditional notions of luxury and offers a performance-driven alternative for discerning consumers. With growing interest in high-performance materials within the luxury segment, Carbonikon’s approach aligns innovation with sustainability and measurable value.

Many of Carbonikon’s products have registered copyrighted designs. The company’s mission is to offer objects that reflect the feeling and passion for their work. “Our creations are part of us and our family who actively participate in their conception and creation,” says Fabio Manieri, Company Owner of Aviacompositi – Carbonikon. LUXUO speaks to Manieri on how the brand is translating aeronautical innovation into the language of luxury.

Your bags made of carbon are truly unique! Tell us about your passion for carbon, which is usually a material associated with the aerospace and automotive sectors?

My passion for carbon fibre stems from my passion for aeroplanes and their technologies. Having grown up in Ciampino, where Rome’s second airport is located, it’s easy to imagine why. My passion for aeroplanes and all the technologies applied to them dates back to when I was very young. I started building model aeroplanes at the age of five, and as I grew up I built all kinds of them. My passion for aeroplanes led me to attend the G. Galilei aeronautical construction school in Rome. In 1985, studying in even greater depth, I decided to build my own two-seater ultralight aircraft. I designed the aerodynamics and the structure and built it over three years of intense work. After many tests, I took it for a flight in 1988. I had realised my dream! I later took my wife, my father and many friends up for flights. It’s incredible to think that I built it in the family Woodshop, which was located on ‘Wright brothers’ street! It seemed like a sign of destiny…

Many years later, from 2001 to 2018, I resumed my old passion for model aeroplanes, winning 18 consecutive Italian championships in the “FAI” (Fédération Aéronautique Internationale) F1D and F1M categories, Ministick and TH are endurance model aeroplanes weighing between 0.49 grams and 3 grams (this is not a mistake; they really weigh between 0.49 and 3 grams depending on the category). They fly on their own without radio control and with a rubber band motor. They are extreme in their construction and aerodynamics, and even have an automatic variable pitch propeller, built as if it were part of a watch! If well built and set up, F1Ds, which represent the top of the category, can fly for almost half an hour in a single flight. They are extremely efficient and represent the essence of flight physics. This is an ancient category of model aeroplanes that embodies all the modern concepts of lightness and energy saving, which are the same reasons why carbon fibre is used today.

Returning to carbon fibre, from 1988 to 1992 my passion led me to work at Agusta helicopter company in the composite materials plant, where I was employed in the experimental composite materials department and in the industrial engineering office, thus increasing my specialisation in these materials that I already knew. During those years, carbon fibre began to be used in other sectors as well, and I constantly followed its development. In fact, around 1992, after leaving Agusta, I began to manufacture model aircraft parts and motorcycle parts in carbon fibre. In 1998, I founded Aviacompositi, which for 27 years has been producing many carbon fibre parts for the automotive sector as well as for many research and development sectors.

One of the most important and unusual projects I have personally undertaken was the design and construction of the carbon fibre support for the statue of Apollo Belvedere for the Vatican Museums. It was a very challenging project that took me over eight months to design and build. The Apollo, a statue created around 150 AD by the Romans, is a landmark and icon of classical sculpture. It was once again shown to the world last October after five years of restoration. The video of the restoration, which also shows me installing the carbon support, can be viewed on YouTube.

Tell us about the unique properties of carbon?

The main properties of carbon fibre are its high mechanical strength and stiffness, compared to its low weight, which, when properly exploited, offer great advantages. Its low weight allows for significant energy savings. For example, in transport, many commercial aircraft make extensive use of carbon fibre. Being lighter, they consume less fuel, resulting in lower costs and less impact on pollution. As a general concept of high performance and maximum efficiency, just think of Formula 1 cars or America’s Cup boats.

You stated that the Carbonikon bags you have created are not just accessories, but style statements that reflect the harmony between form and function. Can you elaborate there?

Carbonikon bags and accessories are not just beautiful objects in themselves. When I design them, I don’t just think about their form, but also their practical everyday use. I believe they should bring satisfaction and lighten our days, not only by being beautiful objects to look at, giving us that feeling of enchantment we get when we look at a work of art, but also by having a practical use. For me, this is the concept of perfect balance between aesthetic form and functionality.

Why is the lightness of carbon a key element of differentiation for your bags?

It is the same concept of energy efficiency expressed above: lightness reduces energy consumption for us too, as we tire less easily. It is better to have a lightweight container which, when added to the load to be carried, has the lowest possible weight. For example, our empty briefcase weighs about 1 kg (2.20 lbs) less than a standard one, which means that when full, it will weigh on average the same as or less than a normal empty briefcase. The same concept is applied to the women’s handbag that weights only 380 grams (0.84 lb).

Do you see yourself as an engineer or a fashion designer, or both?

Considering my passion for technology, my many interests, passions and studies – from aeronautics to mechanics, design, electronics, computer science, photography and so on – I believe I am a multifaceted engineer with an innate sensitivity to design and the beauty of things. This is not meant to be self-celebration, but rather a thoughtful reflection on a life devoted to pursuing my passions.

At Carbonikon, traditional craftsmanship meets technological precision. Tell us about the production process.

The production process for a carbon fibre component is very long and complex. There are stages where modern technology can be used, but there are also many stages where high-level craftsmanship and skills are required. For example, in the design phase, we move from pencil drawings to 3D CAD, and to create the mould, the model is normally milled using CNC, but in some cases it may be more convenient to do it by hand using the traditional method. To make the product, the carbon must be layered in the mould entirely by hand, and this is where human skill makes all the difference. To achieve a high-quality aesthetic effect, the fibres must be layered very carefully without distortion or asymmetrical orientation.

Then, in the finishing stage, there is a whole phase of manual sanding, followed by painting, which gives the carbon beauty and durability, and mirror polishing in the case of a glossy finish. The process is as long and complex as that of painting a supercar. in addition to this, taking our women’s bag or briefcase as an example, there is also the preparation and manual sewing of the inner lining, its gluing to the carbon shells, the gluing of the closing frames, the assembly of the handles and bottom studs, all very long and delicate manual operations that, when done skilfully, really make the difference.

What is the profile of your clientele and what do they look for when purchasing a Carbonikon bag?

Our customers seek the uniqueness of an object, its soul that carries with it a part of us, our passion for what we do and my personal history in the world of technology and design. Ours is a modern customer who appreciates the combination of technology and refinement, loves exclusivity and personalisation, and knows that the product they are buying is not a sterile industrial production but a product with a history, the result of the passion of people who have dedicated their lives to seeking excellence in their work.

You argue that a product that lasts over time is more sustainable. Can you tell us what you think about this?

Fast fashion certainly produces more pollution due to the large quantities produced, which generates a large amount of waste to be treated. My vision is of a product that lasts over time without ending up in a landfill after a few months. At Carbonikon, we apply this concept to everything we do, and it also represents our concept of quality, which translates into a benefit for both the planet and the customer.

Do you use recycled materials?

Where possible, we always try to use materials with a very low environmental impact, such as water-based mould release agents and so on. At the same time, we try to optimise production processes to minimise energy consumption.

Do you create limited series?

Yes, we plan to create limited series and unique pieces of our products.

Where do you see your brand in five years? Will you operate a network of Carbonikon boutiques?

I see steady growth towards the main global markets. At the moment, we operate directly through our online shop, but growth will most likely lead us to create a network of Carbonikon boutiques.

What is your definition of success?

For me, success means having people appreciate what we do. Of course, it also means seeing Carbonikon grow in terms of reputation and popularity around the world and knowing that many people identify with our style. Success in economic terms is obviously important, but for me it comes after these things.

If you were to name one person or mentor who has inspired you along your life and career, who would that be?

Both for inspiration and gratitude, to my father who was so creative in his work, called “Archimedes” by his friends, who passed on to me his passion for invention and ingenuity, to my mother too with her conviction that my creative activities and passions would help me in life. I think they were both absolutely right, to my wife Antonella, who has always stood by me and supported me in my work for many years, physically making our products with me and contributing her ideas and creativity which met mine as well; to my daughters, with whom I often discuss things, listening to their points of view and advice. They are all true sources of inspiration and guiding lights in my life.

For more information on Carbonikon, click here.

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A fluid evolution of artistic horology. Hublot × Daniel Arsham present the MP-17 Arsham Splash Titanium Sapphire. A wearable sculpture where water, time, and art collide. Limited to 99 pieces.

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An imaginary conversation with Gabrielle Chanel, and a return to her personal style, masculine-feminine, as well as her fundamental fabrics: tweed, jersey and silk. Reworked, recut, and reinterpreted.

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Although this precious metal has always fascinated humans, it has the distinction of being used as actual currency. As we wrote last year in the Summer, gold shares this characteristic with silver, but that is in the past. While no one uses gold as currency directly, there is still such a thing as the gold standard and central banks take care to very deliberately hoard gold. Consequently, gold is one of the most expensive metals in the world, far too precious for most practical uses. Why?

Writing for Forbes last year, precious metals expert Brandon Aversano noted that gold’s rise in value should not be dismissed as a “one-off” and we agree. This is despite what has happened due to the Trump presidency in the US; indeed, gold is rallying as we write this. Last year, we also discussed the value of gold and noted that it has not been lower than that of its supposedly more ostentatious cousin, platinum, since the 2008 financial crisis. That crisis itself has been the suggested cause of gold’s steady rise, as investors sought the comforting assurance of an exceptionally dense rare metal to alleviate their misgivings about the ephemeral treasures of contemporary financial markets. Not the densest metal, mind, but just dense enough…

Gold is perhaps universally seen as valuable. Even an individual such as Mansa Musa, the legendary but quite real Emperor of Mali, definitely understood its appeal. It is also easy to work – possibly the very first metal used by humans, according to the World Gold Council, and decorate, and hypoallergenic to boot. On that note, here is the promised tl;dr on gold.

Gold’s atomic number is 79 and, for those of you who care about such things, this indicates the number of protons in the element. The same is true for all materials cited in this section. Gold is a group 11 element in the periodic table and is listed, famously, as Au (a reference to its Latin name, Aurum). Within this group 11 of the chemical elements, gold is accompanied by copper, silver and roentgenium. The group is officially named the copper group, although they are collectively known as colloquially as the coinage group (for obvious reasons, with the exception of roentgenium).

Interestingly, the three metals used as currency have been known since prehistory, since all occur in metallic form, with no metallurgy needed to extract them. By way of contrast, roentgenium is a synthetic metal, created in the lab in 1994.

Gold will stay with watchmaking, but cost remains a major issue, and we will continue to look towards the share of watches in this precious metal as a barometer of how the industry is doing.

This story was first seen as part of the WOW #79 Summer 2025 Issue

For more on the latest in luxury watch reads, click here.

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Lovers meeting at midnight on a bridge. Ballerinas are poised in the wings before their performance. A fairy perched delicately on a cloud. These are not scenes from the theatre or the opera — they are the ticking heartbeats of Van Cleef & Arpels timepieces.

This is a Maison that does not merely construct watches. It composes fairytales. Each timepiece is written in the language of rare crafting techniques such as enamel, miniature painting and engraving, all underpinned by extraordinary mechanical artistry. 

Ever since its foundation – following Alfred Van Cleef and Estelle Arpels’s wedding in 1895 – emotion, craftmanship and storytelling have been the soul of the brand.

Love is more than a theme for Van Cleef & Arpels; it is a cornerstone. The first piece the Maison ever sold was a diamond heart. And more than a century later, that spirit of enchantment and poetry endures in its most iconic horological collection: Poetic Complications.

“Each of our creations starts with a story,” says Pascal Narbeburu, Timepieces Métiers Director at Van Cleef & Arpels. When the Poetic Complications collection was launched in 2006, it turned traditional watchmaking over its head. Instead of privileging technical prowess for its own sake, here, emotion, craftsmanship and storytelling become the driving force of the watch, while animations, complications and métiers d’art all come together to paint a vivid picture of romance and poetry. 

Each watch takes up to 5 to 10 years of research and development. It is hardly surprising, then, that throughout the years Van Cleef & Arpels has received 15 awards (eight of them for the Poetic Complications) at the Grand Prix d’Horlogerie de Genève. 

Time to Romance

One of the most emblematic watches embodying the Van Cleef & Arpels spirit is the Lady Arpels Pont des Amoureux. Launched 15 years ago, it features two lovers standing on opposite sides of a bridge, waiting for their reunion. 

Beyond the charming narrative is an ingenious technical feat: she moves with the passing hours; he climbs more quickly, in line with the minutes, to meet her at 12 o’clock. There, they share a kiss lasting a magical three minutes before a retrograde mechanism returns them to their respective places. Since 2019, an on-demand animation triggered by a push-button allows the wearer to replay the scene at will. 

The lovers have returned in various guises over the years. For 2025, Van Cleef & Arpels has brought back the couple in two iterations: the first is a series of four watches where they make a date to rendezvous at the bridge at different times of the day. Then, there is the Lady Arpels Bal des Amoureux Automate watch, where they waltz on the cobblestoned streets of Paris.  

Embodying the very essence of Van Cleef & Arpels’ identity, this collection remains a cornerstone of the brand’s horological storytelling, still highly sought-after by collectors and emblematic of timeless design.

“We have our own vision of time which stays very consistent through the years” says Narbeburu. “That is one of the reasons why the Poetic Complications watches we have created since 2006 are timeless. It is like taking a classic from your bookshelf and reading it to your children. A story never gets old.”

The latest Pont des Amoureux creations for 2025 meld a multitude of artisanal techniques and mechanical feats, showcasing the Maison’s ever-evolving mastery. Narbeburu notes that
Van Cleef & Arpels has been steadily developing its in-house capabilities, especially for mechanisms that serve the storytelling aspect of the Poetic Complications collection. As a result, the Maison is able to develop, assemble and do quality control for its complications in-house. This allows designers, engineers, watchmakers and artisans to create embodiments of the Van Cleef & Arpels watchmaking philosophy; the movements they craft are mechanically ambitious yet always elegant, with decorative techniques applied that serve a narrative purpose. The watchmaking team demonstrates technical finesse in creating advanced complications in the most compact way possible. This is necessary so that the movements can fit in ergonomically optimised cases, making the watches suitable for everyday wear.

From Day to Night 

Lady Arpels Pont des Amoureux Soirée (left) & Lady Arpels Pont des Amoureux Aube (right)

For 2025, the Maison depicts the lovers meeting at different moments of the day, namely dawn, morning, dusk, and moonlight. The dials are a sight to behold, crafted using the coloured grisaille enamel technique. A palette of delicate watercolours depicts the city at various points during the day and night. During sunrise, the rays of the sun permeate through the buildings in a radiant burst of yellows, oranges, purples and pinks, while the sky shimmers in a gradient kaleidoscope of purples, pinks and oranges as the sun sets. 

To achieve this effect, the craftsman fires each dial around 10 times in the oven, a complex endeavour that captures every nuance and detail of the sky. Each dial takes about 40 hours to create. The scene continues on the caseback, with a sculpted gold case and an enamel decal – making for a true work of art. 

Dancing Under the Stars

The lovers continue their romantic sojourn, off the bridge and on to the cobbled streets of Paris. Inspired by the open-air dance cafes of the 19th century, they lean into each other for a kiss at noon and midnight. However, the Maison pushed the envelope even further for the Lady Arpels Bal des Amoureux Automate, as the two lovers lower their linked arms in harmony – this seemingly simple gesture took
Van Cleef & Arpels four years to perfect, so the movement appears natural, fluid and graceful. 

The scene is ebullient, with a smattering of stars, lanterns and fairy lights evoking an idyllic night out, while two stars indicate the time on the retrograde counter. One of the biggest challenges, says Narbeburu, was to combine all the Maison’s narrative elements inside the limited space of a case. “This watch is almost three-dimensional. On the dial, there are five different layers, including the clouds, the buildings, the figures, and we had to make sure that the watch remained thin.”

This dial requires over 40 hours of work, created using two enamel techniques: the ancient and highly complex grisaille and coloured grisaille, a technique created in-house, so the background is almost hypnotic in its chiaroscuro effect. 

When the Stars Align

What could be more romantic than stargazing with someone you love? For Van Cleef & Arpels, the sky is not the limit, it is a canvas. While many brands have explored astronomical complications, calculating tides and celestial positions with scientific precision, Van Cleef & Arpels’ goal is more emotive: to bring the heavens to the wrist. 

Technical innovation meets artistic ingenuity within the Lady Arpels Planétarium. The beauty lies in the astronomical mechanism, which can track the movement of planets around the dial. It all fits within a 38mm case, making it truly a work of wonder

The Lady Arpels Planétarium watch is a perfect representation of this vision. Set on a dial of deep blue aventurine glass, which shimmers like a night sky, it features seven concentric rings that chart the real-time movement of the planets. Each orb is crafted in a different, exquisite material: Venus in green enamel, Earth in turquoise, Mercury in pink mother-of-pearl, the Sun in sculpted gold, and the Moon as a diamond, which itself revolves around the Earth in 29.5 days. A golden shooting star encircles the dial every 12 hours, pointing to the current time, a touch that adds just the right celestial flair to the timepiece. 

When Horology Meets Horticulture  

In a magical garden, flowers bloom and close, marking each passing hour. In the hands of
Van Cleef & Arpels, nature is captured in a rich and vivid tableau.

The Lady Arpels watch serves as a canvas, allowing Van Cleef & Arpels’ artisans to pay homage to their perennial muse, nature, in all its boundless beauty and bounty. Among the highlights are the Lady Arpels Heures Florales timepieces, offered in two variations and colours, inspired by the 1751 work Philosophia Botanica by Swedish botanist Carl von Linné. In his book, Linné imagined a garden whose flowers opened and closed to reveal the time.

The Lady Arpels Heures Florales timepieces bring this dream to life with a miniature garden where blossoms unfurl to display the hours, offering a delightful surprise as the next flowers to bloom remain a mystery. 

Demonstrating how the team takes a hands-on role for every watch and is constantly pushing boundaries, Narbeburu reveals that they went through a demanding creative process that involved all production teams working on several iterations, each time incorporating an elevated touch of “magic” to the creation.  

One of the “magical” aspects of the garden is that the blooming of the flowers appears completely random. “In the morning, one flower might bloom to indicate 1am; in the afternoon, it will be a different flower; and the morning of the next day, yet another one,” explains Narbeburu. “So, we have three cycles that give the impression of randomness.” 

The minutes are indicated on a lateral band on the case middle, allowing time to be read discreetly. Though poetic and gentle in its expression, the mechanism is a marvel of engineering, representing five years of innovation from concept to creation.

Summer Breeze

The winner of the Prestigious Ladies’ Complication Prize at the 2024 Grand Prix d’Horlogerie de Genève, the Lady Arpels Brise d’Été watch evokes the lightness of a summer breeze, surrounded by nature. With this piece, Van Cleef & Arpels showcases its mastery of a wide range of artistic crafts, combining techniques such as gem-setting, plique-à-jour, and vallonné enamel. These methods act like brushstrokes painting a vivid landscape: the butterfly wings and blades of grass are rendered in delicate plique-à-jour enamel, giving them a translucent quality, while the flower petals — crafted in vallonné enamel — have a domed, luscious finish.

Each blossom is adorned with spessartite garnets, and the garden shimmers with vibrant green tsavorites. Completing this enchanting tableau, wildflowers gently sway in the summer breeze, while two butterflies gracefully circle the dial to indicate the hours and minutes. Pressing the pusher at 8 o’clock sets their elegant dance in motion.

Fairy Dust

At Van Cleef & Arpels, Haute Joaillerie and Haute Horlogerie often collide, as they are complementary. 

Left: Lady Féerie; Right: Lady Féerie Or Rose 

A familiar figure in the universe of Van Cleef & Arpels, the fairy is a recurring muse, a symbol of lightness, hope and benevolence. She first fluttered into the Maison’s world in the 1940s as a sculpted, gem-set clip. Today, she reappears in the Lady Féerie watch, perched gracefully on a cloud, her wand delicately commanding the minutes.

Left: Lady Féerie Or Rose ; Right: The caseback of the Lady Féerie Or Rose

Her form is sculpted in gold, and she wears a sapphire- and diamond-studded tutu. Her wings are made of turquoise plique-à-jour enamel, while the dial is crafted in guilloché mother-of-pearl. 

A Perfect Dance

Lady Arpels Ballerine Musicale Rubis (left) and Lady Arpels Ballerine Musicale Émeraude (right)

Van Cleef & Arpels has long been both passionate about the arts, and inspired by it, with an affinity for dance. It started with Louis Arpels, a member of the founding family of the Maison, who would often attend the ballet with his nephew Claude in tow. This passion eventually took form in the iconic ballerina clips of the 1940s, pieces that remain beloved to this day.

The Maison continues to dance its way into our hearts with a series of three timepieces, the Lady Arpels Ballerines Musicales watches, which uses gem-setting, miniature painting and a complex animation and a mechanism that combines a music box and a chime to create a sensorial spectacle. Available in a series of three, each iteration, the Lady Arpels Ballerine Musicale Émeraude watch with its green tones, Rubis in red, and finally Diamant in blue, pays homage to the three acts in Jewels. Famously, ballet choreographer George Balanchine developed Jewels in the 1960s following an encounter with Claude Arpels, with whom he shared a passion for gemstones.

Lady Arpels Ballerine Musicale Emeraude

The details of the watch are truly exquisite, from the dramatic folds of the curtain that parts to the revealed hand-painted dancing ballerinas. They pirouette onto the stage, to the tune of the music.  Unlike a minute repeater, this musical box can play a range of notes. Miniaturising this engineering marvel into a wristwatch was truly an extraordinary feat, one that was 10 years in the making.

This being Van Cleef & Arpels, the diamonds on the front of the case emulate the chandelier of a stage and those on the case middle give the impression of curtains – a demand that made the architecture even more challenging, as they muffled the sound, requiring masterful engineering to preserve both the watch’s beauty and its musical clarity.

Curtain call

Van Cleef & Arpels redefines the function of time with its Poetic Complications collection, watches where technical prowess is at the service of the story. As Narbeburu reminds us, “The story is at the center of the creation; mechanics and métiers d’art allow us to tell it.” 

Here, time pauses for a kiss on a bridge or the blooming of flowers in a garden. Blending mechanical ingenuity with artistic craftsmanship, these pieces reflect the spirit of Van Cleef & Arpels, from its inception more than a century ago; it continues to shape the Maison’s unique approach to watchmaking.

“We have our own vision of time which stays very consistent through the years. That is one of the reasons why the Poetic Complications watches we have created since 2006 are timeless. It is like taking a classic from your bookshelf and reading it to your children. A story never gets old.”
– Pascal Naberburu, Timepieces Métiers Director at Van Cleef & Arpels​

For more on the latest in luxury watch reads, click here.

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ONC3D, recently honored as the Best Luxury Architect Visualization & Design Studio in Singapore by the Luxury Lifestyle Awards, is reshaping the way architecture and design are presented on the global stage. Renowned for turning architectural ideas into photorealistic experiences, the studio enables developers, architects, and real estate leaders to communicate their projects with clarity and impact.

With over a decade of expertise, ONC3D has assembled internationally accredited designers and architects to deliver tailored visualization services. Their portfolio spans luxury resorts, hotels, penthouses, private villas, and world-class sports facilities. Each commission is brought to life through cutting-edge renders, engaging animations, and immersive digital presentations.

A Portfolio with Global Reach

The studio’s work extends across premium developments in Asia and beyond. Projects such as The Embassy Wireless in Thailand, W Residences Marina View by IOI Properties, and Midtown Bay by GuocoLand highlight their ability to produce visuals that resonate with international investors and audiences.

Tailored Visualisation Approach

Every project at ONC3D begins with a collaborative discovery phase. This process ensures client preferences, design aspirations, and project objectives are clearly understood. By assembling custom teams for each commission, the studio aligns technical expertise with the creative direction needed for the project.

Through mood boards, concept visuals, and interactive tools, clients are guided toward refined solutions while maintaining full involvement in the design journey. This consultative method has earned ONC3D a reputation as both a trusted creative partner and a technical authority.

Integrating Sustainability

Environmental responsibility is a core pillar of ONC3D’s operations. Their studio practices minimize waste, relying on digital workflows instead of paper-heavy processes. Energy-efficient rendering systems further reduce computational consumption while maintaining visual quality.

Beyond internal measures, ONC3D brings sustainability into the spotlight of design presentations. Their visualizations accurately depict green building materials, renewable energy systems, and eco-conscious architectural elements, supporting clients who prioritise sustainable development.

Excellence Under Pressure

One high-profile residential commission illustrated the studio’s capacity to perform under demanding circumstances. The project involved clients with undefined aesthetic preferences, tight deadlines, and exceptionally high expectations.

ONC3D responded with a structured process, offering curated mood boards and early-stage visualizations to help clarify the design direction. Rapid review cycles enabled quick decision-making, while consistent updates reassured the clients throughout the project. In the end, the final visuals exceeded expectations and were delivered on schedule, demonstrating the team’s resourcefulness and focus under pressure.

Comprehensive Services

ONC3D delivers a comprehensive suite of visualization services that bring architectural concepts to life with precision and impact. Their expertise spans photorealistic 3D rendering for both print and digital platforms, cinematic animations that immerse viewers in the design, and virtual tours offering interactive 360-degree exploration of spaces. To complement these, the team provides drone photography for striking aerial perspectives, professional photo retouching to refine marketing assets, and creative consultancy that strengthens both architectural and interior design narratives. For developers looking to connect with audiences on a deeper level, ONC3D also designs tailored campaign and development strategies, complete with scriptwriting and voiceovers.

Collectively, these services give architects and developers the tools to communicate their vision clearly, captivate stakeholders, and present projects at the highest level.

Leadership with Vision

Guiding ONC3D is Ani Som, CEO, whose academic training in Chicago and London complements her passion for the visual arts. With over a decade of experience in architectural visualization, Ani has cultivated a leadership style that fuses technical expertise with creative insight. Her ability to understand client needs and translate them into compelling visuals has made ONC3D a trusted partner across the Asia-Pacific market and beyond.

Discover ONC3D

Combining artistry, technical precision, and environmental awareness, ONC3D continues to push the boundaries of architectural visualization. Their recognition from LLA underscores their influence in shaping how luxury developments are communicated worldwide.

To elevate your next project, visit https://onc3d.com/.

About Luxury Lifestyle Awards:

Luxury Lifestyle Awards, a part of the World Luxury Chamber of Commerce, is a global organization dedicated to selecting, recognizing, and promoting the finest luxury goods and services worldwide. With a 16-year legacy, LLA connects discerning clientele to exceptional luxury experiences. Its rigorous evaluation process assesses over 5,000 products and services across 400 categories in 100 countries, culminating in a prestigious list of winners that showcases the world’s elite. Renowned brands like Ritz-Carlton, Savills, and Dom Pérignon have been recognized by the Luxury Lifestyle Awards, enhancing brand credibility, elevating status, and providing global exposure for award recipients. For more information, please visit: https://luxurylifestyleawards.com/.

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Perhaps more than any other material that we have covered so far, the stars might be right for titanium to truly take off. We first tackled this material in 2021, right on the heels of our ceramic special, and there were some links. While the world has since moved on from sweeping post-pandemic concerns, the watch-buying world has embraced titanium wholeheartedly, even though statistics indicate that this metal (and its alloys) accounts for under 10% of Swiss exports in 2024 (source: Statista). This will no doubt trend upwards because no less than Rolex has finally gotten into the game.

The Rolex Oyster Perpetual Yacht-Master 42 debuted in 2023 in RLX titanium (more on this later) and marked the first full watch case in any kind of titanium alloy for the brand; Rolex had previously used titanium for the caseback of the Deepsea model. It is this watch, and Rolex’s subsequent Deepsea Challenge model, that made us decide to give titanium, as opposed to all other materials, a more thorough re-examination of this issue. As usual, though, we are getting ahead of ourselves…

Read More: Yacht Style — Rolex Yacht-Master 42

To move things ahead and bring you up to speed, here is a brief primer on titanium, pulled and distilled from our 2021 special. If you have a watch cased in Grade 2 titanium, then that is commercially pure titanium; yes, commercially pure titanium is suitable for use in finished products. This is one of the amazing things about titanium, and is quite unparalleled, except perhaps for platinum (as far as watchmaking goes). So, what is titanium anyway?

A metallic element, titanium appears grey, or perhaps like unshining silver. In other words, it is colourless and not particularly lustrous. Its chemical element symbol is Ti and its atomic number is 22. A Group 4 transition metal, it lends its name to its grouping of metals, including zirconium (Zr), hafnium (Hf), and rutherfordium (Rf). See the gold section for more details on what the atomic number means.

In watchmaking, titanium has been in general use for 55 years now, with the Japanese getting a head start on the Swiss. Citizen was the first to experiment with this metal back in the day, and yet perhaps even this storied firm might be surprised to see how far it has come. These days, titanium alloys are even used in the most mundane of things, including woks, so our collective ability to work with it has improved dramatically. Thus, titanium is hardly novel or exotic, in watchmaking, except when used in movements (more on this later, and yes, there are a few laters to address already).

One of the main benefits of titanium, as demonstrated in its extraordinary use in the aerospace industry, is that it offers a high strength-to-weight ratio, also known as specific strength, creating an extremely strong substance (see relevant sidebar). This simply means that titanium is relatively strong at a low weight. The easiest way to think about this, in terms of watches, is to consider the difference between a watch in titanium and a watch in steel, if they are roughly the same size.

When watchmakers create models in titanium of something that exists in steel, they are effectively making something lighter, not stronger. It is the lightness, with relatively good strength, that makes titanium so useful. The titanium watch is much stronger at its weight than a steel watch would be, at that same weight. Titanium is simply less dense than steel, and certainly than iron.

Now, titanium offers a high level of mechanical resistance, otherwise known as mechanical impedance, making it extremely durable. It would not be suitable for a long-wearing item such as a wristwatch otherwise. It would certainly be no good for something like a dive watch, where it will be expected to take a beating and keep on ticking, as the saying goes.

Unlike ceramic, for example, titanium does not easily reach critical failure. In other words, it bends but does not break, like steel and aluminium. The point that it deforms is not that important here, but we will explore it a little.

To compare metals, it is necessary to introduce a titanium alloy into the picture, which for our purposes will be Grade 5. This is an alloy of titanium, aluminium and vanadium under the following formulation: Ti-6Al-4V. For stainless steel, we will use the standard 316L that most watchmakers favour.

We will use ultimate tensile strength (see the sidebar portion of the same name) here, with 316L clocking in at 485 MPa and Grade 5 rated at 1,170 MPa; MPa stands for megapascals, a unit of pressure. This does not mean that titanium is simply stronger, because some kinds of steel can reach 3,000 MPa.

As an outside reference here, aluminium is rated at 50MPa, and that is among the reasons why cases are so rarely executed in this material (again, some alloys and forms offer different properties).

On the matter of hardness, we will use the Rockwell scale (see ‘Hardness’). Approximately, 316L registers 79 while Grade 5 registers 41. Now, there are some subtleties to this measure, but broadly speaking, this result speaks to the point some collectors have noted on forums about titanium being softer than steel.

Again, some treatments increase the hardness of both steel and titanium (famously Duratect, also from Citizen, and DLC just about everywhere else), but this has an impact on one of titanium’s more attractive properties.

In the air, titanium creates a powerful oxide layer that prevents the material from reacting any further (see ‘Passivation’). This has the effect, in watches, of titanium cases looking less obviously scratched than stainless steel cases. The muted colour of titanium helps here too, but the effect is similar in Grade 5 titanium that has been polished. Of course, surface treatments upend all this, and should be considered when discussing with your friendly neighbourhood sales specialist.

The main benefit of titanium versus steel, though, as far as watches go, comes down to its corrosion resistance (‘Passivation’). This is a defining characteristic of titanium and carries over to most of its alloys. It marks the metal as quite special, as noted in our original segment on why the biomedical field uses it. In simple terms, a watch in titanium will not react to fresh water, sea water, typical swimming pool water, alkalis, acids and just about anything. It is the next best thing to platinum (which is a comparison we like to repeat, but it is relevant), but much cheaper and lighter.

As for cost, titanium is more expensive than steel, primarily because it is relatively more difficult to machine (it has to be worked in a contained setting with inert gases such as argon) and somewhat more expensive to process. The cost has little to do with rarity, which brings us to the first of our “laters.” Titanium lends itself quite easily to all sorts of useful alloys, which is demonstrated by all the grades of the material in use in watchmaking. This is why Rolex can brand its version, resulting in RLX titanium; this has enormous implications for what brands can do to both add value and extract the appropriate premium. Rolex itself confirms that it has selected a special grade 5 titanium alloy and that is what RLX titanium is.

Finally, titanium has been gaining notice for its usefulness in movements, as seen in TAG Heuer and Ulysse Nardin this year. Whether this picks up momentum – and we have every reason to think it will – will also be key to the rise of titanium.

This story was first seen as part of the WOW #79 Summer 2025 Issue

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Remember that Girard-Perregaux calibre 4800? Well, now the cat is out of the bag, so to speak, and we can talk up the Laureato FIFTY, the latest iteration of a model that has been a winner for Girard-Perregaux since 1975. Yes, if you had not guessed, the date explains the name, and it may certainly put you in mind of other watches that also celebrated similar milestones in recent years. Girard-Perregaux Managing Director Marc Michel-Amadry is keen to point out that the Laureato was not merely a trendy watch, even at launch, but really a trendsetter, and we will get to that in a moment. 

Read More: Girard-Perregaux’s New Calibre GP4800 Presents a New Milestone in Movement Mastery

First of all, what can you expect with the Girard-Perregaux Laureato FIFTY (which we will address as the Laureato Fifty or simply the Fifty)? Well, there is the matter of the new movement of course, which we have gone over in some depth previously. In keeping with what this watch represents, we will begin this breakdown with the amazing bracelet, specifically the clasp. This is in no way a slight because the Fifty has something most watches with an integrated bracelet need, yet do not have: fine adjustment without tools and without fuss. The triple folding clasp, which is as good as anything out there other than the patented Chanel one, expands by 4mm on demand. I confess that I thought I might damage the watch trying to get this to work but of course, the bracelet is plenty sturdy enough to handle the forces that human hands muster. 

Moving on for now,  some history is required for a watch like the Laureato Fifty, in part because it carries its past in its name. In 1975, no one thought the luxury sports watch was even trendy, even though the Laureato was the perfect expression of the decade. As it happens, the Laureato was even advertised in Italy with visuals from The Graduate because it was the watch for the gentleman who has arrived. A graduate, in other words, as Michel-Amadry told us. From our own previous Laureato adventures, with the last major update being in 2016, we know that the name itself was not part of the 1975 package. Not only was it absent from the dial but it was also not referred to this way (except in the Italian market). Crucially, it was also unique in the sports elegance category for debuting with an in-house quartz calibre.

Given that you are reading this story, that last bit will be about as shocking as a PG13 movie. With its GP350 calibre, Girard-Perregaux defined the technical characteristics of the quartz era to come, and the collection would not get a mechanical movement till the 1990s (circa 1995). Furthermore, in an era that heralded the emergence of the watch designer as a force, Girard-Perregaux went with an in-house design for the 1975 debut. It was not inspired by anything nautical and indeed, the brand has never said if anything specific informed the design decisions here. For the Laureato Fifty, all Girard-Perregaux will say is the following:

“In contrast to its contemporaries, such as Gérald Genta’s Royal Oak (1972), which is all angles and screws, or the Nautilus (1976), with its roundness inspired by a porthole but also by the traditional “cushion” shape, it favours precision, balance and elegance. From 1975, it embodied a new, more refined and subtle luxury… Directly inspired by the original model, this new creation embodies both fidelity to the historic design and the integration of the most advanced technologies.”

Michel-Amadry obliges us by going further: “The Laureato Fifty is the essence – the quintessence in fact – of the Laureato,” he said. “It has all the pedigree; it has all the latest improvements, in how we finish the case and how we conceive of design; and in terms of the GP4800 movement, it has something that will be there for the next 20 years! Therefore, it is certainly the most accomplished Laureato edition we have had so far.”

The above does not mean that this is the only Laureato that matters of course. The Fifty is a limited edition of 200 so all the versions in the current catalogue will remain, as they do right now from a quick check on the brand’s website. Still, with everything that is new with the Girard-Perregaux Fifty, we think that this design will lead the way for anything in sizes 39mm and below. The GP4800 movement is a fine size for the dimensions of the Fifty (it is 9.8mm thick) so the larger Laureato models will likely stay with other Girard-Perregaux movements, which includes the in-house GP01800. 

On that note, let us return to the fit and feel and thus address the bracelet again, but not immediately. While everything seems much the same as the last update, Michel-Amadry assures us that everything has changed. Just a glance at the images here and you will notice that the ‘GP’ logo and the Laureato word have been stripped from the dial. That is obviously a big deal and changes the balance of the design for the better, even if it feels off because it is different. The dial remains stamped with a Clous de Paris pattern, albeit subtly different than in other Laureato models (although we cannot say exactly how and this is certainly not discernible without a comparison to other models). This limited edition has a date function, for those who care about such things, and it features a tone-on-tone disc and an elegantly framed aperture. 

As for the bracelet, it differs from the current one, although it preserves the H-shaped links paired with polished centre links. According to Girard-Perregaux, those H-links are shorter for a more comfortable fit and we can say that there is not a lot of play between links. Everything is tight enough, and fitting just right, that hairy forearms need not fear. The links also visibly taper towards the clasp, which bears the bridge logo front and back in a very discreet style. All this bracelet needs now to elevate it past its peers is interchangeability, which we presume is still not quite up the Girard-Perregaux’s expectations. In terms of price, a bimetallic reference like this one is unusual, and is currently listed as $41,200, or EUD28,100. It compares quite well against the full gold ($76,700) and steel ($21,200) Laureato regular production variants, and also the aforementioned peers. We look forward to discovering the next chapter in this story.

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