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One cannot understand watchmaking today without a firm grasp on history, and reality too. It is all too easy to go along with watchmaking brands when they brandish carbon fibre cases as if they are the very latest thing. As it happens, this spoils the fact that carbon fibre remains absurdly useful in watchmaking by virtue of its extremely high specific strength rating (see the sidebar below). More than anything though, empty marketing talk simply ruins the realization that there might be only two Swiss brands making ceramic cases in sand or dessert yellow.

In other words, innovation is not so much the story as rarity is – for the purposes of this extended story then, we will be relegating the very idea of innovation to the sidelines. Now, if you are longtime reader, you might find this odd but bear with us as we meander through yet another of our materials specials. And, for those of you who wonder about the ceramic cases, we might get to an answer, but the idea there is for you to have some fun figuring things out.

As we wrote last year, one of our first deep dives into the materials that make up the watches that we love was in 2016. It was not a regular feature of the magazine until 2019 though, when it anchored the Summer issue. Issue #53 featured the now-discontinued TAG Heuer Autovia Isograph (with the word Isograph on the dial) in bronze and, with this ambiguous start, we were off to the races. The materials special has appeared in every Summer issue since, making this the seventh instalment in an unbroken row. This, of course, is also a bit of history and directly informs the story this issue.

Read More: New Balance – TAG Heuer Autavia Isograph

While we have managed to cover every typical (and some very atypical) material used by the watchmaking trade, some context is useful before we start over. Yes, we are going over everything again without properly covering steel, sort of. The alloy gets its due right here, as part of this recap or rethread, as you please. Steel is by far the most common and popular material in watchmaking, fine or otherwise, rivalled only by brass and plastic.

Watches cased in steel represent more than 50% of all watches exported from Switzerland, as of 2024 and this has remained relatively consistent over the last 10 years (source: Federation of Swiss Watchmaking otherwise known as the FH. Most figures cited in this segment are from the FH or Statista, where noted). An entire materials special dedicated to steel seemed a bit much, given that there is nothing new to report on it and it has not gotten itself on the rare and unusual materials list.

Narrative Purpose

We should pause here to note that all figures from the FH represent Swiss exports at export prices, not retail prices. These are also not indicative of watches from other countries of origin nor of currencies other than the Swiss franc. The FH figures also do not include the Swiss domestic market, which also includes what tourists buy in-country.

In any event, the trio of steel, brass and plastic is in everything, from the inside out, from cases to movements and beyond. For the sake of a more complete picture, we do include steel in this story, although it gets far less space than any other material, relative to the specials that each material once received.

But steel has a narrative purpose here, an appropriate one as it happens. In this very issue, the ever-popular Tick Talk (formerly known as The Conversation) also sees the editors grapple with the issue of how watches in gold and platinum are priced.

Read More: The Conversation: Engineering Success

This is vital to grasp because precious metals have been the lifeblood of the watch trade, even as Swiss export volumes have tumbled. The industry is down 5.8 percent, year-on-year (to end of March, when this story was written). This follows a slump of 9.4 percent last year. Over the past decade, total volumes have almost halved, decreasing from 28.1 million units in 2015 to 15.3 million last year. By way of contrast, value has proved consistent, so watch brands have been doing the same business with fewer watches. This is down to the ability of brands to charge a premium on gold and platinum, and steel too, to an extent.

The volume reality also contrasts strongly with sentiments expressed by the leaders of the watch business since 2021. To cite just one example, Breitling CEO Georges Kern told EuropaStar in 2023 that he expected the brand to surpass CHF1 billion that year. According to the latest Morgan Stanley estimates (published this year, for 2024), the brand hit CHF850 million, which is down from the CHF870 million estimated for 2023. For the record, we use this example to highlight the lack of useful reference numbers in watchmaking. Breitling itself estimates that its production is somewhere between 250,000-280,000 units in 2023 but Morgan Stanley only lists 178,000 units sold in 2023 and 160,000 units in 2024. Those are no small discrepancies, to be mild about it, and Breitling is not an outlier nor a special case.

Logical Extrapolations

Our solution to the issue of non-transparency in Swiss watchmaking is to make logical extrapolations and guess-timates. It is not great but it is the best anyone can do, and also explains why we are citing the Morgan Stanley figures. The industry might criticize this report but it does little to make the job of third-party reporting easier.

To caveat the above point about guess-timation though, there are serious limitations. For example, one might think that the Daytona model is of minor importance to Rolex, just going by its lonely place in the catalogue as the brand’s only chronograph. According to the brand’s website, there are 47 models in the current catalogue, which pales when compared with Omega’s 114 models, just in the Speedmaster family; there are also chronographs in the Seamaster range, to cite just one other Omega collection. A search for ‘chronograph’ on the Breitling website turns up 123 watches.So, one could conclude that the chronograph is somewhat less important to Rolex than it is to either Omega or Breitling.

Read More: Rolex 24 at Daytona 2025 Pushes Limits of Man and Machine

Obviously, the conclusion above is wrong and there is just not enough information to make any sort of judgment or comparison – at least not with just the above-mentioned publicly available data. Even if the chronograph is, in fact, less important to Rolex than to other brands, the guesswork we employed is just wrong. This serves to illustrate the dangers of guesswork when the scarcity of facts renders good answers unavailable. This story will see us avoid rank speculation and avoid tempting logical fallacies, or at least we shall endeavour to make it so. When good data points are unavailable, we might make some leaps but we will signpost these where possible.

Still Loving You

Steel and gold also frame this opener because both are deeply connected with watchmaking, with silver having fallen by the wayside in contemporary times. We posit that a key moment was the 1972 debut of the Audemars Piguet Royal Oak, which actually appeared in a white gold case as a prototype at Baselworld; the casemaker had yet to develop the means to create the same in steel. Yes, like it or not, the ripples created by this seminal watch are still being felt. The particular ripple that concerns us here is the decision by the Le Brassus watchmaker to offer fine finishing for the steel case, as if it was gold. Patek Philippe sealed the deal for the broader collecting world with the thematically similar Nautilus in 1976. Treating steel as something precious must have seemed mad, but it gave watchmakers the ability to charge gold prices – more even – while giving collectors reason to feel that the watches were something above anything in gold or steel.

Read More: An Azure Evolution of Patek Philippe’s Ladies’ Nautilus 7010/1G-013

Needless to say, an entire crop of watches emerged (in part) to test this proposition, where a metal that was once merely functional (or good enough for the hoi polloi) was transformed and elevated to the noble ranks of its precious brethren. Effectively, this rise in status happened because the watchmakers said so. From here, we can trace a through line that results eventually in the rise of Hublot and Richard Mille – the latter is especially famous for its Midas touch, giving technically exciting materials an appeal far higher than anything merely precious. Yes, “merely,” although all brands that raised the game for steel and other prosaic materials also gained the chance to skew prices higher on the precious metal variants they inevitably introduced.

Now, arguments about the above subject have gripped the collector community since before that Scorpions tune was an earworm, online and offline. The fact remains that Richard Mille exists and continues to ply its trade successfully. Whatever watchmaker can pull this trick off again will offer a lifeline to the entire industry. This is the key point of this tale, and we will be returning to it repeatedly. In this broadly ambitious section, we propose that such a move will happen not with Alusic (pair with Richard Mille and Google) but ceramic or titanium. Probably both. Basically, something that watchmakers are already using, just without the razzle-dazzle of a transformative campaign.

As Rare As Dust

In a nutshell, as mentioned, transformation is the point and the very heart of this narrative. We danced around this subject for the entire time that this magazine has existed, given the Richard Mille parallels. To return to that lifeline bit we tossed off ever so casually, this relates to margins.

Ceramic and titanium boast exceptional virtues in the area of functionality, and are about as rare as dust. What is still unusual is the application of high polish, brushed finishing and other fine touches in these materials but, more prominently, the more pressing issue is one of production numbers.

Here, we encounter once more a certain lack of information but what numbers are available do not bode well for metals other than the precious sort and steel. On the other hand, optimists might see opportunity here for something other than hand-wringing.

Last year, Switzerland exported 8.4 million watches in steel but no data exists for titanium. Instead, the Swiss list watches in “Other Metals,” which excludes precious metals and combinations of a precious metal and something not precious, which are both separate categories.

In the Other Metals category of watches for 2024, only 1.2 million watches were made, representing roughly 14 percent of all watches exported in steel. This is not an improvement over previous years. Going back to 2016, 13.7 million watches in steel were exported versus 2.9 million watches in “Other Metals.” This represents 21 percent of all watches exported in steel.

This might be an odd variable to look at, or an odd way of comparing variables, but we will be looking at things in a more straightforward manner in the section on titanium. For now, it should be noted while we have total Swiss export figures from 2015 and even earlier, we only have data on the split of materials from 2016 onwards. That said, let us look at how many watches were exported in 2016, which was 25.4 million units.

Referencing our earlier figure for 2015, this already represents a downturn in volume. We select these years as they represent key milestones, with 2015 representing the first downturn for the industry since 2009 (by value, in CHF).

Value Propositions

In terms of volume, the 28.1 million watches exported represented a return to 2013 form. Since 2015, volumes have been trending down consistently, with exports last year amounting to just 15.3 million units. By value, Swiss exporters registered CHF 26 billion in 2024 versus CHF26.74 billion in 2023. Looking back to 2015, total value of watch exports was CHF21.5 billion; in terms of values, all figures are not normalized for inflation nor changes in the value of the Swiss franc.

This being said, the industry is clearly doing more with less, or making more with less, if you prefer. In short, we can reasonably conclude that volumes are down while values are up. We shall reach a little and suggest that this is what the Swiss watch industry would prefer, even if it says the opposite.

When you notice how the numbers shift in terms of the precious metals category (see the relevant subsection) over the years, there are implications on the “Other Materials,” category. This category includes everything that is not a metal of some kind, which includes everything from high-tech ceramic and sapphire crystals to plastics and composites. We are using this conclusion to support the idea that increasing revenue (i.e. value as we have been using it here) might be tied more to materials other than the precious stuff. In Tick Talk this issue, this writer even suggests that hard stone dials could support elevated prices that help improve the revenue for even steel models.

Why should we care about what watch brands earn? Well, for those of you who wonder, brands are gaining this value from us, the people who buy their lovely (hopefully) watches. They have to be convincing in their propositions – at least as much as the total design creations of Gerald Genta proved to be for Audemars Piguet and Patek Philippe.

While this is the gold standard, if you will pardon the pun, this should not be taken to mean some brand or other is going to burst out with transformative titanium or ceramic watch. None of the brands in the original Genta wave of the 1970s had smash hits right out of the gate. None of the brands that preceded them did either. Therefore, it seems likely that no brand ever will.

What about the example of Richard Mille then? The simplified answer is that the brand was not immediately successful. Arguably, many brands paved the way for Mr Mille when he launched his eponymous brand, back in the day. According to our industry sources (who, regretfully, must remain anonymous), even he did not have what might be called an overnight success. In fact, we are using Richard Mille as both an example and a counterpoint – the success of the brand is due to much more than material choices, and we trust that this is obvious. Thus, we use Richard Mille to steel man the proposition that brands will need more than wise material choices to secure their futures, or the future of their margins.

A Brighter Tomorrow

At this late stage of the introduction, we want to drag markets into this, just for a measure of completeness. If the United States finds itself an appetite for titanium watches, then the world will follow. UK specialist rag WatchPro estimates that a third of the US luxury watch market is taken up by just Rolex and if Rolex can sell more titanium sports watches there, it will naturally lean more heavily in this direction. Perhaps the brand will lean into this metal for the Land-Dweller; we propose a titanium and platinum version.

Read More: The Rolex Land-Dweller Turns Rumour to Revelation

This digression aside, we know the watch world wants more titanium and that Rolex enthusiasts in particular are keen to see more of this material in that brand’s offerings. This combination of brand, market and materials, as we propose, is what makes titanium exciting but, likewise, could also herald a bright future for technical ceramic.

On this note, Audemars Piguet promises that its Royal Oak ceramic cases are just as interestingly finished as the steel ones. The short of it is that watchmaking brands will want to bring traditional fine finishing and handwork to materials that do not typically receive these. If the material is one that requires overcoming technical hurdles, so much the better.

This leads directly to a final digression, which concerns opinions, again. We save these for both this introduction and our concluding thoughts, which is a pure opinion piece penned by the editor (also the author of this entire section). We decided on this format to avoid editorializing within bulk of the story, and the editor wants his say on specific examples that he cites. In this opinion piece, we will get back to matters such as the above example of Audemars Piguet, so do not expect more on this in the section on ceramic, for example. Further thoughts on subjects like that count as editorializing, in our view.

Technical Notes

Mechanical impedance: A measure of how much a structure resists when subjected to a force. Generally speaking, it relates forces with velocities acting on a mechanical system. The mechanical impedance of a point on a structure is the ratio of the force applied at a point to the resulting velocity at that point (source: sciencedirect.com). This metric combines with specific and tensile strength to give an indication of a given material’s toughness. Toughness is a measure that we find to be very useful in evaluating materials used in watchmaking.

Specific strength: A material’s strength (force per unit area at failure) divided by its density. It is also known as the strength-to-weight ratio or strength/weight ratio or strength-to-mass ratio. Specific strength is a critical property in material science; this metric allows engineers and scientists to evaluate the efficiency of any given material. Unlike absolute strength, which measures how much force a material can withstand, specific strength provides insight into how effective a material is relative to its mass. This makes it especially valuable in industries where reducing weight while maintaining strength is essential.

Passivation: This refurbished segment serves as a small correction to an unfortunate omission in this section originally, namely a definition so here is one: Passivation is a widely used chemical finishing process to remove contaminants and improve the corrosion resistance of metal parts, including stainless steel and alloys like Nitinol and titanium. As noted, this refers to a sort of treatment so it is quite apart from a property of any material. As an example, we continue with the still-relevant example of titanium although bronze and aluminium can be passivated too. Titanium is notable though for being only found in nature in oxide form.

Titanium readily reacts with oxygen at 1,200 °C in air, and at 610°C in pure oxygen, forming titanium dioxide. It is slow to reactwith water and air at ambient temperatures because it forms a passive oxide coating that protects the bulk metal from further oxidation. When it first forms, this protective layer is only 1–2 nm thick but continues to grow slowly; reaching a thickness of 25 nm in four years. (Material-Properties.org)

Ultimate tensile strength: the maximum on the engineering stress-strain curve. This corresponds to the maximum stress that can be sustained by a structure in tension. If this stress is applied and maintained, fracture will result. Often, this value is significantly more than the yield stress (as much as 50 to 60% more than the yield for some types of metals). The stress-strain curve contains no higher stress than the ultimate strength.

Even though deformations can continue to increase, the stress usually decreases after the ultimate strength has been achieved. It is an intensive property; therefore its value does not depend on the size of the test specimen. However, it is dependent on other factors, such as the preparation of the specimen, the presence or otherwise of surface defects, and the temperature of the test environment and material. Ultimate tensile strengths vary from 50 MPa for an aluminium to as high as 3000 MPa for very high-strength steels. (Material-Properties.org)

Hardness: In the watch trade, hardness is often defined in the same way for consumers as it is in jewellery – as the word hardness refers to gemstones. This usually means the Mohs scale, with some variations. This scale is fine for minerals, or things that have a mineral structure. Metals do not have such a structure, so the Mohs scale has to be modified to approximate the hardness of metals; it can also be argued that hardness is not an intrinsic property of metals so the relevance is a bit suspect.

Whatever test one uses though, we can roughly approximate the relative hardness of the metals so the Rockwell or Brinell scales give a rough indication but Vickers works just as well for our purposes.. For example, tungsten is one of the hardest metals, whether one goes by Vickers, Mohs, Rockwell or Brinell. This is useful because metals are not always commercially rated using the same scales, and there are many types of bronzes and titanium alloys in use, even just in watchmaking. On the other hand, the Mohs scale does well for ceramic because it is a mineraloid.

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

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From fluid silhouettes and luminous fabrics, to bold prints and intricate details, Spring Summer 2026 celebrates fearless femininity and the timeless spirit of Cavalli.

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As someone who lives half his life in hotels, airport lounges, and places that claim to be “hidden gems” but smell suspiciously like floor polish and commercialism, Domaine de la Roseraie caught me off guard.

First impression: This isn’t a hotel, it’s a mirage for people who’ve finally snapped and decided peace and quiet might not be so bad after all. You arrive thinking you’re just here to sleep and shower. You leave wondering if you can get mint, verbena, and rose geranium to grow on your fire escape back home.

Set in the Atlas Mountains, this place doesn’t try to impress with flashy nonsense. It just… exists in a kind of effortless calm that starts messing with your stress levels from the moment you check in. There are no buzzwords. No curated playlists. Just mountain air, ancient olive trees, and the sense that your phone signal is about to politely give up.

Rooms are Moroccan in a way that actually means something—handcrafted details, no gimmicks, and private terraces that force you to sit down, shut up, and stare at a rose bush for 45 minutes wondering where your life took a wrong turn.

As for the food—let’s just say I’ve had my fair share of “organic farm-to-table” meals that tasted like damp cardboard. Not here. Everything tastes like it was picked, cooked, and plated by someone’s grandmother with opinions about cumin. Breakfast is dangerously generous. Dinner involves slow-simmered things that require wine and silence. You’ll try to take notes, fail, and end up Googling “how to braise tagine” on the flight home.

Days here are slow in the best way. A botanical hike before lunch. A pool that doesn’t blast music. Staff who actually know the region (and your name) without being weird about it. I even played pétanque voluntarily. That’s where we are now.

The hotel also supports a nearby women’s cooperative and school project, which isn’t performative—it’s baked into the place. You can actually visit the workshops and talk to people. It’s humbling, grounding, and yes, puts your inbox problems into context.

If you’re the type who usually books “design hotels” or “modern minimalist hideaways,” prepare to be calmly wrecked by 80 acres of unapologetic scent, sunlight, and sincerity. Domaine de la Roseraie is a must-visit. You can thank me later.

For more information visit laroseraiehotel.ma to discover more.

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The new collection by Jonathan Anderson

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Held from September 18-23, the 65^th Genoa International Boat Show attracted 124,248 visitors over the six days, according to Confindustria Nautica (Italian Marine Industry Association), marking a 2.8 per cent growth from 2024.

Figures shared by organisers included over 1,000 boats on display, 123 new products including 96 premieres, and 23 new shipyards among exhibitors from 45 countries. Boosting the show’s international profile, the Italian Trade Agency worked with the Italian Marine Industry Association to organise the attendance of journalists and foreign buyers from over 35 countries and five continents.

Piero Formenti, the new President of the Italian Marine Industry Association, said: “The Italian Marine Industry Association has developed a 10-year programme that has realised the show’s full potential.

“This is a product that the world has been able to admire, displayed in a showcase that must be more visible and more accessible, especially abroad. We work in a marvellous but fragile territory, and it is for this reason that we must be supported by infrastructures that are adequate to the strategic value this event offers the industry and Italy.”

Among on-land highlights of this year’s show was the announcement of the Italian Marine Industry Association as a strategic partner of the Louis Vuitton 38th America’s Cup, which will be held in Naples in 2027.

Grant Dalton, CEO of America’s Cup Events, attended the announcement, saying: “The Genoa show is extraordinary, as are the boats and the culture it expresses. I hope to see all the people I have seen here in Naples [in 2027].”

On the water, the Amer 120 was the show’s largest yacht, while Azimut’s 11-model display included the Italy debuts of the Grande 30M and Fly 82, just days after both Alberto Mancini-designed motoryachts concluded their world premieres at the six-day Cannes Yachting Festival (September 9-14).

Azimut’s other boats included the Fly 53, 62 and 68, Seadeck 6 and 7, Magellano 60 and 66, S7 sportbridge and Atlantis 45 cruiser.

Ferretti Group staged the country premieres of the Ferretti Yachts 800, Riva 58’ Capri and Itama 54 after the three models debuted at Cannes, while the Pershing GTX70 returned to an Italian event after its world premiere at this year’s Venice Boat Show.

The four 2025 models were joined by Riva’s 76’ Bahamas Super from the Open line and 82’ Diva from the Flybridge series, along with Wally’s wallywhy150 (79ft, 150GT) and a wallytender43X.

Sanlorenzo hosted the Italy debut of the SL110A asymmetrical planing yacht, following its global premiere at Cannes. The Italian shipyard’s eight-model line-up also included seven other models that were on display at Cannes: the SL90A and SL86A, SD96 and SD90, SX100 and SX88, and the SP92 coupe.

Sister brand Bluegame staged the Italy premiere of the BGF45 powercat – also fresh from Cannes – as part of a varied display including the BG74 and BG54, BGX73 and BGX63, and BGM75 multihull.

Among British builders, Princess showcased seven models, with the S80, V65 and F58 making their Italy debuts alongside the Y80, V55, V50 Open and F50. Sunseeker staged the Genoa debuts of the 82 Ocean Enclosed (formerly Ocean 156) and Manhattan 68 (2025), along with the 75 Sport Yacht and Predator 55.

Italy’s Pardo hosted the local debut of the P43 from its Walkaround series in a display that included the P38, P50, the Endurance line’s E60 and E72, plus the GT52 and flagship GT75. Sister brand VanDutch hosted the country debut of its flagship 75 alongside the 56, 48, 40 and 32.

Invictus and sister brand Capoforte staged a large display headed by the Italy debut of Invictus’ new flagship TT550.

Among other Italian builders, Absolute showed its 52 Fly and 48 Coupé, Apreamare displayed the Gozzo 48 Cabin, 45, 38 Cabin and 35, while Cantiere Mimi celebrated its 50^th anniversary with eight models including world premieres of new versions of the Libeccio 9.50 Walkaround and Libeccio 13.5 Cabin.

Axopar showed models from its 22, 25, 29, 37 and flagship 45 lines, while fellow Finnish brand Saxdor displayed its 400 GTO and 400 GTC flagships, 340 GTWA and 320 GTO. Spain’s Maxim Yachts staged the Europe premiere of the Max 44 R, while Turkey’s Aiata staged the country debut of its Wayfinder 38 Cabin.

Beneteau and Jeanneau of France’s Groupe Beneteau showed new motor and sailing models following their world premieres at Cannes, while Grand Soleil of Italy’s Cantiere del Pardo included its flagship 72 in the largest brand display among sailing monohull exhibitors. Lagoon, Fountaine Pajot, Bali and Excess were among catamaran exhibitors.

Beneteau’s Oceanis 52 won the Sailboats over 14m category at the show’s Design Innovation Award evening hosted by Katia Damborsky, while other winners included the Pardo 43 (Motorboats up to 14m LH), Ferretti Yachts 800 (Motorboats over 14 m LH), Sanlorenzo SL110A (Superyachts, over 24m LH) and Bluegame BGF45 (Multihulls).

Silvia Salis, Mayor of Genoa since May 2025, said: “This Genoa International Boat Show was the first for me and full of emotions. This is the great international brand of our city, an event that should be protected and constantly nurtured.

“The City Council, Liguria Regional Council and Italian Marine Industry Association need to keep working together for this growth to continue. It’s also important to invest in the ‘Fuori Salone’ (events outside the show), like in the Milan Design Week, by creating a brimming events programme, such as the Rolli days in Genoa, that will extend visitors’ stay.”

Marco Bucci, President of the Liguria Regional Council, added: “Once again this year, the Genoa International Boat Show has demonstrated its role as the beating heart of the Italian boating industry, overflowing with visitors, exhibitors, events and conferences.

“Now the goal is to do even better for the next edition. All of us, starting with the institutions and the companies that make up the sector, must commit to making this the most important boat show in the world.”

For more information visit salonenautico.com

This article was first seen on YACHT STYLE

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This year represents an important anniversary for quite a few brands. However, where most are celebrating a milestone year since the founding, Bell & Ross, on the other hand, is celebrating the momentous birthday of a new collection. This year marks the 20th year since the very first BR-01, but the brand might as well be celebrating the 20th birthday of Bell & Ross itself because it was the BR-01 that arguably set the DNA for the brand moving forward. This iconic circle within a square design, inspired by the cockpit gauges of an aircraft, is the legendary impetus that set Bell & Ross on the path to the success it enjoys today.

I remember when Bell & Ross celebrated the 10th anniversary of the BR-01 and unveiled a couple of special editions for that collection, inspired no doubt by the original timepiece. This year, 10 years since that celebration, the iconic design remains, but there is no special BR-01 in sight. Instead, what is being celebrated are the watches that were inspired by the BR-01.

The evolution of this genesis collection, so to speak. At Watches & Wonders Geneva earlier this year, we saw the BR-03, which is a smaller version of the BR-01 offer a new skeletonised movement, custom made in collaboration with Sellita and then the BR-05, which takes the base design of the BR-01 and introduced more sophistication for the more urbane watch enthusiasts, was also served in a smaller, thinner case.

To better understand where Bell & Ross stands today, and what plans might be for the next decade, we managed to snag one of the co-founders of the brand, Carlos Rosillo, while in Geneva, to sit down and have a quick chat with us.

First of all, congratulations on the 20th anniversary of the BR-01. I remember fondly the 10th anniversary of the collection, and here we are, a decade later, and you are celebrating, yet again, the collection that arguably defined the Bell & Ross signature. Maybe we can start by going back to 1992 when the brand was founded, before the BR-01 and how it has evolved since?

When we started Bell & Ross, we were already inspired by aviation. And at the time, we were not the only brand inspired by aviation. But then suddenly, we got into the cockpit and discovered the soul of an aircraft. That soul is its dashboard, and all the instruments that fill that space. We saw the clock, and it was a round clock in a square case, with four screws on the sides.

We were immediately inspired by this design, and with this, we not only found a deeper connection with aviation but also, in the process, developed an icon. This is the identity that came with the BR-01, and it is the Bell & Ross signature that you identify today – the round in a square with four screws. Whether we make the design more professional like the BR-03 or more urban like the BR-05, you still recognise the shape of a Bell & Ross even without the logo.

From there, since we have established a well-defined design language, we can start climbing the steps of sophistication or technicity. Within the BR-03, this year we are introducing skeletonised manufacture movements, for example. Or we can also introduce sophistication with materials like forged carbon, titanium, or fully luminescent ones, like with our recent LM3D.

When the BR-01 was launched, it was unapologetically utilitarian. Would you say Bell & Ross as a brand has evolved over the years, and today you target a different type of clientele?

Yes, but we also maintain the equipping of professionals, like with our past collaborations with the Rafale and Patrouille de France. We are also able to connect with the more urban consumers, the guys who appreciate the functional design but live in the city. We want to inspire our consumers with a heroic mental image, regardless of whether you are more urban or professional.

True, but with this year’s new BR-05 in a 36mm case, you must have also expanded the target audience for Bell & Ross?

The original BR-05 was 40mm, 41mm for the version with the GMT and 42mm for the version with the chronograph (Rosillo proceeds to ask me to put one of the 36mm watches on my wrist). Now, we have a 36mm with an integrated bracelet. How do we know it is the right size, complementary to the 40mm? By intuition, because Bruno (Belamich, the other co-founder of the brand) has an immense sense of creativity, which is huge. And if you look at other brands in the segment, there is always a smaller size.

36mm is a universal size. Additionally, we listened to our clients, and what we found was that a lot of women loved what we were doing with the BR-05, but the 40mm still wore a little big and bold. So, with the 36mm version, we solved the problem.

The BR-S was also created with the same philosophy, if I am not wrong. So now with the smaller BR-05, will the BR-S also make a reappearance?

No. We have no new plans for that collection at the moment.

Since we are speaking on the matter of case size, this year is the 20th anniversary of the BR-01, but there are no new or limited-edition BR-01 watches launched. Is this because the 46mm size of the BR-01 is too big for modern tastes, and the BR-03’s 41 mm specification is more suitable for the contemporary market?

A 46mm case is a little bold, yes. But I think more than size, having a signature icon is more important because it is a consistent platform on which we can build all our collections. After establishing something like this you can have the case size and material change, you can change the colours of the watch; you can change the sophistication in terms of the mechanical aspect, but what stays the same is the iconic shape and when you see it you can immediately recognize it as a Bell & Ross.

With the launch of the BR-X5, you have added a level of sophistication by giving the collection a choice of manufacture movements by working with Kenissi. When making the skeletonised movement for the recently launched BR-03, was there ever a consideration to work with Kenissi rather than modifying a Sellita movement, which was the route that Bell & Ross ultimately chose?

Yes, we explored that option, but with Sellita we managed to achieve a thinner movement, which is more important for the overall design of the BR-03 skeleton, so we chose to go with Sellita instead. And they fully customised this movement exclusively for us.

Circling back a bit to Kenissi, do you find it is difficult to convince your customers to pay extra for a manufacture movement, like moving from the BR-05 to the BR-X5?

No, I find it very natural because there are some people out there who only want the best. To pay for all the options. <He proceeds to show me a slide of the BR-05 and BR-X5 movements side by side> You can see it is not the same level of sophistication. It is like the car industry, when you can see the levels of sophistication, there will be customers who say I am going to pay the premium for the sophistication.

Anniversaries are always a great catalyst for one to look back and take stock of what has been achieved over the years. With that being said, I remember a time when Bell & Ross made great round watches as well, with the BR-V1 or BR-V2 collection. Any plans to bring back these collections?

We have made many round watches over the years, but it is not distinctive enough. They are very beautiful; I love the vintage look of those watches. But look around us, at this fair, how many round watches are there? There are so many. With these, on the other hand <Rosillo proceeds to point at the BR-03 and BR-05 watches displayed on the table>, you see this shape and you immediately recognise it as a Bell & Ross.

With another 10 years done and dusted, what is the plan for the next decade?

We will continue our role. Continue being faithful to who we are. Be more international, more successful and make the next generation enjoy Bell & Ross. We are happy that a lot of young people appreciate that we have a sense of modernity while being able to keep the tradition. The young people appreciate us because we are creative. Very creative.

Within Watches & Wonders, we really see the effect that Formula 1 is having on the industry this year. There was a time when Bell & Ross also had a piece of this pie. Any plans to go back?

We sell watches, not cars. And now there is a lot of competition with other brands that have a lot of money. We had our run with Formula 1. But now, I don’t see a lot of brands associated with planes, and the Rafale is the best plane. When you see a Rafale moving, this is very impressive. And all the engineering from Formula 1 comes from aviation, because it is all aerodynamics. Even material engineering is related to aviation.

So that’s where the focus for Bell & Ross is?

Since day one.

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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In its campaign for the new Spirit Zulu Time 1925, Longines is harnessing the power of a simple question: “What time is it there?” In a nutshell, the new 39mm watch is a “true” GMT that reminds the world that Longines claims to have made the world’s first dual time zone wristwatch in 1925. Today, we might find ourselves asking “what time is it there?” daily, given our relentless news cycle, but in 1908, Longines was reacting to a request from the Ottoman Empire.

The empire followed a different standard of time but also found it useful to keep track of Western time, and thus Longines settled that first “what time is it there?” question. Interestingly, the original 1925 model had a proper square case (to our eyes) and sported two hour and two minute hands.

The current Spirit Zulu Time 1925 adds something highly unusual for the brand – a rose gold cap bezel insert. In fact, this is the first and only instance we can confirm of such a move. The look is quite charming, at least in pictures, and rose gold does tend towards warmer tones in reality. In most other ways, including the automatic calibre L844.4, the Spirit 1925 model is unchanged from the 2022 Spirit Zulu Time. Note here that you can actually view the movement in this new model because Longines has switched out the closed caseback for an exhibition one. This is fantastic news, given that the calibre was big news in 2022 and now has a special rose gold (via PVD treatment) rotor engraved with an old school map of the world. Note also that the hands are all rose gold plated and so are the applied Arabic numerals.

While everything that is new about the Spirit 1925 model is covered above, and we have not had a proper session with the new watch, a few points are worth reiterating. The most obvious feature to remember here is the “true” versus “desk” nature of the GMT, which means you can adjust the local hour hand in one-hour increments (controlled via the crown).

We do recall seeing Spirit models at the Longines regional novelty show but we are not certain about the handling experience for this specific model. The bezel of these models tends to be pleasantly stiff, moving in distinct steps and with a comforting sound.

When the Spirit GMT was introduced in 2022, it was amongst the first such proper GMT models. It remains a welcome horological instrument in a sea of deskers but, here with the gold capped bezel, the price has gone up by a fourth. Bronze might be a good option for Longines to consider here, to maintain this warm look. As an exclusive alternative, the Swatch Group’s 14k bronze gold comes to mind.

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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Staged on a path painted white in lieu of the catwalk. On the street, anything can happen, and impromptu is the law.

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In the pantheon of chronographs, few names carry the gravitas, functionality, and cultural longevity of the TAG Heuer Carrera. Since its inception in 1963, this watch has been a reflection not just of time but of speed, ambition, and clarity. Designed by Jack Heuer with the motor racer in mind, the Carrera has stood as a touchstone of purpose-driven horology. From Sebring to Monaco, from pit lanes to boardrooms, TAG Heuer has timed legends, defined eras, and continues to evolve with technical poise. While the brand has many options for racing enthusiasts, it all began with the chronograph and the Carrera.

In 2025, as TAG Heuer reclaims its role as Official Timekeeper of Formula 1 and unveils a spate of new releases under its new adage, “Designed to Win,” the Carrera has, once again, reaffirmed its relevance. This is not merely a nostalgic watchmaker looking back; this is a storied institution deeply rooted in legacy, accelerating toward the future with one of its most iconic creations leading the charge.

And thus, we also note, from our perspective, that this magazine has been writing up TAG Heuer’s exploits in the world of motor sports for years. Both the writer of this story and the editor have been around this track more than a few times. Indeed, an entire generation has grown up with the idea that TAG Heuer is the timekeeper of record for motorsports. Now, a new generation will share the experience. Familiarity only ups the ante on our passion to learn more about the racing heritage behind everything from the Carrera and the Monaco to the Formula 1 and Link, discover different perspectives on the motorsports-driven models of various types, and perhaps make our mark on the future.

Before we proceed to the start-finish line, we must stay in the pit lane to address a couple of housekeeping matters. First, this story concerns multiple TAG Heuer collections, even though the cover showcases two Carrera Day-Date models. The others are the Carrera Twin Time and the Formula 1 Solargraph and Chronograph. Details on these watches are included in sidebars to the main story. As usual, the cover specifications and details are in the Cover Watch story. Secondly, and finally, this cover story winds its way through TAG Heuer’s racing pedigree across many decades. That means it is Carrera- and chronograph-heavy, and starts from the Heuer era. In fact, it starts even before the Carrera…

Race, Career, Road

To understand the Carrera, we must begin with its creator; in this story, the devil is in the details. Jack Heuer, the great-grandson of Heur founder Édouard Heuer, was born on November 19, 1932, in Bern, Switzerland. A multilinguist, skier, and design enthusiast, Jack would become the visionary leader who brought the family firm into the 21st century <as usual, we refer to Jack Heuer by his first name to avoid confusion with the brand, either as Heuer or TAG Heuer – Ed>. While he was growing up, there were already motoring Grand Prix championships but no such thing as Formula 1. Thus, Jack’s early inspirations came from outside the world of motorsports.

In his autobiography The Times of My Life, Jack recalls how exposure to modernist furniture and architecture, particularly the works of designers such as Le Corbusier and Charles Eames, and architects such as Eero Saarinen and Oscar Niemeyer, shaped his aesthetic sensibilities. Jack writes that as a student, he even saved enough to buy himself an Eames lounge chair, which he admits, looked somewhat out of place in amongst his modest student accommodation.

Jack joined the family company in 1958, bringing with him not only a passion for innovation but also a refined appreciation for what contemporary design could contribute to horology. That spirit would manifest most powerfully in 1962, when Jack attended the 12 Hours of Sebring and first encountered the name “Carrera Panamericana,” an infamously dangerous road race across Mexico.

“For Jack Heuer, Carrera Became a Rosetta Stone For What a New Generation Chronograph Could Be”

In The Times of My Life, Jack recounts that while soaking in the gasoline-laden atmosphere at Sebring, he gravitated toward the Ferrari pits. He spent so much time there that he became well-acquainted with the team’s young drivers, the Rodríguez brothers, and even their parents. During a conversation with them, Jack recalls: “They told me that they were lucky that their boys were so young — Pedro was then 21 and Ricardo 19 — because if they had been born a few years earlier, they would certainly have participated in the dangerous race across Mexico known as the Carrera Panamericana. At the time, it was considered to be the most dangerous sports car race in the world and over a period of five years had claimed over 30 victims. It was called off in 1955 because of safety concerns, a decision no doubt reinforced by the disaster at Le Mans the same year.”

It was in that moment that the word Carrera, Spanish for “race,” “career,” and “road,” struck Jack with uncommon resonance. For him, the word and the meaning it bore became a Rosetta Stone for what a new generation chronograph could be. Upon returning to Switzerland, he wasted no time in registering the name. And the rest, as they say, is history.

Design With A Destination

Jack introduced the first Heuer Carrera in 1963, the reference 2447, and it was nothing short of revolutionary. Jack brought his modernist sensibilities to the design process, striving for a chronograph that emphasized clarity, legibility, and mechanical sophistication. The watch’s most important innovation was the use of a steel tension ring inside the crystal, which allowed the minute scale to be placed around the dial’s periphery without cluttering the primary surface. This created an expansive and easily readable layout. The dial was stripped of superfluous text, displaying only the Carrera name and the Heuer shield, while the hands and hour markers were designed with sharp, functional lines. The case, at 36mm, was considered large at the time, and inside ticked the workhorse Valjoux 72 manual-wind chronograph movement.

Heuer had been in Formula 1 proper since 1950, with records showing the brand’s chronographs (manual-winders) in use by the likes of Ferrari, Lotus, Lancia and Maserati <source: Monochrome>. These were apparently a mix of wristwatches and dedicated stopwatches, all operated by the different teams. As you can imagine, there was little in the way of clarity and uniformity in those days.

Jack writes in his autobiography, “I wanted a dial that had a clear, clean design, and a new technical invention came to my aid.” He goes on, “A manufacturer of plastic watch crystals had invented a steel tension ring that fitted inside the crystal and kept it under tension against the surrounding steel case, thereby greatly increasing the degree of water resistance. I decided to use the inside bevel of this tension ring to carry the markings measuring one-fifths of a second. In other words, the flat dial surface no longer had to carry these markings — they had now been shifted off onto the tension ring — and this was the secret behind the fresh, clean, and uncluttered appearance of my first ‘Carrera.’”

The Carrera was instantly adopted by motorsport professionals who valued its readability during the rigors of racing. It set a benchmark not just for driving watches, but for present chronograph design overall. By 1965, the Carrera line had already begun to evolve. That year saw the launch of the Carrera Date (ref. 3147), nicknamed the “Dato,” which added a date window to the chronograph layout. The initial placement at 12 o’clock was quickly revised in 1967 to a more legible 9 o’clock position. This layout, which removed the running seconds subdial and emphasized symmetry, became a collector favourite and is often referred to as the “Cyclops” for its lone eye-like aperture.

The 1970s brought further experimentation. Barrel-shaped cases, bold dial colours, and a transition to automatic chronograph movements like the Calibre 11, all of which marked a more adventurous era. The Carrera adapted, embracing the aesthetic exuberance of the decade while maintaining its functional core. Yet the Swiss watch industry was entering troubled waters.

As the advent of quartz movements dented the industry badly in the 1970s, many traditional brands struggled to adapt. Heuer faced considerable financial pressure itself. It was not until 1985, when the company merged with Techniques d’Avant Garde (TAG) Group to become TAG Heuer, that the brand really began its next chapter. The merger introduced a renewed emphasis on motorsport alignment and technological reinvention.

“Few Watchmakers Can Lay Claim To Such Deep Roots In Motorsports As TAG Heuer”

Fast forward to the 21st century, and the Carrera’s legacy remains robust. Collectors and aficionados eagerly anticipated a return to the collection’s roots — a Carrera that honoured Jack’s original vision while incorporating present-day advancements. This was realized in multiple limited editions, such as the 2017 Skipper co-created with Hodinkee and the Blue Dreamer with The Rake and Revolution. The 2020 Carrera 160 Years Silver reissue marked a major milestone, bringing the iconic 2447 design to a new generation with state-of-the-art manufacturing and vision. These watches reaffirmed the timeless appeal of the Carrera and TAG Heuer’s respect for its heritage.

The momentum built toward a major celebration in 2023: the 60th anniversary of the Carrera. To mark the occasion, TAG Heuer released the Carrera Chronograph “Glassbox,” a 39mm watch with a box- shaped sapphire crystal, a dramatically sloped flange, and a dial that paid faithful homage to the 2447. The new TH20-00 movement inside was a technical upgrade of the earlier Heuer 02, enhanced under the leadership of TAG Heuer’s Movement Director — and industry legend — Carole Forestier-Kasapi. The TH20-00 introduced a quieter, more efficient bi-directional winding rotor and a five-year warranty, a first for TAG Heuer mechanical chronographs. Says Forestier-Kasapi, “To go from two to five years of warranty, the mechanics behind the watch have to keep up. This is a major challenge for any watchmaker.” She adds, “TH20-00 represents a leap in quality and durability. All TAG Heuer movements will now have to meet this new benchmark of excellence.”

Carrera Day-Date & Twin-Time

TAG Heuer’s 2025 Carrera lineup celebrates more than its racing pedigree, it also refines everyday utility with two elegant, mechanically driven timepieces: the Carrera Day-Date and the Carrera Date Twin-Time (opposite page).

Both models channel the spirit of the original 1963 Carrera, born from Jack’s vision of a timepiece that offered clarity, resilience, and elegance for professional drivers. Today, that same vision continues with a contemporary twist. The Day-Date and Twin-Time share a design language rooted in the brand’s racing DNA but updated with Glassbox-inspired case geometry, a redesigned bezel for improved ergonomics, and reimagined three-dimensional dials that offer greater depth and legibility. These changes amplify the presence of the dial while preserving the signature Carrera clarity that has defined the collection for over six decades.

For more on the Carrera Day-Date, see the Cover Watch story, as mentioned earlier. Moving right on then, the Carrera Date Twin Time expands the collection’s utility with a GMT complication that is both practical and stylish. First introduced in 2021, the Twin-Time GMT filled a gap in the collection and reminded everyone that Heuer had a Twin-Time model in the 1950s, before Jack Heuer refocused the brand’s attention on the chronograph. In fact, the Twin-Time precedes the Carrera by eight years. This year, TAG Heuer brings some technical updates to the Twin-Time GMT.

First though, let us look at the winning form of the new watch because that too is new. The teal sunray-brushed dial evokes classic racing livery, framed by a two-tone teal-and-silver 24-hour flange for immediate readability. A red-tipped GMT hand, subtly shaped to echo a watchmaker’s tweezers, sweeps across the dial, pointing to a second time zone, while Arabic numerals mark the hour scale with sharp clarity. It is an excellent expression of understated sophistication for the global traveller, offering functionality that does not compromise on elegance.

Powering the Twin-Time GMT is a proprietary movement developed with Advanced Mechanical Technology (AMT): TH31-03; AMT is the high- end arm of Sellita and you might recognise the movement designation from the Aquaracer Professional GMT. This replaces the Calibre 7 movement that was in use from 2021; Calibre 7 was based on a Sellita movement and thus the new TH31-03 movement can be viewed as an upgrade.

The automatic calibre delivers an impressive 80- hour power reserve and is backed by a five-year warranty, setting a new benchmark for reliability in the Carrera family. The refined finishings here include a shield-shaped oscillating weight, visible through a sapphire crystal caseback that also bears a Victory Wreath engraving. This is a quiet tribute to the Carrera’s motorsport origins and a symbolic charm for its wearer.

TAG Heuer has also reengineered comfort into the design. The steel H-link bracelet now includes a quick-adjust system for tool-free sizing and is paired with double folding clasps for a secure yet elegant fit. Select models are also available with leather straps, enhanced with contrasting linings that add a discreet pop of character. In its 2025 incarnation, the Carrera Twin-Time does not just celebrate the past. The new watch inherits its spirit and recasts it for a new generation. These are watches for milestones, ambition, and the moments that define a life lived with purpose.

The anniversary novelties also included the Carrera Chronograph Tourbillon powered by the calibre TH20-09: a COSC-certified 4Hz tourbillon movement that combines high horology with everyday practicality. Another standout launch was the 42mm Carrera Chronosprint x Porsche; a tribute to the Porsche 911, both icons having debuted in 1963.

Enabled by the custom TH20-08 calibre, the watch recreates a key moment from the 911’s legacy: its 0 to 100 km/h sprint in 9.1 seconds. As Forestier-Kasapi explains, the chronograph function mirrors this by taking exactly 9.1 seconds to sweep across a prominently marked red zone of the dial, capturing the essence of that first exhilarating launch (the chronograph mechanism then adjusts itself to sweep through the rest of the 60-second chronograph scale at the proper rate).

TAG Heuer also honoured Jack Heuer’s iconic gold Carrera reference 1158CHN with a modern 39mm version crafted in yellow gold and powered by the TH20-00 movement. Rounding out the celebrations, the brand unveiled The TAG Heuer Carrera: The Race Never Stops — a commemorative book chronicling six decades of the Carrera’s enduring legacy.

Building on the momentum of the anniversary year, 2024 introduced even more excitement. A few notable introductions included: a green Carrera Tourbillon alongside a faithful reissue of the “Cyclops” Dato, now powered by the TH20-07 and featuring the Glassbox case. The Carrera Panda Chronograph with red detailing and a polished three-link bracelet, and a new opulent execution of the Carrera Skipper was introduced, in a 39mm rose gold case.

Return To The Grid

Having understood the evolution of the Carrera, it is also important that we take a moment to recall how the manufacturer maintained its relevance in the world of automotive racing, all at the same time. You see, the Carrera was not just a new watch. It was a new way of thinking about timekeeping. Within a few years of its debut, the Carrera had become a staple in the racing world.

Professional drivers, pit crews, and timekeepers praised its readability and durability. By the late 1960s, Heuer was supplying dashboard instruments to teams, and its logo appeared on Rob Walker Lotus 49B in 1969; this was the first appearance of a watch brand on a Formula 1 car, and on driver Jo Siffert’s racing suit following the end of restrictions on sponsorships in 1968. By 1971, a formal sponsorship agreement with Scuderia Ferrari was in place.

Under Jack’s leadership, Heuer’s partnership with Ferrari was more than just symbolic; it was operational. Timekeeping equipment and personnel were deployed to races, solidifying Heuer as a motorsport authority. Drivers like Niki Lauda and Clay Regazzoni wore Carreras off-track, reinforcing its identity as a driver’s tool as much as a style statement. On the tool front, Heuer contributed to Formula 1 overall with the development of the Automatic Car Identification Technology (ACIT) in the 1970s, which saw all racing cars fitted out with tiny transponders. These transponders tracked each car effortlessly and clearly, sending their signals to a receiver at the finish line. The matter of which car finished first, or in what order, could never be in dispute after this. Thus, Heuer became the first official timekeeper for Formula 1 in 1974.

This confluence of design excellence and motorsport validation created something rare: a chronograph with an authentic purpose. When the TAG Group acquired Heuer in 1985, that racing DNA became even more entrenched, and more watch models entered the fray. In 1986, TAG Heuer introduced the Formula 1 model, whose colourful cases, straps and dials shaped an entire generation of racing fans. TAG Heuer would go on to partner with McLaren, timing the likes of Ayrton Senna, and would be named the Official Timekeeper of Formula 1 from 1992 through 2003. In 2025, that title returns, reviving not just a sponsorship but an ethos.

This year marks TAG Heuer’s triumphant return as the Official Timekeeper of Formula 1, reaffirming one of the sport’s most enduring relationships. Few watchmakers can lay claim to such deep roots in motorsport. This renewed role arrives alongside a flurry of launches — not only Carreras, but new Formula 1 models, Monacos, and solar-powered watches, each one engineered for performance with purpose.

TAG Heuer also returns in 2025 as Official Timing Partner of the Goodwood Festival of Speed. Held in West Sussex, the event is a global celebration of automotive culture. This year’s theme, “The Winning Formula – Champions and Challengers,” honours Formula 1’s 75th anniversary, forming an ideal backdrop for TAG Heuer’s return to the spotlight.

To mark the occasion, the brand unveiled the Carrera Chronograph x Festival of Speed, a 42mm limited edition powered by the TH20-00 calibre. Its hobnail-textured dial in British racing green, accented with red, and fitted with a brown rally-style leather strap, pays tribute to the golden era of British motorsport. Limited to just 100 pieces, it reflects TAG Heuer’s continued devotion to racing’s cultural legacy.

The synergy between TAG Heuer’s releases and the brand’s overarching 2025 rally cry is self- evident: “Designed to Win.” Inspired by Ayrton Senna’s famous declaration — “I’m not designed to come second” — the tagline reflects a mentality, not just a message. It anchors a dynamic ambassador lineup: Max Verstappen, Sydney McLaughlin-Levrone, Summer McIntosh, and many more.

The idea is simple but powerful: these watches are not just instruments of time; they are instruments of ambition. Whether worn in a cockpit, on a track, or in a boardroom, a TAG Heuer is a reminder that greatness is always racing forward.

High Octane

In 2025, TAG Heuer fires on all cylinders with a high-octane expansion of its Formula 1 collection, reaffirming its legacy as the watchmaker most closely aligned with motorsports. With nine new references split across bold Formula 1 Chronograph models and refined Solargraph designs, the brand strikes a balance between technical innovation and expressive design. From materials to mechanics, this year’s releases capture the thrill of racing in an array of daring colours.

Formula 1 Chronograph

At the heart of the chronograph range are four new references and a special edition Oracle Red Bull Racing Chronograph, each shaped by the aerodynamic aesthetics of Formula 1 cars. The 43mm cases are sharply contoured, with brake-disc inspired bezels, perforated details, and indexes that echo the silhouettes of Formula 1 car noses.

The cases — crafted from Grade 2 titanium, some with DLC coating — are lightweight yet robust, paired with bold rubber straps and aluminium tachymeter bezels. Crown rings in vivid lacquer and skeletonized rhodium-plated hands underscore a modern, mechanical look. Ergonomics play a starring role. TAG Heuer has shortened the lug-to-lug length, reshaped the profile, and introduced a new quick-adjust bracelet system, offering both tactile satisfaction and all-day comfort.

Colour drives the narrative. Each model is dialled into the energy of night racing, with vivid accents set against black opaline backgrounds. There’s a model with a bold red running track and strap, another in blue with a black-and-blue strap, and one more in lime green, designed to mirror the punchy visuals of modern F1 liveries. The Oracle Red Bull Racing edition features a forged carbon bezel, a checkered flag-patterned dial, and coloured Pantone details mirroring the team’s livery, complete with a two-tone blue and red strap and a caseback engraved with the team and TAG Heuer logos.

Formula 1 Solargraph

Alongside its mechanical chronographs, TAG Heuer debuts nine new 38mm Solargraph references, bringing sustainable innovation to the fast lane. For the first time in the Formula 1 collection, the Solargraph movement takes centre stage, converting sunlight or artificial light into power. Just two minutes of direct sunlight yields a full day of autonomy. Once fully charged (under 40 hours of light), these watches run up to 10 months in darkness. Restart time is nearly instantaneous; just 10 seconds of light exposure gets it ticking again.

Encasing the Solargraph is a blend of sandblasted steel, DLC coatings, and TH-Polylight, a proprietary lightweight polymer engineered for strength, visual clarity, and limitless colour application. The bidirectional bezels have been redesigned for better grip and produce a refined mechanical sound with each rotation, a tactile callback to fine instrument control.

Design nods to the original 1986 Formula 1 models are also present, from shield-shaped Super-LumiNova® indices to vibrant dial colours and racing-inspired rubber straps. Whether in black and yellow, white and green, or classic red and blue, each piece revives the legacy while pushing it forward.

With these new releases, TAG Heuer does not just echo the past. It accelerates into the future. The 2025 Formula 1 collection captures a dynamic intersection of innovation and identity, proving once again that for TAG Heuer, the race never really ends.

Carrera As Cultue

And yet, it is not quite fair to confine TAG Heuer to the racing pits and podiums. It is important to acknowledge the cultural touchpoint the Carrera and Formula 1 collections have formed for TAG Heuer timepiece of actors, artists, and collectors who appreciate its clarity of form and honesty of function <for more on the Formula 1 models, see the sidebars below – Ed>.

From the 1980s, TAG Heuer watches appeared on the wrists of stars such as Ayrton Senna, Leonardo DiCaprio and Brad Pitt, and some of us might recall those old advertising visuals with some of the same celebrities. Today, TAG Heuer watches grace Ryan Gosling, who serves as a brand ambassador not just because of star power but because of fit.

More importantly, the TAG Heuer Carrera is today a watch for connoisseurs. With releases such as the 2020 Carrera 160 Years Silver; the 2023 Carrera Chronograph “Glassbox;” and 2024’s Gold Skipper and Cyclops, TAG Heuer has shown it understands what its collectors care about. It is not just nostalgia; it is refinement, balance, and mechanical integrity.

From limited editions such as the Skipper to accessible Day-Dates and peak-performance tourbillons, the Carrera now forms a multi-tiered ecosystem. There is something for the new enthusiast and the seasoned collector alike. The strength of the Carrera line today lies not in a single model, but in its range. And its ability to unify that range under a coherent identity.

“It Is Not Quite Fair To Confine TAG Heuer To The Racing Pits And Podiums; It Is Also A Cultural Touchpoint For Generations”

Where The Road Leads

TAG Heuer has always been a brand of tension: between past and future, elegance and sport, accessibility and ambition. In 2025, that tension finds harmony. The Carrera is no longer just a chronograph. It is a phenomenon. It has survived and thrived through the quartz crises, corporate transitions, and seismic shifts in taste. What has kept it afloat and charging ahead is a consistency of vision.

Jack Heuer’s blueprint from 1963 still governs the Carrera’s design language today. Not in a retro sense, but in principle: focus, legibility, performance. And that’s precisely why it remains relevant.

To look at a Carrera is to glimpse at a story still being written. From Jack’s original 2447 to today’s green tourbillons, this is a collection that has evolved not by abandoning its roots, but by growing into them.

More or less in parallel, the Formula 1 collection has also grown into its roots, which is clear if one merely compares the current Solargraph to the 1986 models. Obviously, this is a quartz story but TAG Heuer has never been shy about innovating in this area too. We could easily bring the Connected models into this but that is still to come so we will not jump the gun here.

Whether it is the Carrera or Formula 1, the watches are at once vintage and current, elemental and technical, familiar and surprising. And in 2025, both the Carrera and the Formula 1 collections feel more aligned with their mission than ever: being tools for clarity, symbols of motion, and designs — undeniably— meant to win.

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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