Luxury Lifestyle

Princess is producing its first-ever outboard model as it enters the centre-console market with a new C Class of motorboats that will start with the C48, debuting in 2027. Available in Open or enclosed Deck Saloon styles, the 14-tonne cruiser is based on a 47ft 1in hull with a beam of 13ft 8in, which expands with the deployment of drop-down sides.

Will Green, CEO of Princess, said: “The introduction of the C48 marks a defining moment for Princess, representing our bold entry into an entirely new sector. This new yacht embodies freedom, excitement and pure performance, while setting the stage for a thrilling new chapter for our smaller models.”

Michael Peters is responsible for the C48’s underwater naval architecture, centred on the American’s patented Stepped Vee Ventilated Tunnel hull. The SVVT design reduces drag and creates lift by channelling air beneath the running surface, improving performance and fuel economy. The central ventilated tunnel’s vertical sidewalls simulate the effect of a keel, enhancing grip and directional stability during turning.

Olesinski – Princess’s long-time collaborator for naval architecture – is responsible for the C48’s exterior architecture, while the shipyard’s in-house design team led by Andy Lawrence, Executive Director of Design & Development, is responsible for the styling and design.

As Princess enters the high-powered outboard market, propulsion options include three 400hp Mercury Verado V10 petrol engines for an estimated top speed of 44-46 knots or triple 600hp Mercury Verado V12s for 52-54 knots, with a 2,250-litre fuel capacity. The inboard option features two 480hp Volvo Penta D6 inboard diesel engines for a top speed of 32-34 knots, a 1,500-litre fuel capacity and the option of a hydraulic swim platform.

The C48 Open is a departure for Princess, offering open-air boating that fits with the new market for luxury dayboats. Furniture starts aft with an island sunpad, while a moveable backrest can create a sofa facing forward to a table and an aft-facing sofa.

A roomy two-part outdoor galley features an electric grill, drawer fridge, sink and storage, while a triple-seat helm station has the driver in the middle. The foredeck has forward and aft-facing sofas.

The lower deck includes an aft double cabin, a bathroom to starboard and, in the standard version, a lobby with storage and optional fridge-freezer, plus a convertible V-shaped dinette. Instead of the dinette, forward options include an enclosed owner’s suite or a lower galley.

The enclosed Deck Saloon variant has an outdoor cockpit with a table and facing sofas. Sliding doors lead to an interior with an L-shaped dinette to port and a galley to starboard, aft of a triple-seat helm station with steering to starboard and doors on both sides. A sliding sunroof is among options. The lower deck includes forward and aft cabins, and a bathroom, equivalent to the owner’s suite option on the Open.

“By uniting the extraordinary talent of Michael Peters, our long-standing partners at Olesinski, and our own design team led by Andy Lawrence, we have created a yacht that combines the very best of hydrodynamic engineering, exterior beauty and interior elegance,” Green said. “The C48 is not only a new direction for Princess – it also represents a new standard for the centre-console market.”

For more information visit princessyachts.com

This article was first seen on YACHT STYLE

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IWC has focused on the Ingenieur range for its 2025 novelties, which rounds up the strong Portugieser showing from the year before that, giving fans just that much more to be excited about. One particular model, the Ingenieur Automatic 42 Ceramic, has built on the collection’s ethos of a hardy watch, and the material used this time around increases the Ingenieur’s resistance to the demands of daily life. 

Born in the 1950s, the Ingenieur was designed to be an anti-magnetic watch, which quickly drew the favour of those in the science and industrial communities. This was because the mini Faraday cage built within its case effectively shielded the movement from magnetic fields. And there numerous equipment that produced those fields in the post-war era. 

This is why IWC’s first-ever fully-ceramic Ingenieur is so apt, because it now brings another level of robustness to this iconic collection. While we are not subjected to as many magnetic fields today, the professionals of our era cannot escape another common challenge that faces the wristwatch: desk scuffs and doorknob dings. 

Enter IWC’s Ceramic Matrix Composite, which boasts 1300 Vickers on the hardness scale. As a comparison, typical stainless steel measurements hover around 200 Vickers, while titanium alloys can go up to 400 Vickers. This means that the outer layer of the watch is as robust as its internal components, lending some extra peace of mind to its wearer. 

The watch is currently the largest Ingenieur offering at 42mm in diameter, but it wears much smaller than it sounds on paper. It could be the short lugs, the stealth black colourway, or its thickness of just 11.6mm that gives the illusion of a sub-42mm case. The lightness of ceramic probably helps too. Either way, this Ingenieur will fit a wide range of tastes, even those that veer towards smaller watches. 

Inside the watch is IWC’s 82110 movement, which offers a substantial 60-hour power reserve, all while operating at 28,800 vibrations per hour. There is the added benefit of the Pellaton automatic winding system too, which ensures quicker replenishment of said power reserve with every wear. The movement contains ceramic components, too, as befits the nature of this watch.

Place this Ingenieur beside its stainless steel counterpart and it will be a challenge trying to find a difference between the two. The significance of that seemingly ordinary statement becomes clear once the word ‘ceramic’ comes into the picture. Because of its hardness, it takes special materials such as diamonds or ceramics to process and finish the watch. So, while the components such as the case ring may look like a faithful representation of its other siblings, there are many more processes involved in getting this Ingenieur to look like its classic self. 

All of the above merely highlights the engineering prowess of this watch. It has not yet taken into consideration the emotion that it can evoke from its would-be owners. But all it takes is one look at this watch to know that it will have no trouble in that department either. 

This article was first seen on MENS-FOLIO MY

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Watches and Wonders Geneva (WWG) gets a little bigger every year, and so does the star power of the new releases, it seems. If that was the main news from April, we would have been completely upbeat about the year ahead, but alas, it was not. Even if we consider the broader Geneva watch week, as it is sometimes called, watchmaking cannot be said to sail on happy tides, much less herald them. This year brings with it renewed global anxieties, with an ongoing trade war and several shooting wars, all on the back of a catastrophic earthquake in our region. With so much news to process and emergencies to deal with, the editors of this magazine find it more important than ever to cut through the noise related to our shared passion. Indeed, watchmaking is possibly the only place where ‘complications’ is a positive word that offers comfort.

Earlier in this issue, you might have encountered our report on WWG and that one is just the Singapore edition’s take on the fair and, very briefly, the events of the most important week in watchmaking, globally. This story sprawls across a variety of topics, with the personal preferences and biases of the editors on full display, but is limited largely to watches revealed at WWG. We say limited here, even though this is a 20-pager…

Now, considering that the novelties of this year will make an impact in the long term, the editors of the Singapore, Malaysia and Thailand editions of WOW pulled together to make sense of it all. What do the new releases tell us about prices, both now and shortly? How are watch brands managing the rising costs of gold, and how much of the burden will they be sharing with buyers? Does the technical wizardry on display qualify as innovation? Join the editors as they grapple with these questions, and even squeeze some answers out of each other.

“While I Correctly Guessed The Yellow Gold and The Green Dial Trends Would Subside a Bit, I did Not Envision The Sudden Increase In Bracelet Watches”— Ruckdee Chotjinda, Editor-in-Chief, WOW Thailand

RC: Good morning, gentlemen. I hope you have recovered from your trip to Watches and Wonders.

AS: I usually say there is no hope for recovery since we have to deal with results from the fair that just passed until the one next year, which is what we want anyway, so what is the point in complaining…but this year is different. So, tell me guys, where were you when the tariff news dropped?

Though the exact moment eludes me, I remember thinking the despair would be thick as an apocalyptic plague of flies; dense enough in the halls of the Palexpo to choke off discussion about anything else. Not so much, in my experience, because I sensed relatively few negatives. I will say that the tension was evident, so perhaps people were in shock. There was a distinctly orange-hued shadow framed by a nine-dash line looming over some proceedings… The struggles of great powers are ultimately something no one can control, hence the word ‘struggles’ there, so we have to adjust as best we can. In the shadow of giants, there are perhaps opportunities.

DG: I can’t remember exactly where I was when this news broke; as anyone who has been to Watches and Wonders can attest, it is chaos. But what I can say is that I was probably legging it from one booth to the next. Thirty-one percent, though, on Swiss watches. That is crazy. If any business suddenly increases prices by one-third, you can bet that customers will leave in droves. I wonder if this is what will happen with Swiss watches in the US market. It is a pretty sizable market for them, but will they lock themselves, and by extension, the American collectors, out of the fray? I suppose at the higher end of the wealth spectrum, they are not that affected because taking a private jet to get outside of the US to buy watches shouldn’t be that much of a bother. Bring the family, make it a short holiday…

RC: Honestly, I am not sufficiently educated in the area of economics and international politics to make long comments. But the small consumer in me allowed himself to think that the situation with the United States may leave more allocations for the other regions, such as ours, and that our collective plight of watch shortages (perceived or genuine) may be somewhat eased.

AS: The US is a sizable market? Well, that is underplaying it a lot, given that the US has been, at times, bigger than the second and third largest markets put together! Still, I agree with you guys that one possible outcome is that regional groupings like ASEAN might become stronger and watch brands might work harder to reach out to non-US and China audiences, if only to spread their risk around. That is a very optimistic read in my opinion, but there are more possible outcomes here than there are complications in the Vacheron Constantin Solaria…and all complications released this year.

Of course, people in the US may indeed travel outside for their luxury fix as Dan says, but even if they do so in droves, the implications for their retailers are, well, pretty strong. You know, I would like to return to the days when we did not have to talk geopolitics, economics or pandemics at all while chatting about watches.

DG: It is also worth thinking beyond the big brands, right? There is a growing number of microbrands founded within America, like Oak and Oscar, Brew, Autodromo, Orion and the newly relaunched Benrus. All of these guys probably work with the Swiss in some capacity, like buying movements, assembling watches, getting the Swiss Made certification (ahem), etc., so these guys will probably get affected too, right? And don’t even get me started on the irony that is Hamilton.

RC: Benrus is made in La Chaux-de-Fonds, for one. It is ‘Swiss Made’, despite having its headquarters in New York City. So, their situation is not too different from that of Hamilton, in the sense of having an American origin but whose production is Swiss.

AS: I doubt anyone thinks watchmaking is returning in a big way to the US! Maybe the tariffs are about chocolates! Seriously, though, I am talking about the actual making of the components and such, but like I said to some at the fair, this is far beyond our ken, so we just have to roll with it…Although I did hear some anti-American sentiments from Americans.

RC: For the time being, with 60 brands at Watches and Wonders Geneva this year, we have plenty enough on our plate to discuss today! What was the most striking observation during your first day at the fair this year, Daniel?

DG: I worked with Ashok on creating a prediction list for 2025 trends before the fair and frankly, I am relieved that at least some of my predictions about the launches came true. More particularly, the growing interest in stone dials. When I made the prediction, I was just looking at more microbrands using the material for their dials and as Ruckdee would know, the Dennison collection with stone dials was something that added to my observations.

But during the fair, even the big brands were keeping pace. Both Chopard with their L’Heure Diamant collection and Piaget with their newly revived Andy Warhol watch <covered extensively in Vision, along with the complete range – Ed> came with a full spectrum of stones to choose from. Rolex found a unique mineral to use, tiger iron; beautiful colour, striking pattern.

Even H. Moser & Cie. managed to source a unique stone called lemon chrysoprase to use in their Pop Collection (also in Vision) and I must say, the brand’s ability to seamlessly combine two stones on the dial with near-zero tolerances would probably be the most tedious stone dial to make out of the bunch. Of course, Bvlgari had to put some prime Italian marble on its dial, and lastly, Zenith’s new GFJ Collection, which I love for something other than the dial, also had lapis lazuli inlaid onto a part of its dial. Stone dials, guys! It is here to stay… at least for now.

AS: I will save my small confession on dials in general for later, but I will say that I was pleased as Punch to have Dan make that call. Anyway, to answer Ruckdee’s question, as usual, day one was mostly about getting inside the Palexpo early and parking myself outside Rolex, which is also opposite Patek Philippe. I suppose we will have plenty to say about the Geneva giants, but I think I can safely declare that the Land-Dweller makes all talk about favourite watches and best watches ridiculous! It was a genuine WTF moment for me to discover the leaks were real… I was up nights earlier looking at the patents and the teaser video…seeing the dual escape wheels in that video was an experience I cannot describe…For a moment, I understood Transcendentalism. Enlightenment was fleeting, though and, as an experience, I cannot give it more than one star (out of infinity). Punch would take his stick to it and cackle uproariously, for anyone who recalls the old puppet show.

RC: While I correctly guessed that the yellow gold and the green dial trends would subside a little bit, I did not envision the sudden increase in the number of bracelet watches, or the bracelet option for existing watches! Of course, our dear Ashok has brought up the topic of the Land-Dweller, which is arguably the most talked-about novelty this year. And then there is the Settimo bracelet for Rolex’s 1908 watch, plus the first bracelet watches by Ressence and Louis Moinet. Oh, and do not forget the new and sublime Milanese bracelet for the Jaeger-LeCoultre Reverso Tribute in pink gold! Suddenly, bracelets have become a thing?

AS: The Land-Dweller is so dominant that we do not have to talk about it, in some ways. On to the rest of the fair, but yes, what about those bracelets… Well, Rolex had two, so I guess the jolly Geneva giant owns that conversation too…Bracelets are one of a few areas that we predicted early on would be key for watch brands, most of whom have not been able to master this part of production.

The reason for this weakness is not hard to understand (clue: it is economies of scale), but first, we should clarify why it might be a winning element for some brands and why it is important in our hot and humid market. By coincidence, it is also related to the matter of materials… In just a few words, bracelets are deeply popular, even if many in the watch trade would prefer otherwise; one only has to look to sales at the biggest of the biggest for the evidence.

Then again, if you look at bracelets from jewellery masters such as Cartier, you can also see the appeal. There is the Tressage de Cartier, which is astonishing, and the always-reliably charismatic Panthere de Cartier, to just use Cartier as an example. To be slightly cheeky here, I would love to pair the Panthere Bangle with the Bvlgari Serpenti Aeterna, which, incidentally, are amongst my favourite sculptural pieces so far this year. Maybe more bangles will be a thing!

Perhaps more important than any one opinion, you can feel the appeal of a brilliant bracelet, which is one of the reasons that Parmigiani Fleurier blew everyone away with the Tonda PF five years ago. That watch featured an evolution of a bracelet that graced the now-defunct Tonda GT, except it was an order of magnitude better. The only way to know? You had to wear the watch, which is just amazing, as far as tactical marketing goes. To take it back to that bit about the problem or weakness here, most brands cannot make their bracelets, and that includes manufacturing powerhouses such as Parmigiani Fleurier and Bovet. Tony de Haas once told me that there is not a single maker of bracelets in all of Glashütte because there is simply not enough volume (excluding Glashütte Original, because Swatch Group).

DG: Yes, we will all do our articles on the Land-Dweller in due time, I am sure, probably after we have attempted to achieve Ashok’s same level of said transcendentalism (which I will probably fail to… who reads patents?!). But yes, I agree that bracelets were booming! And can I say they also came in all manner of shapes and sizes as brands try to make their bracelets unique?

Back to Rolex, yes, the aforementioned Land-Dweller has a new Flat Jubilee bracelet and as Ruckdee pointed out, for their full gold 1908, they have a new seven-link Settimo bracelet. And that new Milanese bracelet for the Jaeger-LeCoultre Reverso is indeed sublime. I am in LOVE with the tone-on-tone combination. On the more attainable end of the spectrum is Grand Seiko’s new Spring Drive UFA. The non-limited edition model comes with the iconic Grand Seiko bracelet but in titanium! That thing is comfortable as heck! Oh, and I guess I should quickly mention the Zenith GFJ again, because although nothing has been launched yet, there is a bracelet in the works for that watch and I guarantee it is like nothing out there in the market.

RC: Those are some very nice examples, Daniel. I noticed you brought up the Grand Seiko bracelet for the comfort aspect, which I agree with, and they did add the micro-adjustment feature in the clasp this time. I only wish their bracelet links had somewhat more characteristic aesthetic details, though, to further distinguish their watches from the rest of the market. And I am saying this in the most constructive sense as a long-time, pre-2017 fan of Grand Seiko, not to be dismissive.

Bracelets have always been a defining characteristic of a watch for me. I remember telling the team at Czapek & Cie. how I appreciated the individuality, if not originality, of the C-shaped links of the Antarctique bracelet. I would not have liked the collection as much if it had a more generic bracelet. The bracelet on the H. Moser & Cie. Streamliner also resonates with me, as does that of the Parmigiani Fleurier Tonda PF.

AS: I did like the Grand Seiko bracelet and will also agree with Ruckdee there on the aesthetics, but, in some ways, the rustic quality is something fans of Grand Seiko have gotten used to. What is nice here is that it makes all its stuff; so do other Japanese makers. Unfortunately for the likes of LVMH and Richemont, they do not. This is why their brands were such laggards in the bracelet race to begin with. Cartier cannot probably make bracelets for anyone else, to make a point there that also relates to the other groupings that include jewellers. Is the race on to manufacture bracelets in-house? Probably not yet, but I shall be bold and predict that it will be…

“On Gender and Watches, I Think Brands Have Started To Take The Position That If The Watch Is Smaller, They Call It Unisex Now”—Daniel Goh, Editor-in-Chief, WOW Malaysia

RC: I don’t think in-house production of bracelets will ever be a topic of the same interest as in-house production of movements back in the days. But, hey, when it comes to prediction, you are often correct. Reading what you wrote over the years, I remember that you frequently brought up the subject of platinum. And look, this year, the explosion of platinum watches at Watches and Wonders!

AS: Nothing sudden there, chaps. The rise of platinum is yet another point we have made, quite strongly over the years. Well, you can call it a prediction too if you like, as Ruckdee just did, since we started some time back. The proposition goes something like this, for those who have joined the party late: platinum should be used more by watch brands and should replace gold, at least in volume, because the price of gold continues to grow as if powered by supernovae and turbocharged by dark energy. This may be related to uncertainties in the global economy, specifically to how much central banks will lean into buying up gold as a hedge.

Unlike gold, platinum is mainly used only in jewellery and industry; gold is the stuff of financiers’ dreams and something (central) bankers love. Of course, if we return to gold as a global store of value, it will become too precious for watches and jewellery; it is already almost certainly too precious for industry. More bimetallic and semi-precious exotic materials will come into vogue, perhaps even composites like Cermet and Magic Gold (which has enough gold in it to qualify as 18k, so maybe not the best option, but something like it). See Hublot and Parmigiani Fleurier this year. And now, for my confession on dials, since Ruckdee has made that pointed claim about my prognostication abilities (and I have been congratulating myself about this too).

I did not see stone dials coming at all, and that is perhaps down to my reluctance to embrace colourful dials. Indeed, I usually do not think much of dials at all, even as opposed to hands and typefaces, which are very important to me. I know, it is strange to hear that from a man with a watch with an orange leather dial! Anyway, markets have spoken and exotic dials may be the way of the future, especially in a world where gold may no longer be viable. If it is possible to raise value and thus justify raising prices with clever dials, the industry will take the opportunity.

DG: I am not as well-versed in the economics of gold and platinum, so I will just keep the discussion light and turn your attention towards Chopard. Because this year, they have created a cute little signature to signify all their pieces in platinum, like, for example, the Alpine Eagle 41 XP CS Platinum that has just been launched. It is a little bee that is engraved into some part of the case. I love this little detail, it is like a secret little “if you know you know” type deal, like how there is a diamond between the lugs for all Patek Philippe’s platinum timepieces and the whole Ice Blue dial for Rolex as well.

RC: Oh, I noticed that part of the presentation, too, although I did not handle any platinum watch from Chopard this year. I heard that the bee symbol is hand-engraved, right? So the final execution may vary across the pieces, but the bee will have the same basic design to begin with. I would love to have tried that watch on my wrist. I think I was lured in by the eagle iris pattern emanating from the centre of the “Shades of Ice” blue gradient dial. There was a piece in the showcase outside the booth and I caught myself stopping to look and take a picture more than once.

DG: Yeah! For the Alpine Eagle, it was on one facet of the side of the case, and for the L.U.C Quattro Mark IV, it is there, hiding near one of the lugs. And yes, that thing is a definite beauty!

AS: The iris pattern is lovely! On the whole, I have to say that Chopard had great offerings this year, beyond the Alpine Eagle and L.U.C. models, too. There are a few great Happy Sport models in the mix, for a bit of reliable fun. Back on point, while brands do like to denote the use of platinum with little signatures, as Dan mentioned, you need only feel a watch in platinum to know the difference. I suppose if platinum is priced below gold, there is no need to have any ‘show-off’ signatures here. As I have written too often now, gold is priced many times above platinum on the open market and collectors must be starting to ask difficult questions about this now. If they are not, they will be.

RC: I am still processing your proposition, Ashok. I was socially (or industrially) conditioned to expect that a platinum version of a watch must be more expensive than the gold version of the same, due to the difficulties involved in machining and all. And we are not even talking about white gold being priced higher than pink gold, and pink gold being priced higher than yellow gold!

DG: Speaking of prices…as we all know the whole watch industry is in a little bit of a downturn at the moment and I don’t know about you guys but alongside the crazy expensive watches we have just discussed in gold and platinum, there seems to also be a focus on something a little less ostentatious and a little more quiet. Like IWC focusing on the Ingenieur for this year, they come in smaller sizes, and there are more dial colours to choose from. Although they did launch a perpetual calendar in this collection as well. Bell & Ross chose to create a little more understated BR-05 this year, also at around 36mm. Then there are the TAG Heuer Formula 1 Solargraphs, some in steel, some in something called TH-Polylight, but all in a 38mm case and a wallet-friendly price.

AS: Prices will inch ever higher, as anyone can tell you, and sizes will probably come down. Brands understand that climbing the value ladder is vital to lasting success, as seen in the export reports by the Federation of Swiss Watchmaking. But the key to this ambition is what happens to gold and platinum. I remain steadfast in my opinion that brands should justify the platinum price, or some such thing, where they can rely on something else to carry the weight of this all-important price segment. I am sure they are preparing for this reality as best they can. Raising the prices of gold models will be too much to bear, especially if markets turn bearish, so watchmakers will have to find their margins elsewhere.

On a related matter, there remain significant opportunities in segments that major brands are clearing out of because there are still customers there. They are just waiting for great watches, and the likes of Frederique Constant, Norqain, Christopher Ward and SpaceOne are obliging them. As for less ostentatious, how about bronze? There was a nice example from Bremont this year, which also had a bracelet… This surprised me because Bremont CEO Davide Cerato is one of those executives who has publicly stated that he is “not a bracelet guy.” I have the tapes to prove it!

RC: I saw him on the streets of Geneva by chance, but I wouldn’t try to stop him in public because he wouldn’t remember me as a journalist from Thailand. Being a bracelet guy or not, I am sure he knows how to make watches for the entire market, not just himself. I must also say that I like what I see coming out of Bremont so far. I just don’t know why their booth is so huge (and sparse), compared with every other brand nearby on that upper floor. It is larger than the Zenith and Ulysse Nardin booths on the main floor.

AS: I am with you on Bremont and I hope the online vitriol directed towards the brand dies down. Bremont is moving in an interesting direction and it takes a lot to pivot a watch brand, as Cerato has.

DG: Maybe because they could not fit Bremont in the main halls and so they gave them a position right at the entrance and a bigger exhibition space to entice them to pay the same amount as all the other exhibitors? I would love to know the inner workings of a fair like this. One of my bucket list items as a watch journalist is to see whether I can witness the build-up or teardown of a fair like this. I am sure insane things are happening behind the veil when the Palexpo closes its doors at the end of Watches and Wonders.

RC: I would love that too, Daniel. Back in the days, the closest thing you got to see was the exterior shell of the booth (the part where visitors don’t see) and the actual ceiling of the exhibition hall when you took the shortcuts to the restrooms or the smoking area. Now those dark passageways are off-limits to fair attendees like us, as most are used by the caterers.

AS: On this point, what did you guys think of where the independents find themselves now that LVMH has occupied more prime real estate? I think that being closer to Rolex is a good idea, especially because the brand still attracts a lot of attention from the public, as seen in the snaking lines on the public days that stretched right into the indie section.

RC: The brands at Carrė des Horlogers, where the Rolex line snaked into, were fine, but I feel bad for the ones at La Place, though. The latter would have been more visible if that entire hall were not compartmentalised into the larger Carrė des Horlogers and the smaller La Place. From my observation, the brands at La Mezzanine on the upper floor across from Bremont had even more traffic than the ones at La Place.

“There Are Opportunitites In Price Segments That Major Brands are Clearing Out Of Because There Are Still Customers There”— Ashok Soman, Editor-in-Chief, WOW Singapore

DG: Didn’t the LVMH group have the same setup at Baselworld? It was the LVMH brand’s first, as you entered the main doors, then came the Patek Philippe and Rolex booths opposite each other. Maybe they are just trying to recreate that effect. One other journalist did point out to me that poor Zenith got hidden a little bit behind the hulking TAG Heuer booth.

AS: Except at Baselworld, the independents were sidelined and had been since the start… Also, LVMH did not begin altogether there, as the Swatch Group did. The brands shifted about quite a bit before settling. Bvlgari was outside, famously, just as it was in Geneva until this year. At WWG, the independents have gotten a much better deal, including better rates than the big boys – this is reportedly (according to the Business of Fashion) up to CHF2,000 per square metre for the bigger boys and CHF1,800 for the minnows. As for Zenith, I guess it will become the engine of the group, so being a bit out of the way is to be expected, although I am probably reading too much into this.

RC: Zenith did not get hidden. It just did not enjoy the same upgrade as Hublot and TAG Heuer. Maybe next year. I don’t know. TAG Heuer now occupies prime real estate at a corner directly across from Patek Philippe and diagonally across from Rolex, dear readers.

DG: Yeah, because of the link between TAG Heuer and Formula 1! Did you see how many Formula 1 cars were at the fair? TAG Heuer had two, naturally. And even a simulator one could try if one had the time. Tudor had a car hanging off the side of their booth, in mid-air. And they had another replica inside their structure, where you could do the pit tyre change and time yourself. And, okay, although IWC’s F1 car was fictional, it was still incredible to have so many of these cars in one place.

AS: I wanted to get into the Tudor car! How amazing would that have been, if possible! It is a pity that TAG Heuer could not have the full-sized race simulator experience for the cars, but that apparently would have taken too much space (according to Antoine Pin, the new CEO there). I do like the way some brands use their spaces to create experiences, especially Jaeger-LeCoultre and IWC. Some folks asked if those brands had special deals to pack their stands, which, of course, they do not. The booths are just great to look at and explore…so are Van Cleef & Arpels and Oris, and Bremont too, just to pique the interest of more people to visit them!

RC: Did you see the smoke slowly coming out of one of the race cars at IWC? Even though you know by heart that it was fake, it did feel real! I think Watches and Wonders Geneva this year had a little of something for everyone of every taste and every gender, if you want to go there. And there was not much overt talk about gender neutrality or sustainability, either. Everyone just did their thing, their part and their way.

DG: I did not see the smoke, all I know is that at some point, Hans Zimmer was at the IWC booth and as much as I love his soundtracks, I do not know what the man looks like. On gender and watches, I think brands have started to take the position that if the watch is smaller, traditionally what women would wear, they have taken to calling it unisex. Maybe because there is a trend now for smaller watches. Maybe calling it unisex opens it up to more segments of the market.

But now that you mention it, there wasn’t much talk this year on gender neutrality and sustainability… Okay, perhaps from one brand, Ulysse Nardin, with its Diver (Air). This is a brilliant watch, by the way, that is made from a hell of a lot of recycled and/or upcycled materials. But other than this, I think brands are just trying to speak to their customers. When times are not the best, it is hard to focus on all these other issues. When there is surplus revenue, then you can think of saving the world or being politically correct.

RC: That is a very smart observation regarding what most people tend to do during hard times, Daniel. Thank you for the point. Going back a little bit to IWC, I must say that I am worse. I know the reputation of Hans Zimmer. I am mesmerised by some of his work. Same as you, I didn’t know what he looked like. What I also didn’t know was that he was standing like four metres directly in front of me, until I was told. Regarding the smoke, I noticed because people were staring at one race car in particular, so I joined them in their curiosity. In Thai, we call the practice “Thai moong”, literally “Thai people gathering around to look at something,” but in this case, I guess it was an “international moong” by default.

AS: You guys did not recognise Hans Zimmer? I guess you are in the Palexpo for the watches, eh! I am not one to talk, though, as I was only in the “moong” at Rolex and that was to see watches! On your point about sustainability and gendered watches, welcome or not, the effects are already in play, with more sustainability and gender fluidity already in the mix. As mentioned, watch sizes are coming down and that is at least partly due to brands deciding not to gender some models. Merely the logical thing to do, in my opinion. Anyway, the supply chain is not easily altered and if brands have indeed made long-term plans to make things more sustainable, then that is what will happen.

As we have discussed before, there will probably be less talk about how the watch industry itself is cleaner or greener and so on. For those who care, less idle chatter is good because brands like Chopard, which make a big commitment on the sustainability front, are just doing it, whatever the future holds. For those opposed, well, you will hear less about it and need not worry about whether increasing prices are due to sustainability or whatever. Probably more related to the price of gold and the CHF than anything else. Oh yes, while I did not bring it up earlier when we were discussing prices, the CHF is another huge pain for everyone, and it shows no signs of easing up. It is more relevant to us, in our markets, than the tariffs.

RC: Correct. CHF has direct implications for us, and the so-called haven currency probably will not ease until this trade war is resolved. And personally, for my country, the stock market is at its decade low, so you can imagine how weak my currency is. CHF has never been more expensive in my adult life. But I try not to concern myself with it too much now.

DG: You know, this issue of a strong CHF has happened before, I think about half a decade ago, when I was a younger, fresher-faced journalist. But I suppose the industry adapts and will eventually stabilise. And it is not just the brand side of the industry that has to adapt. Even we journalists are too.

I don’t know if you guys noticed, but I am seeing an increased number of videographers, selfie sticks, and gimbals roaming around the halls of the Palexpo this year. I suppose that is because YouTube content is a much bigger thing now, and there are plenty of content creators around in the market. It makes me feel kind of old with my pen and paper during the Touch and Try sessions, jotting away. There were people even doing live updates as the watch was being presented to them. Takes a different set of skills. What were your experiences of the sessions this year?

AS: I liked meeting and talking with some of the content creators – they have a fresh perspective, sometimes. I had a bit part in a video by one of them, just because I was in the Norqain stand while he was filming. Honestly, I think I was more intrusive there than he was, and will comment on his video by way of an apology. Since you brought up this matter of skill sets and such, I do have to say a few things, mostly against more senior folks. We old dogs sometimes learn new tricks badly.

Now, I was a loud opponent of the former term, Touch and Feel (now rebranded as Touch and Try), which is creepy, at least in English. I even mentioned this in our first conversation about the physical WWG in 2022. Thus, I was pleased that the organiser was paying attention to those of us who felt this way; clearly, I was not alone. Now, I have to say: “Wait, I have a new complaint!” Forgive the Nirvana reference and set it to one side because this is about how people behave during the Touch and Try sessions, which are, to be pedantic, about getting a feel for the novelties and asking questions of the specialists present. It is NOT the place to be making videos and talking over presenters, nor the place to block the presenter’s screen with light boxes and the like. Next year, I am going to walk right into people’s shots, if they are taking up space wherever… If I am not mistaken, these experiences are not limited only to me, which is how I interpret Dan’s “live updates” comment.

RC: Oh, as much as I should say “don’t get me started on this”, I have something to vent myself! All parties can deal with the main hallways or the open parts of the booths. They can avoid us, we can avoid them, and things can be civil. But I will not tolerate extensive shooting during Touch and Try sessions next year.

I label myself a photojournalist because I take more pictures than regular journalists, but my pictures are not as good as those of professional photographers. And I do shoot a lot of watches at the fairs, but in dedicated photo sessions by way of private appointments. I felt that, during the Touch and Try session, I should pass the watches on to the next person as quickly as feasible, so I could just take a quick snap of a wristshot or two and be done with it. It doesn’t take longer than any other journalist with their phone. I am even quicker half of the time.

This year, I was stuck in a situation where a YouTuber had to present the watches to his camera while I sat and waited. Filming him watching the presentation only took up space because of the additional crew. But filming him describing the watches to his audience took up my time. In the end, I asked the brand rep for the one watch I wanted to see, and I left the room quietly afterwards. To be fair, any YouTuber or influencer looking to do a shoot like that should book their private session for the purpose. They should have the same etiquette I do, of not eating into other people’s time and resources.

DG: Yes, not everyone is as considerate as you. I think that the organisers need to consider this when planning out the types of sessions. Maybe there should be video sessions too, alongside photography slots? But as it is, I think the consensus from journalists is that four media days are not quite enough to cover 60 brands, and if they plan to increase the number of exhibitors and do more types of sessions, I don’t know where they will find the time. Unless they extend the fair, which I suppose brings with it its own set of problems, like clashing with other events, costs, etc. Which is why I say it would be great to speak to someone from the organising committee on this. Perhaps I shall put this on my to-do list for the coming years.

AS: Let me just pile in on Ruckdee’s point! If you want to be your best self and do whatever you please, book your private session. That solves everything and some media do just that. Ok, to begin with, I think the general Touch and Try sessions themselves can be managed better by the brands. If our market representatives are present, they should mind what the journalists do. Not what we ask or anything, but how we act; our PR people are best placed to handle us and ensure we are not an embarrassment to our countries. Ok, that might be harsh, but my point is that we can get carried away (I am certainly not immune, so my apologies to everyone at the Rolex presentation) and our presenters can and should rein us in, when necessary. It will be much worse if we have to mind each other! I, too, had a similar experience to Ruckdee, where I just left a presentation as he did, only I told the press representative that I was not staying to enjoy the riot that was brewing!

RC: I had a hassled start at Watches and Wonders this year. It was a combination of many factors, and then this incident with a YouTuber at the end of my first day left me jaded. But do you know what picked me up four days afterwards? It was the fairgoers on the first public day! It was their collective sense of enthusiasm, curiosity and maybe joy that I knew I would have had back in the days before I became a full-time journalist. And despite those members of the public not being from my country, I was reminded of my relative duty to the watch industry, and the contributions I can still bring to my readers and local market.

AS: I love that, Ruckdee! The public days were indeed a revelation to me, given that this was my first year attending one of them. It was great to wander the halls on Saturday and see all the families and students wandering about. It was a real Baselworld moment! I guess I would be a bit miffed if I had an appointment to make and yet had to push through a crowd, but that did happen in Basel, too. It is a small price to pay to see that enthusiasm for watchmaking goes beyond the professionals and the collectors.

DG: You know I ask myself the same question every year, the day before the fair begins and I am looking at the mountain of appointments ahead of me, jet lagged and tired. Why did I agree to this? And then the moment those doors open, and I feel the excitement of hearing bits and pieces of information about new launches here and there, then seeing the pieces for myself, having great conversations with people over meals, and quick conversations with faces I only see sometimes at these fairs. I am reminded of why I do this in the first place and for sure, I will probably be back again for this “chaos” next year.

RC: Brilliant. And, yes, we are privileged to have this job despite the slight obstacles which may inconvenience or tax us from time to time. Hey, I am glad we can bring this conversation to a conclusion on a positive note. I will have fun compiling images we can use for the watches mentioned and the environment we were operating in. Thank you for a lively two and a half hours of writing, guys.

DG: A pleasure as always! Good luck in sifting through all the Watches and Wonders materials, guys.

AS: We are here to discuss the future of time (well, timepieces), after all, so staying positive is par for the course. See you guys past the finish line for our respective Geneva issues!

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

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The post Watches and Wonders Geneva 2025: Are Swiss Watch Prices Out of Control? appeared first on LUXUO.

Watches and Wonders Geneva (WWG) gets a little bigger every year, and so does the star power of the new releases, it seems. If that was the main news from April, we would have been completely upbeat about the year ahead, but alas, it was not. Even if we consider the broader Geneva watch week, as it is sometimes called, watchmaking cannot be said to sail on happy tides, much less herald them. This year brings with it renewed global anxieties, with an ongoing trade war and several shooting wars, all on the back of a catastrophic earthquake in our region. With so much news to process and emergencies to deal with, the editors of this magazine find it more important than ever to cut through the noise related to our shared passion. Indeed, watchmaking is possibly the only place where ‘complications’ is a positive word that offers comfort.

Earlier in this issue, you might have encountered our report on WWG and that one is just the Singapore edition’s take on the fair and, very briefly, the events of the most important week in watchmaking, globally. This story sprawls across a variety of topics, with the personal preferences and biases of the editors on full display, but is limited largely to watches revealed at WWG. We say limited here, even though this is a 20-pager…

Now, considering that the novelties of this year will make an impact in the long term, the editors of the Singapore, Malaysia and Thailand editions of WOW pulled together to make sense of it all. What do the new releases tell us about prices, both now and shortly? How are watch brands managing the rising costs of gold, and how much of the burden will they be sharing with buyers? Does the technical wizardry on display qualify as innovation? Join the editors as they grapple with these questions, and even squeeze some answers out of each other.

“While I Correctly Guessed The Yellow Gold and The Green Dial Trends Would Subside a Bit, I did Not Envision The Sudden Increase In Bracelet Watches”— Ruckdee Chotjinda, Editor-in-Chief, WOW Thailand

RC: Good morning, gentlemen. I hope you have recovered from your trip to Watches and Wonders.

AS: I usually say there is no hope for recovery since we have to deal with results from the fair that just passed until the one next year, which is what we want anyway, so what is the point in complaining…but this year is different. So, tell me guys, where were you when the tariff news dropped?

Though the exact moment eludes me, I remember thinking the despair would be thick as an apocalyptic plague of flies; dense enough in the halls of the Palexpo to choke off discussion about anything else. Not so much, in my experience, because I sensed relatively few negatives. I will say that the tension was evident, so perhaps people were in shock. There was a distinctly orange-hued shadow framed by a nine-dash line looming over some proceedings… The struggles of great powers are ultimately something no one can control, hence the word ‘struggles’ there, so we have to adjust as best we can. In the shadow of giants, there are perhaps opportunities.

DG: I can’t remember exactly where I was when this news broke; as anyone who has been to Watches and Wonders can attest, it is chaos. But what I can say is that I was probably legging it from one booth to the next. Thirty-one percent, though, on Swiss watches. That is crazy. If any business suddenly increases prices by one-third, you can bet that customers will leave in droves. I wonder if this is what will happen with Swiss watches in the US market. It is a pretty sizable market for them, but will they lock themselves, and by extension, the American collectors, out of the fray? I suppose at the higher end of the wealth spectrum, they are not that affected because taking a private jet to get outside of the US to buy watches shouldn’t be that much of a bother. Bring the family, make it a short holiday…

RC: Honestly, I am not sufficiently educated in the area of economics and international politics to make long comments. But the small consumer in me allowed himself to think that the situation with the United States may leave more allocations for the other regions, such as ours, and that our collective plight of watch shortages (perceived or genuine) may be somewhat eased.

AS: The US is a sizable market? Well, that is underplaying it a lot, given that the US has been, at times, bigger than the second and third largest markets put together! Still, I agree with you guys that one possible outcome is that regional groupings like ASEAN might become stronger and watch brands might work harder to reach out to non-US and China audiences, if only to spread their risk around. That is a very optimistic read in my opinion, but there are more possible outcomes here than there are complications in the Vacheron Constantin Solaria…and all complications released this year.

Of course, people in the US may indeed travel outside for their luxury fix as Dan says, but even if they do so in droves, the implications for their retailers are, well, pretty strong. You know, I would like to return to the days when we did not have to talk geopolitics, economics or pandemics at all while chatting about watches.

DG: It is also worth thinking beyond the big brands, right? There is a growing number of microbrands founded within America, like Oak and Oscar, Brew, Autodromo, Orion and the newly relaunched Benrus. All of these guys probably work with the Swiss in some capacity, like buying movements, assembling watches, getting the Swiss Made certification (ahem), etc., so these guys will probably get affected too, right? And don’t even get me started on the irony that is Hamilton.

RC: Benrus is made in La Chaux-de-Fonds, for one. It is ‘Swiss Made’, despite having its headquarters in New York City. So, their situation is not too different from that of Hamilton, in the sense of having an American origin but whose production is Swiss.

AS: I doubt anyone thinks watchmaking is returning in a big way to the US! Maybe the tariffs are about chocolates! Seriously, though, I am talking about the actual making of the components and such, but like I said to some at the fair, this is far beyond our ken, so we just have to roll with it…Although I did hear some anti-American sentiments from Americans.

RC: For the time being, with 60 brands at Watches and Wonders Geneva this year, we have plenty enough on our plate to discuss today! What was the most striking observation during your first day at the fair this year, Daniel?

DG: I worked with Ashok on creating a prediction list for 2025 trends before the fair and frankly, I am relieved that at least some of my predictions about the launches came true. More particularly, the growing interest in stone dials. When I made the prediction, I was just looking at more microbrands using the material for their dials and as Ruckdee would know, the Dennison collection with stone dials was something that added to my observations.

But during the fair, even the big brands were keeping pace. Both Chopard with their L’Heure Diamant collection and Piaget with their newly revived Andy Warhol watch <covered extensively in Vision, along with the complete range – Ed> came with a full spectrum of stones to choose from. Rolex found a unique mineral to use, tiger iron; beautiful colour, striking pattern.

Even H. Moser & Cie. managed to source a unique stone called lemon chrysoprase to use in their Pop Collection (also in Vision) and I must say, the brand’s ability to seamlessly combine two stones on the dial with near-zero tolerances would probably be the most tedious stone dial to make out of the bunch. Of course, Bvlgari had to put some prime Italian marble on its dial, and lastly, Zenith’s new GFJ Collection, which I love for something other than the dial, also had lapis lazuli inlaid onto a part of its dial. Stone dials, guys! It is here to stay… at least for now.

AS: I will save my small confession on dials in general for later, but I will say that I was pleased as Punch to have Dan make that call. Anyway, to answer Ruckdee’s question, as usual, day one was mostly about getting inside the Palexpo early and parking myself outside Rolex, which is also opposite Patek Philippe. I suppose we will have plenty to say about the Geneva giants, but I think I can safely declare that the Land-Dweller makes all talk about favourite watches and best watches ridiculous! It was a genuine WTF moment for me to discover the leaks were real… I was up nights earlier looking at the patents and the teaser video…seeing the dual escape wheels in that video was an experience I cannot describe…For a moment, I understood Transcendentalism. Enlightenment was fleeting, though and, as an experience, I cannot give it more than one star (out of infinity). Punch would take his stick to it and cackle uproariously, for anyone who recalls the old puppet show.

RC: While I correctly guessed that the yellow gold and the green dial trends would subside a little bit, I did not envision the sudden increase in the number of bracelet watches, or the bracelet option for existing watches! Of course, our dear Ashok has brought up the topic of the Land-Dweller, which is arguably the most talked-about novelty this year. And then there is the Settimo bracelet for Rolex’s 1908 watch, plus the first bracelet watches by Ressence and Louis Moinet. Oh, and do not forget the new and sublime Milanese bracelet for the Jaeger-LeCoultre Reverso Tribute in pink gold! Suddenly, bracelets have become a thing?

AS: The Land-Dweller is so dominant that we do not have to talk about it, in some ways. On to the rest of the fair, but yes, what about those bracelets… Well, Rolex had two, so I guess the jolly Geneva giant owns that conversation too…Bracelets are one of a few areas that we predicted early on would be key for watch brands, most of whom have not been able to master this part of production.

The reason for this weakness is not hard to understand (clue: it is economies of scale), but first, we should clarify why it might be a winning element for some brands and why it is important in our hot and humid market. By coincidence, it is also related to the matter of materials… In just a few words, bracelets are deeply popular, even if many in the watch trade would prefer otherwise; one only has to look to sales at the biggest of the biggest for the evidence.

Then again, if you look at bracelets from jewellery masters such as Cartier, you can also see the appeal. There is the Tressage de Cartier, which is astonishing, and the always-reliably charismatic Panthere de Cartier, to just use Cartier as an example. To be slightly cheeky here, I would love to pair the Panthere Bangle with the Bvlgari Serpenti Aeterna, which, incidentally, are amongst my favourite sculptural pieces so far this year. Maybe more bangles will be a thing!

Perhaps more important than any one opinion, you can feel the appeal of a brilliant bracelet, which is one of the reasons that Parmigiani Fleurier blew everyone away with the Tonda PF five years ago. That watch featured an evolution of a bracelet that graced the now-defunct Tonda GT, except it was an order of magnitude better. The only way to know? You had to wear the watch, which is just amazing, as far as tactical marketing goes. To take it back to that bit about the problem or weakness here, most brands cannot make their bracelets, and that includes manufacturing powerhouses such as Parmigiani Fleurier and Bovet. Tony de Haas once told me that there is not a single maker of bracelets in all of Glashütte because there is simply not enough volume (excluding Glashütte Original, because Swatch Group).

DG: Yes, we will all do our articles on the Land-Dweller in due time, I am sure, probably after we have attempted to achieve Ashok’s same level of said transcendentalism (which I will probably fail to… who reads patents?!). But yes, I agree that bracelets were booming! And can I say they also came in all manner of shapes and sizes as brands try to make their bracelets unique?

Back to Rolex, yes, the aforementioned Land-Dweller has a new Flat Jubilee bracelet and as Ruckdee pointed out, for their full gold 1908, they have a new seven-link Settimo bracelet. And that new Milanese bracelet for the Jaeger-LeCoultre Reverso is indeed sublime. I am in LOVE with the tone-on-tone combination. On the more attainable end of the spectrum is Grand Seiko’s new Spring Drive UFA. The non-limited edition model comes with the iconic Grand Seiko bracelet but in titanium! That thing is comfortable as heck! Oh, and I guess I should quickly mention the Zenith GFJ again, because although nothing has been launched yet, there is a bracelet in the works for that watch and I guarantee it is like nothing out there in the market.

RC: Those are some very nice examples, Daniel. I noticed you brought up the Grand Seiko bracelet for the comfort aspect, which I agree with, and they did add the micro-adjustment feature in the clasp this time. I only wish their bracelet links had somewhat more characteristic aesthetic details, though, to further distinguish their watches from the rest of the market. And I am saying this in the most constructive sense as a long-time, pre-2017 fan of Grand Seiko, not to be dismissive.

Bracelets have always been a defining characteristic of a watch for me. I remember telling the team at Czapek & Cie. how I appreciated the individuality, if not originality, of the C-shaped links of the Antarctique bracelet. I would not have liked the collection as much if it had a more generic bracelet. The bracelet on the H. Moser & Cie. Streamliner also resonates with me, as does that of the Parmigiani Fleurier Tonda PF.

AS: I did like the Grand Seiko bracelet and will also agree with Ruckdee there on the aesthetics, but, in some ways, the rustic quality is something fans of Grand Seiko have gotten used to. What is nice here is that it makes all its stuff; so do other Japanese makers. Unfortunately for the likes of LVMH and Richemont, they do not. This is why their brands were such laggards in the bracelet race to begin with. Cartier cannot probably make bracelets for anyone else, to make a point there that also relates to the other groupings that include jewellers. Is the race on to manufacture bracelets in-house? Probably not yet, but I shall be bold and predict that it will be…

“On Gender and Watches, I Think Brands Have Started To Take The Position That If The Watch Is Smaller, They Call It Unisex Now”—Daniel Goh, Editor-in-Chief, WOW Malaysia

RC: I don’t think in-house production of bracelets will ever be a topic of the same interest as in-house production of movements back in the days. But, hey, when it comes to prediction, you are often correct. Reading what you wrote over the years, I remember that you frequently brought up the subject of platinum. And look, this year, the explosion of platinum watches at Watches and Wonders!

AS: Nothing sudden there, chaps. The rise of platinum is yet another point we have made, quite strongly over the years. Well, you can call it a prediction too if you like, as Ruckdee just did, since we started some time back. The proposition goes something like this, for those who have joined the party late: platinum should be used more by watch brands and should replace gold, at least in volume, because the price of gold continues to grow as if powered by supernovae and turbocharged by dark energy. This may be related to uncertainties in the global economy, specifically to how much central banks will lean into buying up gold as a hedge.

Unlike gold, platinum is mainly used only in jewellery and industry; gold is the stuff of financiers’ dreams and something (central) bankers love. Of course, if we return to gold as a global store of value, it will become too precious for watches and jewellery; it is already almost certainly too precious for industry. More bimetallic and semi-precious exotic materials will come into vogue, perhaps even composites like Cermet and Magic Gold (which has enough gold in it to qualify as 18k, so maybe not the best option, but something like it). See Hublot and Parmigiani Fleurier this year. And now, for my confession on dials, since Ruckdee has made that pointed claim about my prognostication abilities (and I have been congratulating myself about this too).

I did not see stone dials coming at all, and that is perhaps down to my reluctance to embrace colourful dials. Indeed, I usually do not think much of dials at all, even as opposed to hands and typefaces, which are very important to me. I know, it is strange to hear that from a man with a watch with an orange leather dial! Anyway, markets have spoken and exotic dials may be the way of the future, especially in a world where gold may no longer be viable. If it is possible to raise value and thus justify raising prices with clever dials, the industry will take the opportunity.

DG: I am not as well-versed in the economics of gold and platinum, so I will just keep the discussion light and turn your attention towards Chopard. Because this year, they have created a cute little signature to signify all their pieces in platinum, like, for example, the Alpine Eagle 41 XP CS Platinum that has just been launched. It is a little bee that is engraved into some part of the case. I love this little detail, it is like a secret little “if you know you know” type deal, like how there is a diamond between the lugs for all Patek Philippe’s platinum timepieces and the whole Ice Blue dial for Rolex as well.

RC: Oh, I noticed that part of the presentation, too, although I did not handle any platinum watch from Chopard this year. I heard that the bee symbol is hand-engraved, right? So the final execution may vary across the pieces, but the bee will have the same basic design to begin with. I would love to have tried that watch on my wrist. I think I was lured in by the eagle iris pattern emanating from the centre of the “Shades of Ice” blue gradient dial. There was a piece in the showcase outside the booth and I caught myself stopping to look and take a picture more than once.

DG: Yeah! For the Alpine Eagle, it was on one facet of the side of the case, and for the L.U.C Quattro Mark IV, it is there, hiding near one of the lugs. And yes, that thing is a definite beauty!

AS: The iris pattern is lovely! On the whole, I have to say that Chopard had great offerings this year, beyond the Alpine Eagle and L.U.C. models, too. There are a few great Happy Sport models in the mix, for a bit of reliable fun. Back on point, while brands do like to denote the use of platinum with little signatures, as Dan mentioned, you need only feel a watch in platinum to know the difference. I suppose if platinum is priced below gold, there is no need to have any ‘show-off’ signatures here. As I have written too often now, gold is priced many times above platinum on the open market and collectors must be starting to ask difficult questions about this now. If they are not, they will be.

RC: I am still processing your proposition, Ashok. I was socially (or industrially) conditioned to expect that a platinum version of a watch must be more expensive than the gold version of the same, due to the difficulties involved in machining and all. And we are not even talking about white gold being priced higher than pink gold, and pink gold being priced higher than yellow gold!

DG: Speaking of prices…as we all know the whole watch industry is in a little bit of a downturn at the moment and I don’t know about you guys but alongside the crazy expensive watches we have just discussed in gold and platinum, there seems to also be a focus on something a little less ostentatious and a little more quiet. Like IWC focusing on the Ingenieur for this year, they come in smaller sizes, and there are more dial colours to choose from. Although they did launch a perpetual calendar in this collection as well. Bell & Ross chose to create a little more understated BR-05 this year, also at around 36mm. Then there are the TAG Heuer Formula 1 Solargraphs, some in steel, some in something called TH-Polylight, but all in a 38mm case and a wallet-friendly price.

AS: Prices will inch ever higher, as anyone can tell you, and sizes will probably come down. Brands understand that climbing the value ladder is vital to lasting success, as seen in the export reports by the Federation of Swiss Watchmaking. But the key to this ambition is what happens to gold and platinum. I remain steadfast in my opinion that brands should justify the platinum price, or some such thing, where they can rely on something else to carry the weight of this all-important price segment. I am sure they are preparing for this reality as best they can. Raising the prices of gold models will be too much to bear, especially if markets turn bearish, so watchmakers will have to find their margins elsewhere.

On a related matter, there remain significant opportunities in segments that major brands are clearing out of because there are still customers there. They are just waiting for great watches, and the likes of Frederique Constant, Norqain, Christopher Ward and SpaceOne are obliging them. As for less ostentatious, how about bronze? There was a nice example from Bremont this year, which also had a bracelet… This surprised me because Bremont CEO Davide Cerato is one of those executives who has publicly stated that he is “not a bracelet guy.” I have the tapes to prove it!

RC: I saw him on the streets of Geneva by chance, but I wouldn’t try to stop him in public because he wouldn’t remember me as a journalist from Thailand. Being a bracelet guy or not, I am sure he knows how to make watches for the entire market, not just himself. I must also say that I like what I see coming out of Bremont so far. I just don’t know why their booth is so huge (and sparse), compared with every other brand nearby on that upper floor. It is larger than the Zenith and Ulysse Nardin booths on the main floor.

AS: I am with you on Bremont and I hope the online vitriol directed towards the brand dies down. Bremont is moving in an interesting direction and it takes a lot to pivot a watch brand, as Cerato has.

DG: Maybe because they could not fit Bremont in the main halls and so they gave them a position right at the entrance and a bigger exhibition space to entice them to pay the same amount as all the other exhibitors? I would love to know the inner workings of a fair like this. One of my bucket list items as a watch journalist is to see whether I can witness the build-up or teardown of a fair like this. I am sure insane things are happening behind the veil when the Palexpo closes its doors at the end of Watches and Wonders.

RC: I would love that too, Daniel. Back in the days, the closest thing you got to see was the exterior shell of the booth (the part where visitors don’t see) and the actual ceiling of the exhibition hall when you took the shortcuts to the restrooms or the smoking area. Now those dark passageways are off-limits to fair attendees like us, as most are used by the caterers.

AS: On this point, what did you guys think of where the independents find themselves now that LVMH has occupied more prime real estate? I think that being closer to Rolex is a good idea, especially because the brand still attracts a lot of attention from the public, as seen in the snaking lines on the public days that stretched right into the indie section.

RC: The brands at Carrė des Horlogers, where the Rolex line snaked into, were fine, but I feel bad for the ones at La Place, though. The latter would have been more visible if that entire hall were not compartmentalised into the larger Carrė des Horlogers and the smaller La Place. From my observation, the brands at La Mezzanine on the upper floor across from Bremont had even more traffic than the ones at La Place.

“There Are Opportunitites In Price Segments That Major Brands are Clearing Out Of Because There Are Still Customers There”— Ashok Soman, Editor-in-Chief, WOW Singapore

DG: Didn’t the LVMH group have the same setup at Baselworld? It was the LVMH brand’s first, as you entered the main doors, then came the Patek Philippe and Rolex booths opposite each other. Maybe they are just trying to recreate that effect. One other journalist did point out to me that poor Zenith got hidden a little bit behind the hulking TAG Heuer booth.

AS: Except at Baselworld, the independents were sidelined and had been since the start… Also, LVMH did not begin altogether there, as the Swatch Group did. The brands shifted about quite a bit before settling. Bvlgari was outside, famously, just as it was in Geneva until this year. At WWG, the independents have gotten a much better deal, including better rates than the big boys – this is reportedly (according to the Business of Fashion) up to CHF2,000 per square metre for the bigger boys and CHF1,800 for the minnows. As for Zenith, I guess it will become the engine of the group, so being a bit out of the way is to be expected, although I am probably reading too much into this.

RC: Zenith did not get hidden. It just did not enjoy the same upgrade as Hublot and TAG Heuer. Maybe next year. I don’t know. TAG Heuer now occupies prime real estate at a corner directly across from Patek Philippe and diagonally across from Rolex, dear readers.

DG: Yeah, because of the link between TAG Heuer and Formula 1! Did you see how many Formula 1 cars were at the fair? TAG Heuer had two, naturally. And even a simulator one could try if one had the time. Tudor had a car hanging off the side of their booth, in mid-air. And they had another replica inside their structure, where you could do the pit tyre change and time yourself. And, okay, although IWC’s F1 car was fictional, it was still incredible to have so many of these cars in one place.

AS: I wanted to get into the Tudor car! How amazing would that have been, if possible! It is a pity that TAG Heuer could not have the full-sized race simulator experience for the cars, but that apparently would have taken too much space (according to Antoine Pin, the new CEO there). I do like the way some brands use their spaces to create experiences, especially Jaeger-LeCoultre and IWC. Some folks asked if those brands had special deals to pack their stands, which, of course, they do not. The booths are just great to look at and explore…so are Van Cleef & Arpels and Oris, and Bremont too, just to pique the interest of more people to visit them!

RC: Did you see the smoke slowly coming out of one of the race cars at IWC? Even though you know by heart that it was fake, it did feel real! I think Watches and Wonders Geneva this year had a little of something for everyone of every taste and every gender, if you want to go there. And there was not much overt talk about gender neutrality or sustainability, either. Everyone just did their thing, their part and their way.

DG: I did not see the smoke, all I know is that at some point, Hans Zimmer was at the IWC booth and as much as I love his soundtracks, I do not know what the man looks like. On gender and watches, I think brands have started to take the position that if the watch is smaller, traditionally what women would wear, they have taken to calling it unisex. Maybe because there is a trend now for smaller watches. Maybe calling it unisex opens it up to more segments of the market.

But now that you mention it, there wasn’t much talk this year on gender neutrality and sustainability… Okay, perhaps from one brand, Ulysse Nardin, with its Diver (Air). This is a brilliant watch, by the way, that is made from a hell of a lot of recycled and/or upcycled materials. But other than this, I think brands are just trying to speak to their customers. When times are not the best, it is hard to focus on all these other issues. When there is surplus revenue, then you can think of saving the world or being politically correct.

RC: That is a very smart observation regarding what most people tend to do during hard times, Daniel. Thank you for the point. Going back a little bit to IWC, I must say that I am worse. I know the reputation of Hans Zimmer. I am mesmerised by some of his work. Same as you, I didn’t know what he looked like. What I also didn’t know was that he was standing like four metres directly in front of me, until I was told. Regarding the smoke, I noticed because people were staring at one race car in particular, so I joined them in their curiosity. In Thai, we call the practice “Thai moong”, literally “Thai people gathering around to look at something,” but in this case, I guess it was an “international moong” by default.

AS: You guys did not recognise Hans Zimmer? I guess you are in the Palexpo for the watches, eh! I am not one to talk, though, as I was only in the “moong” at Rolex and that was to see watches! On your point about sustainability and gendered watches, welcome or not, the effects are already in play, with more sustainability and gender fluidity already in the mix. As mentioned, watch sizes are coming down and that is at least partly due to brands deciding not to gender some models. Merely the logical thing to do, in my opinion. Anyway, the supply chain is not easily altered and if brands have indeed made long-term plans to make things more sustainable, then that is what will happen.

As we have discussed before, there will probably be less talk about how the watch industry itself is cleaner or greener and so on. For those who care, less idle chatter is good because brands like Chopard, which make a big commitment on the sustainability front, are just doing it, whatever the future holds. For those opposed, well, you will hear less about it and need not worry about whether increasing prices are due to sustainability or whatever. Probably more related to the price of gold and the CHF than anything else. Oh yes, while I did not bring it up earlier when we were discussing prices, the CHF is another huge pain for everyone, and it shows no signs of easing up. It is more relevant to us, in our markets, than the tariffs.

RC: Correct. CHF has direct implications for us, and the so-called haven currency probably will not ease until this trade war is resolved. And personally, for my country, the stock market is at its decade low, so you can imagine how weak my currency is. CHF has never been more expensive in my adult life. But I try not to concern myself with it too much now.

DG: You know, this issue of a strong CHF has happened before, I think about half a decade ago, when I was a younger, fresher-faced journalist. But I suppose the industry adapts and will eventually stabilise. And it is not just the brand side of the industry that has to adapt. Even we journalists are too.

I don’t know if you guys noticed, but I am seeing an increased number of videographers, selfie sticks, and gimbals roaming around the halls of the Palexpo this year. I suppose that is because YouTube content is a much bigger thing now, and there are plenty of content creators around in the market. It makes me feel kind of old with my pen and paper during the Touch and Try sessions, jotting away. There were people even doing live updates as the watch was being presented to them. Takes a different set of skills. What were your experiences of the sessions this year?

AS: I liked meeting and talking with some of the content creators – they have a fresh perspective, sometimes. I had a bit part in a video by one of them, just because I was in the Norqain stand while he was filming. Honestly, I think I was more intrusive there than he was, and will comment on his video by way of an apology. Since you brought up this matter of skill sets and such, I do have to say a few things, mostly against more senior folks. We old dogs sometimes learn new tricks badly.

Now, I was a loud opponent of the former term, Touch and Feel (now rebranded as Touch and Try), which is creepy, at least in English. I even mentioned this in our first conversation about the physical WWG in 2022. Thus, I was pleased that the organiser was paying attention to those of us who felt this way; clearly, I was not alone. Now, I have to say: “Wait, I have a new complaint!” Forgive the Nirvana reference and set it to one side because this is about how people behave during the Touch and Try sessions, which are, to be pedantic, about getting a feel for the novelties and asking questions of the specialists present. It is NOT the place to be making videos and talking over presenters, nor the place to block the presenter’s screen with light boxes and the like. Next year, I am going to walk right into people’s shots, if they are taking up space wherever… If I am not mistaken, these experiences are not limited only to me, which is how I interpret Dan’s “live updates” comment.

RC: Oh, as much as I should say “don’t get me started on this”, I have something to vent myself! All parties can deal with the main hallways or the open parts of the booths. They can avoid us, we can avoid them, and things can be civil. But I will not tolerate extensive shooting during Touch and Try sessions next year.

I label myself a photojournalist because I take more pictures than regular journalists, but my pictures are not as good as those of professional photographers. And I do shoot a lot of watches at the fairs, but in dedicated photo sessions by way of private appointments. I felt that, during the Touch and Try session, I should pass the watches on to the next person as quickly as feasible, so I could just take a quick snap of a wristshot or two and be done with it. It doesn’t take longer than any other journalist with their phone. I am even quicker half of the time.

This year, I was stuck in a situation where a YouTuber had to present the watches to his camera while I sat and waited. Filming him watching the presentation only took up space because of the additional crew. But filming him describing the watches to his audience took up my time. In the end, I asked the brand rep for the one watch I wanted to see, and I left the room quietly afterwards. To be fair, any YouTuber or influencer looking to do a shoot like that should book their private session for the purpose. They should have the same etiquette I do, of not eating into other people’s time and resources.

DG: Yes, not everyone is as considerate as you. I think that the organisers need to consider this when planning out the types of sessions. Maybe there should be video sessions too, alongside photography slots? But as it is, I think the consensus from journalists is that four media days are not quite enough to cover 60 brands, and if they plan to increase the number of exhibitors and do more types of sessions, I don’t know where they will find the time. Unless they extend the fair, which I suppose brings with it its own set of problems, like clashing with other events, costs, etc. Which is why I say it would be great to speak to someone from the organising committee on this. Perhaps I shall put this on my to-do list for the coming years.

AS: Let me just pile in on Ruckdee’s point! If you want to be your best self and do whatever you please, book your private session. That solves everything and some media do just that. Ok, to begin with, I think the general Touch and Try sessions themselves can be managed better by the brands. If our market representatives are present, they should mind what the journalists do. Not what we ask or anything, but how we act; our PR people are best placed to handle us and ensure we are not an embarrassment to our countries. Ok, that might be harsh, but my point is that we can get carried away (I am certainly not immune, so my apologies to everyone at the Rolex presentation) and our presenters can and should rein us in, when necessary. It will be much worse if we have to mind each other! I, too, had a similar experience to Ruckdee, where I just left a presentation as he did, only I told the press representative that I was not staying to enjoy the riot that was brewing!

RC: I had a hassled start at Watches and Wonders this year. It was a combination of many factors, and then this incident with a YouTuber at the end of my first day left me jaded. But do you know what picked me up four days afterwards? It was the fairgoers on the first public day! It was their collective sense of enthusiasm, curiosity and maybe joy that I knew I would have had back in the days before I became a full-time journalist. And despite those members of the public not being from my country, I was reminded of my relative duty to the watch industry, and the contributions I can still bring to my readers and local market.

AS: I love that, Ruckdee! The public days were indeed a revelation to me, given that this was my first year attending one of them. It was great to wander the halls on Saturday and see all the families and students wandering about. It was a real Baselworld moment! I guess I would be a bit miffed if I had an appointment to make and yet had to push through a crowd, but that did happen in Basel, too. It is a small price to pay to see that enthusiasm for watchmaking goes beyond the professionals and the collectors.

DG: You know I ask myself the same question every year, the day before the fair begins and I am looking at the mountain of appointments ahead of me, jet lagged and tired. Why did I agree to this? And then the moment those doors open, and I feel the excitement of hearing bits and pieces of information about new launches here and there, then seeing the pieces for myself, having great conversations with people over meals, and quick conversations with faces I only see sometimes at these fairs. I am reminded of why I do this in the first place and for sure, I will probably be back again for this “chaos” next year.

RC: Brilliant. And, yes, we are privileged to have this job despite the slight obstacles which may inconvenience or tax us from time to time. Hey, I am glad we can bring this conversation to a conclusion on a positive note. I will have fun compiling images we can use for the watches mentioned and the environment we were operating in. Thank you for a lively two and a half hours of writing, guys.

DG: A pleasure as always! Good luck in sifting through all the Watches and Wonders materials, guys.

AS: We are here to discuss the future of time (well, timepieces), after all, so staying positive is par for the course. See you guys past the finish line for our respective Geneva issues!

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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To mark the fifth chapter of its 250th anniversary celebrations, Breguet presents the Marine Hora Mundi 5555, a world time complication limited to just 50 pieces.

This new interpretation features a phosphorescent dial inspired by NASA’s “Black Marble”, capturing a nocturnal vision of the Earth in motion. Its unique construction, with two superimposed levels: one guilloché, the other sapphire, reveals a map illuminated by city lights.

Crafted in Breguet gold and equipped with a patented phosphorescent enamel technique, the Hora Mundi 5555 reflects the Maison’s commitment to innovation, exploration and refined mechanical art. A tribute to time, travel, and the link between sky and sea.

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After Giorgio Armani’s death earlier this month, the late designer’s will laid out a rigorously staged exit strategy for the house he founded nearly fifty years ago. The plan involves partial stake sales, potential takeover by luxury conglomerates and possibly an IPO, while ensuring that the Armani legacy and identity remain protected. Preferred buyers named in the will include LVMH, EssilorLuxottica and L’Oréal. This is a major shift for a brand that was long defined by its independence.

Among the preferred buyers, L’Oréal appears best positioned to take the reins. Its long-standing partnership with Armani Beauty — a line that now generates more than USD 1.76 billion (approximately EUR 1.5 billion) annually — gives it not only financial leverage but also brand intimacy. Unlike EssilorLuxottica — whose strength lies in eyewear — or LVMH — which would fold Armani into a crowded stable of maisons — L’Oréal already functions as the face of Armani to millions of consumers worldwide. In this sense, the French beauty giant is not a distant suitor but a familiar “custodian” of sorts that could extend Armani’s vision into its next chapter.

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L’Oréal’s potential acquisition of Armani would not be its first foray into steering a heritage name into the future. The French beauty giant has decades of experience in absorbing and scaling labels while successfully keeping their distinct DNA intact. When it took over Mugler’s beauty division in 2016, for example, L’Oréal successfully revived the fragrance arm with blockbuster launches like Alien Man and extensions of Angel, restoring the label’s profitability and cultural relevance. In 2023, Mugler’s fashion division was sold separately to Puig, underscoring how L’Oréal has long prioritised beauty and fragrance as its growth engines.

Similarly, L’Oréal has worked to carefully manage designer tie-ins, keeping names like Valentino, Yves Saint Laurent and Prada visible in the luxury fragrance market. By focusing on strong product pipelines, savvy celebrity campaigns and global distribution, the group has consistently translated prestige into scale. L’Oréal’s success lies in balancing brand heritage with commercial muscle — it rarely dilutes a label’s storytelling, instead magnifying its most bankable narratives.

A Legacy in Flux

In 2024, Armani’s fashion division reported revenues of approximately USD 2.70 billion (approximately EUR 2.3 billion), having declined by around five percent year-on-year. When beauty and eyewear licensing (managed by L’Oréal and EssilorLuxottica respectively) are factored in, the total value of the brand rises to USD 4.52 billion (EUR 4.25 billion). Revenue from licences plays a crucial role, with L’Oréal’s Armani beauty line generating about EUR 1.5 billion annually and eyewear contributing roughly EUR 500 million. Despite this, operating margins in the core fashion business have shrunk.

Read More: Giorgio Armani Dies at 91 Leaving Behind a USD 12.1 Billion Fashion Empire

As Giorgio Armani had no children, his will allocates control through the Giorgio Armani Foundation (set up in 2016) to his long-time partner Pantaleo “Leo” Dell’Orco and other family members. The Foundation holds at least 30.1 percent of capital, along with certain veto powers over major decisions. Dell’Orco is to receive 40 percent of voting rights. Other heirs include nieces Silvana Armani and Roberta Armani, and nephew Andrea Camerana, with some non-voting shares among them.

Armani’s will instructs that within 18 months of his death, heirs must sell an initial 15 percent stake in the company — with priority given to LVMH, L’Oréal or EssilorLuxottica or to a luxury group with which Armani has existing commercial ties. Within three to five years, the same buyer is expected to take a larger stake — between 30 and 54.9 percent. If no appropriate partner emerges, then an IPO should be pursued, preferably on the Milan stock exchange or another comparable market. The will emphasises that the Foundation must at all times retain at least 30.1 percent of capital to ensure the brand’s values are safeguarded.

Fit or Flaw

Like with any new structural ownership, challenges and risks can arise. The fact that Armani has named specific preferred buyers sharply focuses attention on how the brand might change under new ownership. LVMH brings scale, global infrastructure and expertise across many luxury categories, but integrating Armani’s creative style and preserving its signature aesthetic may prove challenging. EssilorLuxottica already handles Armani’s eyewear licence and thus has familiarity with part of the business, but the company’s core strengths lie in optics rather than full fashion houses. L’Oréal, meanwhile, has following and success in the beauty segment; its existing collaborations with Armani mean a level of trust, but a move into fashion operations would be a departure from its primary business model. Each potential buyer faces trade-offs between preserving heritage and unlocking scale.

Read More: Armani Group Achieves Continuous Growth Across 2022 and Q1 2023

An IPO alternative adds another layer of complexity. Public listing could raise capital, increase transparency and broaden ownership. But it also introduces pressure from shareholders, short-term performance expectations and risk to creative autonomy — risks that Armani has traditionally managed to avoid.

Past Precedent

The luxury industry has already demonstrated how beauty conglomerates can extend their reach into fashion. In 2022, Estée Lauder acquired Tom Ford in a deal valued at USD 2.80 billion, paying roughly USD 2.30 billion upfront and deferring USD 300 million until 2025. The acquisition gave Estée Lauder full control of the Tom Ford intellectual property, particularly its lucrative beauty and fragrance business while outsourcing ready-to-wear and eyewear through partners like Zegna and Marcolin. The move underlined how a cosmetics giant could secure a brand’s core assets while leaving fashion execution to licensees.

For Armani, the comparison puts L’Oréal in the strongest position. Already responsible for Giorgio Armani Beauty and fragrance, L’Oréal has proven it can integrate fashion-linked houses while keeping profitability in beauty at the centre. If Estée Lauder could absorb Tom Ford with limited fashion oversight, L’Oréal is even better placed: its longstanding licensing ties with Armani mean it already controls one of the brand’s most profitable divisions. That relationship — coupled with Armani’s own succession blueprint — makes L’Oréal the frontrunner in any takeover scenario.

READ MORE: Richemont Group Says No to an Acquisition by LVMH

The Future of Legacy Brands & The Luxury Industry

Central to Armani’s will is the guarantee that the Giorgio Armani Foundation will remain a guardian of brand identity. The Foundation must not hold less than 30.1 percent of capital and carries significant voting rights. The executive committee is charged with appointing a new CEO and ensuring the brand’s mission and design principles remain intact.

These measures suggest a determination to avoid what some critics describe as the “death of independence” that befalls many heritage brands after acquisition. Without such safeguards, branding, licensing and artistic direction are often subject to short-term profit pressures. Armani’s specifications for voting rights and gradual stake sale are designed to guard against this.

Read More: Giorgio Armani Cancels Runway Shows Amidst Rising Covid-19 Cases

In the short term, the first 15 percent sale to one of the named partners seems most likely. As it stands, L’Oréal is considered a strong candidate, given that it already shares licensing relationships and understands revenue streams under the brand. Over three to five years, that stake could rise or an IPO could become necessary if no preferred buyer meets the terms set by the will. Dell’Orco and the Foundation will retain enough influence to shape the brand’s future direction.

Consumers will be watching too. Luxury buyers increasingly care about authenticity, heritage and corporate transparency. A brand’s legacy is not just about design; the bigger picture involves who owns the brand, how it operates and whether it maintains its values under various fiscal and creative pressures. For legacy brands across luxury, the Armani succession plan represents a model that others will study closely.

Final Footnote

Giorgio Armani’s death marks a turning point not merely because one of fashion’s most independent leaders is gone, but because his exit plan lays bare the tensions between legacy and consolidation. Whether the brand remains a beacon of independent luxury or becomes another asset in a conglomerate portfolio now depends on structured stewardship, strategic partnership and unflinching adherence to the principles Armani set in motion.

Read More: LUXUO Looks Back: Giorgio Armani on his Pantelleria Holiday Home

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The Depths of Time exhibition is open from 10th September to 30th November at the Historical Boutique in Florence, Piazza di San Giovanni, 14. Register now at Panerai.com

The post Explore the Full Journey of Panerai’s Origins at the Depths of Time Exhibition in Florence. appeared first on LUXUO.

When Hermès launched the new Cut collection in 2024, it was welcomed with open arms, with many men no doubt wondering why they were left out. Riding on the success of this collection, Hermès is adding its famed Le Temps Suspendu complication, which we have praised many times over the years. The brand is also bringing it back to the Arceau collection, where it debuted in 2011, so there are options to be had.

Both writers concur that the poetry of this complication is astounding and audacious, and for that reason, the collection appears to be secondary. How brilliant is it that you can suspend time with the push of a button? Of course, the action is still ongoing, but for you, the owner, time seems to have paused at your command. When you see fit, another push of the button makes time start again, with hands moving to the appropriate position as if nothing happened.

While this overview illustrates the nature of the complication quite well, more is needed. As noted, the complication is quite simple in its function, yet also beguiling. Activating the pusher at the 8 o’clock position whisks both the hour and minute hands away to a static position between 11 and 1 o’clock, where the time is impossible to read. It is now officially ‘never o’clock,’ and there it will rest until the owner decides to unsuspend time by pressing the same pusher. The hands will flick back to the current time without ever missing a beat, no matter how much actual time has passed since time was suspended (of course, if the watch runs out of power, that is another story).

Although its function is simple, the construction of the calibre is anything but. It was developed and patented by Jean-Marc Wiederrecht of the famed Agenhor atelier and the complication is now available in both the Cut and new references of the Arceau. The Cut version has a bit of aplomb not present in the Arceau, though…

The new Hermès H1912 movement powering the Cut Le Temps Suspendu also comes with the unique 24-second counter that runs in its little aperture at the 4 o’clock position. And yes, before you ask, this counter runs counter-clockwise, making it a running seconds indicator. This is Hermès telling people who pointed out that they did not know if the Time Suspended watch was running or not that they have been heard. It is a deliciously weird nod towards the practical that only Hermès can pull off.

On that note, the Cut Le Temps Suspendu comes in several versions, even though it is only available in rose gold. There are two dial variants, opaline silver and sunburst red, and there is a further option for a gemset bezel. While you see a two-link bracelet and a rubber strap, both are included for the lucky owner and, yes, the watch has a quick-change system.

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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Inspired by Renaissance domes, the new Rado LaCoupole transforms watchmaking into wearable art. Its edge-to-edge spherical sapphire crystal, high-tech ceramic case, and 11 diamond indexes create a perfect blend of design and precision.

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Already a couple in life, designers Marco Bonelli and Marijana Radovic made the brave decision to go into business together in 2011, joining their respective studios to co-found m2atelier in Milan.

Bonelli’s design career had kicked off with an architecture degree from the University of Genoa, in the city where he was born. Moving to Paris, the Italian collaborated as an industrial product designer for the likes of Philippe Starck, while in Barcelona he developed his architectural experience in urban and residential projects with experience at Ricardo Bofill’s RBTA.

Moving to New York, where he stayed for nine years, Bonelli obtained a master’s degree from Columbia University and worked with artist Gaetano Pesce, with Steven Holl’s studio, and for six years with Michael Gabellini, focusing on fashion retail and high-end residential projects. In 2000, he founded BAM and specialised in bespoke projects for fashion brands from Giorgio Armani and Dolce&Gabbana to Tom Ford and Jil Sander, returning to Italy in 2003 to open an office in Milan.

Radovic grew up in Serbia without exposure to boating or design, but went on to obtain a degree in architecture from the University of Belgrade and a master’s degree in yacht design from the Milan Polytechnic. The designer furthered her experience in yacht design with Lazzarini Pickering in Rome before heading to Geneva and Athens to work for SETE, owned by Greek shipping magnate Spiros Latsis.

In 2006, Radovic founded the Standby studio in Belgrade and Athens as she deepened her research into yachting and interior design, before moving the studio in 2009 to Milan, where she and Bonelli now head m2atelier. After working for over a decade across multiple architectural and design fields including yachting, m2atelier began collaborating with Azimut on the next generation of interior designs for the Italian shipyard’s Grande series of superyachts.

This year, m2atelier’s first collaborations with Azimut have been unveiled on the all-new Grande 30M, hull 30 of the Grande Trideck (38m) and hull 23 of the Grande 36M, with all three superyachts exhibiting at the Cannes Yachting Festival and Monaco Yacht Show. Bonelli, Radovic and Federico Lantero, Azimut’s Head of Product Design, spoke to Yacht Style about the partnership, which also includes the interiors of the flagship Grande 44M debuting in 2026.

Marco, Marijana, having already been a couple, what made you think about combining your studios to work together? It seems a brave decision.

Radovic: It was risky, but we’re still here, so it has worked out fine.

Bonelli: Yeah, you could call it ‘risky business’. However, there was a lot of common ground in our careers. We had both worked internationally and were both exposed to many different types of architecture and design. We enjoy working across different fields within the design world, such as yachting, fashion, retail, industrial design, residential and so on.

Today, we have a team of about 50 people, and we work across many of these different fields, which enriches us. We may not have the same people working on furniture design and yachting interiors, but there’s a lot of collaboration across the company and it works very well.

What were your first yachting designs?

Radovic: When I was at Lazzarini Pickering, the 118 Wallypower was one of the first major projects I was exposed to, so that helped me become open minded when thinking about designing interiors for boats. At m2atelier, we’ve worked on a range of superyachts including 65m and 58m superyachts for Codecasa, a 56m Vitters sailing yacht plus a 63m in build, two 44m motoryachts for Conrad in Poland, Mangusta’s third 165 REV (50m), along with 80m and 89m yachts in build at Feadship.

Federico, why did Azimut seek to work with m2atelier?

Lantero: We thought it was the right time for an evolution. It had been a long time since we refreshed our interior design following a long relationship with Achille Salvagni, for more than 12 years. We were ready for a new design language, so were looking for studios that offered this while being able to retain Azimut’s distinctive DNA.

We were particularly interested in some of m2atelier’s work on mega sailing yachts and residential projects, which led us to discussions. We wanted to talk about how the lifestyle of such clientele has been evolving over the years. It’s evident all around us, in hotels, restaurants, resorts and so on. We wanted our superyacht interiors to reflect this informality, now evident in the way people spend their time onboard their yachts. We started working together about three years ago.

What was the brief you gave m2atelier?

Lantero: We started by discussing an overall language for the Grande line, then we did a timetable of products to be developed. Their first project – the base for defining the new design language – was the Grande Trideck, which is currently the Azimut flagship and has an exterior by Alberto Mancini Yacht Design.

However, they were basically working on three models in parallel. At the same time, they also developed the Grande 36M. Like the Grande Trideck, this was another interpretation of an existing model with an Alberto Mancini exterior but with completely renovated interiors.

The other project was the Grande 30M, which is an all-new model, both from Mancini’s point of view and for m2atelier. It started with a blank sheet for both studios. Mancini drew the lines and the concept, but it was important that there was a strong connection with m2atelier from the start.

It’s worth noting that m2atelier’s work for Azimut is not limited to interiors, as it may have been in the past. Now, the interior designers are also collaborating on layouts, and the design and furnishings of the outdoor social areas.

This is because there needs to be a smooth flow between the indoor and outdoor areas, with a clear definition of how all the areas will be used. This creates continuity and coherence, and I’m very proud to coordinate these connections. We’re really boosting this communication between designers because it’s part of Azimut’s integral design philosophy

Marco, Marijana, what have been the biggest challenges working with Azimut?

Bonelli: It was a huge positive to be approached by Azimut. We were inheriting a superyacht series that was already very much appreciated by owners and the market, so we were already starting in a good place. The challenge was to take it to the next step and focus on the evolution, reflecting the new lifestyle and behaviour of today’s yacht owners.

It was a long process. I was surprised when Federico mentioned it was only three years because I was thinking 12 years! We’ve compressed a lot of work and hours into those three years. At the beginning, we were focused on better understanding the Azimut brand. They have a very defined image and DNA, so we spoke with a lot of people within the company but also with their customers around the world, in the different markets. That was very educational.

Radovic: We learned a lot because before that we specialised in one-off custom boats for clients, so were focused on the vision of one owner. Now, we’re working with an established series of models, so the design must appeal to a broader clientele. Giving a new interior design language to the whole Grande family was very challenging.

How would you describe m2atelier’s interior style for Azimut?

Bonelli: We’re going for what we call ‘barefoot luxury’. We want customers to go onboard and feel at ease. We use a limited range of materials, so we don’t want guests to be overwhelmed by any specific decoration but more notice the overall experience and laid-back atmosphere. We like our details to whisper.

Radovic: Common features include a feature wall in each main saloon, such as the Grande Trideck’s ‘unveiling wall’ that opens to reveal the TV. The Grande 30M’s feature wall is a bit see-through to showcase the staircase. We’ve worked a lot to ensure there’s a common design language across the series, but also that each model has its own character, so there are differences between each.

What was it like interpreting interior designs of existing models, like the Grande Trideck and Grande 36M, compared to working on the all-new Grande 30M, where both exterior and interior design studios are working together from the start?

Radovic: It’s easier to work from the beginning than to already have a design in place, but we find an opportunity in every challenge. Even though we were working on existing models with the Trideck and 36M, we managed to improve the layout.

It was as much about architecture, not just décor, so we changed the layout of the master cabin and how it flows, which we’re proud of. We worked on the staircases, offering some more perspectives. We have an architectural background, so everything must have a reason for being there.

Lantero: Exactly. One of the key points of Azimut’s integral design approach means that we’re giving the interior designers the opportunity to express themselves by working on every single layer and element of the design. We’re talking about the architectural framework, the layout, the flow, the furniture and the details, such as the height of every bedhead and sofa backrest.

Integral design is key because we want Azimut to have a substantial, distinctive style that I call the firma de la maison, the signature of the house. It’s our interpretation of style and it must be recognisable. To do this, you need to provide the design teams with all the tools. They need to be able to envision and personalise the architectural framework, otherwise their contribution would be limited. They’re invested from the start and are free to design whatever they consider appropriate.

How do you feel knowing your interiors for the Grande 30M, Grance 36M and Grande Trideck will be at this year’s Cannes Yachting Festival and Monaco Yacht Show?

Bonelli: Pressure!

Radovic: We’re happy to have these three yachts at the shows. We hope the impact will be positive and the message will spread. Lantero: They’re both humble with their answers. Market wise, we’ve already received a very positive appreciation for their product. To give you an idea, we pre-sold eight units of the Grande 30M [as of late July], a yacht that’s a perfect combination of Alberto’s innovative concepts and m2atelier working from the beginning to optimise the spaces and create the special atmosphere they’ve described.

We also sold seven units of the new Grande Trideck with the m2atelier interior. This response from the market already testifies to the new ‘barefoot luxury’ style and language, which is deeply connected to how people live onboard in a more relaxed way today.

What’s next for the Azimut-m2atelier collaboration?

Lantero: We’re looking forward to launching the largest-ever Azimut model, the Grande 44M, in 2026. This will be another yacht designed from scratch by both Alberto Mancini and m2atelier. It’s quite an impressive boat at 44m, full of innovation and has a new way of using the space on four decks, including alfresco dining in the forward part of the upper deck.

It’s imposing in terms of volume but intriguing in the way it creates a new atmosphere because of the way the designers have shaped the spaces, which shapes the guest experience. We’ve already seen the interest from owners when we talk them through the design. We can talk for hours with them, and you can see the interest in their eyes as they visualise new ideas for their yachting experience. It will be another milestone for the brand.

For more information visit m2atelier.com, azimutyachts.com

This article was first seen on YACHT STYLE.

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