Blancpain’s commitment to ocean conservation puts its money where its dive watch is. Enter the Fifty Fathoms Tech BOC IV, a 100-piece limited edition that plays an active role in marine preservation; with every watch sold, €1,000 goes straight to the newly established Blancpain x Sulubaaï Marine Research Centre to fuel discoveries and innovations into ocean restoration efforts.

The watch brand has been at this game for a long time. Since the Fifty Fathoms debuted in 1953 as the first modern dive watch, Blancpain has been entrenched in ocean advocacy. The Blancpain Ocean Commitment (BOC) initiative is one such endeavour into marine conservation for over 20 years and now, the Fifty Fathoms Tech BOC IV takes that mission even further.

Taking cues from the Fifty Fathoms 70th Anniversary Act 2 Tech Gombessa, the Tech BOC IV comes in a 45mm Grade 23 titanium case that’s robust yet surprisingly wearable. At 14.1mm thick, it has enough presence without feeling like an anchor on your wrist. Engineered for professional diving but stylish enough for everyday wear, the watch has a unidirectional bezel with a domed black ceramic insert and an "absolute black” dial that it absorbs 97 per cent of light and the luminescent block appliqués to ensure legibility in the murkiest depths.

Powered by Blancpain’s trusty Calibre 1315A, there's a five-day power reserve and an anti-magnetic silicon balance spring. Flip it over and you’ll see the 18-carat gold oscillating weight through the sapphire caseback, stamped with the blue BOC logo.

Proceeds from the BOC IV go straight to the Blancpain x Sulubaaï Marine Research Centre, an extension of the Sea Academy programme. The programme, which has been working since 2020, was set up to protect the marine ecosystems in the Philippines. Located in Sandoval, near Shark Fin Bay, the centre is positioned to enhance conservation research, restoration, and education efforts in the region.

Each watch comes in a rugged Pelicase box, bundled with a numbered donation certificate and an exclusive print by award-winning underwater photographer Laurent Ballesta. His image, taken around Pangatalan Island, captures a prehistoric horseshoe crab—a creature whose existence is threatened (and is also the logo for the Sulubaaï Marine Research Centre), but now finds sanctuary in the protected marine areas that Blancpain supports.

Konstantin Chaykin does not fit neatly into any box, though at first glance, you might think otherwise. His silver-streaked hair and thin wire-framed glasses suggest a man rooted in tradition, the kind you’d expect to find hunched over a workbench, crafting intricate mechanisms. And you’d be right—partly. But what lies beneath is a man whose playful imagination gave life to pieces like the Carpe Diem—a timepiece depicting Chronos, the Greek god (who birthed time) holding a functional hourglass integrated into its dial, to a Minion-themed titanium watch priced at nearly $30,000 SGD.

I had the privilege of exchanging a few words with Chaykin at IAMWATCH, a bustling watch fair which brought together watchmakers, collectors, and enthusiasts alike. Here, he shared more about the release of his new creation, the ThinKing—a watch measuring a mere 1.65mm in thickness. To put that into perspective, this is the thinnest mechanical watch in existence. If that doesn’t blow your mind, consider the level of ingenuity required for an independent watchmaker to not only craft such a marvel, but out-thin(k) the colossal watchmaking houses.

The ThinKing borrows from Chaykin’s acclaimed “Wristmon” series, known for their humanlike charm. Two “eyes” on the face of the watch—formed by hour and minute displays—are framed by a steel case engraved with the brand’s signature to form a smile. Instead of sandwiching the K.23-0 movement—a manually wound calibre offering up to 32 hours of power reserve—between two steel surfaces, the movement is woven directly into the case to maximise thinness. Every detail, from the Swiss lever escapement to the ultra-thin winding barrel and double balance system with a geared clutch all work together towards a singular truth: create the thinnest damn watch possible.

But engineering such thinness comes with its own set of challenges. Chaykin had to design a patented strap, crafted from alligator leather with elastic inserts and titanium supports, to manage the inevitable twisting and stress of wear. The result? Not only the world’s thinnest watch, but also one of the lightest.

To step into a ring dominated by giants like Bvlgari and Richard Mille takes audacity—or madness. Perhaps both. What kind of person willingly takes on such a challenge? Does Chaykin ever dream up ideas so absurd that even he hesitates? These questions swirled in my mind as I delved deeper into his story.

“Too crazy? No.” Chaykin said with a slight shrug when I finally asked him. “I’ve had a lot of challenges in my life. From the start, my watchmaking path has been a challenging strategy—almost crazy. If you check my timepieces, from the first to the last, I try not to create classic watches. I always find some crazy challenge for myself, for my soul, because life should not be boring.” 

The whimsical

This spirit of whimsy and daring can be ambiguously used to sum up Chaykin’s work, particularly in his pursuit of the absurd through the “Wristmon” series. Take the Minions Titanium watch, for instance, which features “eyes” for hour and minute displays. But here, the phases of the moon form the mischievous smile of a minion, while the pupils and tongue shift with time, lending the timepiece almost a personality of its own. It may come to you as a surprise, but there aren’t actually tiny minions running around beneath the dial rotating gears and the lot. Instead, the in-house K.18-15 automatic calibre keeps everything running smoothly, offering a 42-hour power reserve.

Although the world may primarily think of Chaykin as the creator of the “Wristmon” series due to all the acclaim he has received because of it, that is not how he views himself. Far from it.

“I see myself more as an artist than anything,” he says. It’s a perspective that explains his refusal to be confined by the traditional boundaries of watchmaking. If you study the work of great artists throughout history, you’ll see they weren’t defined by a single collection or work. Their legacy as a whole is an evolution. This is what Chaykin envisions for himself—long after his loupes have magnified its last balance wheel.

The classical

One piece we feel encapsulates this dynamic particularly well is The Cinema. Look no further than its rectangular frame, vintage typography carved into silver dials, and a mesmerising Clous de Paris guilloché finish decorating the dial. It is as its name suggests—a watch inspired by cinema. But what sits at 6 o’clock is its defining feature. A disc with 12 frames depicts a galloping horse, creating the illusion of motion—an ode to the first-ever motion picture of a horse and its rider in 1873. The in-house KCM-01-0 movement works overtime to power not only the timekeeping side of things, but also the animation sequence. All this is housed within a 37mm x 47mm steel case, only 12mm thick. Despite the brilliance of this concept, Chaykin has yet to turn it into a collection, more than 10 years since its inception.

For a man like Konstantin Chaykin, the idea of strictly sticking to a brand’s borders is boring. “It might be good for business since many people prefer that kind of consistency—DNA is great for business. But not for creativity, not for me.” And that, perhaps, is the heart of Chaykin’s philosophy. An artist trapped in the body of a watchmaker, where the watches he crafts are not just instruments of time, but manifestations of his restless creativity.

It all starts with a wrist shot.

A gold Rolex Daytona gleaming under perfect lighting, hashtagged with #NewWatch Alert. The comments flood in "Congratulations", "Baller AF", "Pure fire". But beneath the facade of social media lies an uncomfortable truth—luxury watches, once cherished for their art and history, have become props in a status-obsessed culture. The watch community now finds itself divided between those chasing clout and those staying true to the craft. But the question is: can it ever be both?

The rise of "flex culture" has turned horology into a battleground for likes and followers. Iconic models are no longer just masterpieces—they are currency in the game of social validation. The result: social media frenzy where the latest release becomes a must-have. I have shared my fair share of wrist shots on Instagram (@ryehn), and I have experienced this phenomenon firsthand. Photos featuring the usual suspects—steel Daytonas, Royal Oaks and Nautiluses—always garnered significant attention because that is what people expect and love to see. Yet, when l once posted a photo of a friend's Patek Philippe Celestial 5102G—one of my personal favourites—it barely scraped a hundred likes. It was disheartening, to say the least, and a reminder of how often true artistry is overlooked in favour of trends and hype.

As the hype continues, the pressure on collectors to conform grows heavier. Social media has created an environment where owning a lesser-known or unconventional brand often feels like a failure to keep up. Everyone is chasing the next big thing. During my journey, I have watched trends come and go. Brands that once ruled the scene now struggle to stay relevant, while others rise from obscurity to dominate the conversation That is precisely why some collectors are seeking alternatives, turning to vintage pieces and independent brands to escape the standard image of luxury. From my experience, this realm is where you encounter the most passionate and knowledgeable enthusiasts—the ones who value individuality above validation.

The turning point for many collectors comes when they start questioning their own motivations. I remember obsessing over a popular high-demand timepiece and feeling the urge to make it mine—not because it resonated with my taste, but because of its status in the watch world. That realisation was unsettling Was I drawn to the watch for its craftsmanship and history, or was I simply chasing it to prove I could have it? This internal conflict forced me to step back and reevaluate what drew me to watches in the first place. It was not the attention or the flex—it was the art, the story, and the connection I felt when wearing a piece that truly resonated with me.

The rise of independent watchmakers has also played a crucial role in driving this movement. Brands like H Moser & Cie, MB&F and De Bethune are carving out a niche, offering avant-garde designs and bespoke craftsmanship that stand apart from the mainstream. These timepieces are not just unique—they embody individuality and spark curiosity. I still remember coming across the MB&F HM3 over a decade ago and being blown away. I showed it to my peers, and their reactions were priceless: "What in the world is that?" That is the beauty of these smaller brands—they foster personal connections between the collector, the creator, and a tight-knit community of enthusiasts who share a mutual appreciation for the unconventional.

In a word obsessed with appearances, is it not time we asked ourselves what truly matters? Is it the applause of strangers or the quiet satisfaction of owning something deeply personal and meaningful? A watch should be more than a symbol of wealth or success—it should tell a story, evoke emotion, and reflect the wearer's journey. Perhaps, in seeking less validation from others, we find more value in ourselves.

Mountains have always mystified me. These ancient structures have watched civilisations come and go, oceans dry up, and even observed life itself take its first steps. I like to think of them as magisters of earth of sorts—these colossal, celestial beings who’ve silently bore witness to our planet’s history for centuries, but, for whatever reason just never felt the need to say anything.

So, when I heard of a watch brand with an ethos rooted in mountainous exploration, my interest was piqued.

You might have heard the name NORQAIN floating around in the world of horology—that brand with a logo featuring sharp, jagged edges forming a mountain. Or perhaps you haven’t, and you’d be excused. Established just seven years ago, the youthfulness of this Swiss watch company belies the ancient mountains they so admire. Yet, as I would soon come to realise, age in this case truly is just a number. The family-owned company caters to a niche market of outdoor and alpine enthusiasts, which explains the rugged logo composed of two interlocking “N”s.

I had the privilege of spending a week with a NORQAIN watch—the Independence Skeleton Chrono, to be precise. It’s NORQAIN’s first flyback chronograph, inspired by the world’s tallest mountains.

Upon first encountering the 42mm-wide watch, I expected a certain heft, given its size. However, as I lifted it, my expectations were unmet—largely due to its Grade 5 titanium lightweight case, which keeps the watch under 90 grams.

This featherlight quality can also be attributed to its skeletonised dial, where portions of the dial have been carefully stripped away to reveal the intricate inner workings of the watch. What remains is a purple open-worked bridge, with the top half carved to mimic NORQAIN’s signature mountain motif.

NORQAIN's 8K

This sits atop the brand’s all-new 8K Manufacture Calibre, whose namesake was derived from the world’s 14 highest peaks, often referred to as “Eight-Thousanders.” The skeletonised calibre lives up to this name, featuring a flyback chronograph function, making it the brand’s most ambitious mechanical creation to date.

To understand why this is so, let’s revisit how flyback chronographs work. A standard chronograph requires three steps to restart timing: stop, reset, and start again. A flyback, however, can perform all three actions simultaneously with a single press of a button.

Pressing the button felt crisp and satisfying, without any of that jerky start-stop resistance found in typical chronographs. This is made possible off the back of an intricate column wheel—usually found in high-end chronographs due to the precise finishing and expert assembly required to integrate it into a calibre—which helps reduce resistance in the pushers.

While we’re on the topic, it’s worth noting that the bi-directional automatic winding system not only boasts a power reserve of 62 hours but is also COSC-certified. Additional complications include a small seconds counter at 6 o’clock and a 30-minute counter at 12.

Cool specs, but how does it look?

Compositional contrast is the name of the game. The black DLC (diamond-like carbon) titanium case undergoes a trio of finishes: polishing, brushing, and sandblasting to give the watch some added dimension through its multi-tiered layer of variating surfaces. The movement itself is finished with polished and sandblasted surfaces as well, adding to the mesmerising complexity and depth of the calibre.

This obsession with juxtaposition extends even to the gun-metal plated hands, which feature a shielded and an arrow. Both of which, along with the indices, are coated in Super-Luminova for superior legibility, even in the dark.

Speaking of which, legibility can often be an issue in many skeletonised dials, but this was never an issue with the Independence Skeleton Chrono. The white filled-in hands and markers, along with the distinct shapes of the hands made timekeeping a breeze.

The purple accents that invade the dial complemented the overarching gunmetal tone of the watch well—subtle enough not to overwhelm yet striking enough to support that air of mystery created by the black and varied surfaces. In fact, with its brooding purple-and-black colourway, dare I say the watch looks like something Chadwick Boseman might’ve rocked in a Black Panther film?

How does it feel?

The all-purple rubber strap felt great on my wrists, it’s one of those watches that doesn’t take much time to break in and get used to. By the third day, there were moments when I forgot I was even wearing a watch—though this could also be attributed to its lightweight design. This level of comfort surprised me, especially as someone with smaller wrists. While the dial might give the illusion of bulk and jankiness, the watch never felt cumbersome.

The only gripe I’d have would be the lack of flexibility in strap options. I thought the purple strap might’ve played too much into the colour, so I would have appreciated the option of a black rubber strap as well. A steel variation of the watch is available, either with a strap or a bracelet, but these lack the purple accents that I adore.

Limited to just 300 pieces, the black titanium DLC Independence Skeleton Chrono with its purple accents manages to blend sportiness, practicality and artistry in a way few watches do. NORQAIN may be young, but based on what I’ve seen from the pristine craftsmanship involved in their watches, it wouldn’t surprise me if, one day, they become as tall and storied as the celestial beings that inspire their ethos.

here’s something to be said about a world timer, the type of watch designed to display the time in multiple time zones simultaneously, typically all 24 of them.

Firstly, that it’s a coveted complication that comes with a level of kudos, and second, it typically carries a few extra zeros at the end of the price tag.

Why?

Because among watches with intricate complications, it is among the most complex.

"A world timer is the cornerstone of any collection. It brings a sense of nostalgia to air travel,” says Arwind Jhand, founder of vintage timepiece dealer Tortoise, noting that Patek Philippe's coveted world timers are frequently among his clientele's holy grails.

“World timers have always been my favourite complication—not just for their practicality but for their sheer aesthetic beauty,” says one such collector. “It’s a reminder that, no matter where I am, my world is always connected.”

They are, in short, attractitve, rare and expensive.

"I am looking for an affordable world timer. Is it even possible?” writes a begrudged Reddit user on a horology-themed thread. As of today, the answer is yes, thanks to Frédérique Constant's novel partnership with the Swiss crowdfunding platform and microbrand incubator, Watch Angels.

The new Frédérique Constant x Watch Angels WorldTimer Manufacture offers a take on the grail wristwear, for about a tenth of the price of some of the big names.

The philosophy behind Watch Angels is rooted in collaborative partnerships with brands, offering a fully Swiss Made solution to transform enthusiast demand into crowd-funded watch projects from concept to completion.

Translation: you asked, they answered for this fan favourite.

The watch was created by modifying an existing Frédérique Constant world timer movement, the FC-718—with the 42mm case that usually houses it reduced to a streamlined 40mm. Subtle curves and sharp bevels frame the atlas on your arm, inclining a city disk and removing the date to allow clean readability of 24 time zones.

From Cairo to Chicago, Anchorage to Azores, day and night segments span two hemispheres, with a poetically polished sun for daytime and a sandblasted crescent moon for night-time.

Limited to 718 pieces, the collector-focused timepiece is available through Watch Angels via a subscription order window that closes on 13 March.

Responding to the growing demand from collectors and enthusiasts who have traded instant global timekeeping on smartphones for something more refined, this new World Timer reflects a watch brand really listening to its consumers.

“Watch Angels brings us the feedback of the collector community, further reinforcing our way of innovating which includes closely listening to the market," says Niels Eggerding, Frédérique Constant's CEO.

All functions on the watch can be set solely via its crown, another touch of magic to this unusual and welcome timepiece.

Originally published on Esquire UK

In his hands, Pim Koeslag holds what might be the most awe-inspiring watch I’ve ever seen in person. I mean, it quite literally compresses the cosmos into something that fits on your wrist. From Mercury's 88-day dash around the sun to Neptune's leisurely 164-year orbit, the solar system is meticulously represented in miniature, set against a hand-painted backdrop inspired by images from the James Webb Telescope.

The Grand Planetarium Eccentric Sincere Platinum Jubilee Edition is, as its name entails, a watch commemorating Sincere’s 70th anniversary and Christian van der Klaauw’s 50th anniversary. Given that Sincere was one of Koeslag’s first customers after he acquired CVDK, it seems only fitting to celebrate this enduring partnership.

“I get a little emotional seeing this beautiful piece,” Koeslag reveals, sitting across from me.

As a master watchmaker turned CEO, he acknowledges the tug-of-war between his passion for watchmaking and the demands of running a company. This tension feels particularly truthful for someone whose genuine love for the craft feels so pure that it’s palpable even in a brief conversation. In just 24 minutes, we delve into this dynamic, the future of the company, and what might very well be the magnum opus of Christian van der Klaauw.

ESQUIRE SINGAPORE: Can you explain the new Grand Planetarium Eccentric Sincere Platinum Jubilee Edition watch? What was the creative vision and inspiration behind it?

PIM KOESLAG: This watch is based on our 50th-anniversary celebration. Christian van der Klaauw established the company in 1974, initially specialising in astronomical world clocks. By 1996, he had created his first wristwatch, miniaturising astronomical mechanisms to fit within a wristwatch. In 1999, he made the world’s smallest mechanical planetarium in a wristwatch.

For this 50th anniversary, we developed the Grand Planetarium Eccentric, a highly sophisticated planetarium watch featuring all eight planets of the solar system orbiting the sun. For example, Mercury’s sphere will orbit once every 88 days, Venus in 224 days, Earth in a year, and Neptune, the slowest, takes 164 years to complete one orbit on the watch.

What makes this model extraordinary is that the planetary orbits are eccentric—just like in reality, they don’t follow perfect circles, reflecting real-life orbital mechanics. The dial was hand-painted by a Geneva-based miniature painter, inspired by an early prototype of Christian’s, which was itself influenced by imagery from the James Webb Telescope.

The painting process involves nine separate components assembled after painting. The planets are hand-painted as well, making this not just a technical marvel but also an artistic masterpiece.

ESQ: The moons on the watch are fascinating. Could you tell us more?

PK: We included moons for Earth, Jupiter, and Saturn. While Saturn has 92 moons and Jupiter has 145, we could only include a select few due to space constraints.

ESQ: As CEO and a master watchmaker, how personally involved were you in the creation of the Grand Planetarium Eccentric Sincere Platinum Jubilee Edition?

PK: Very much involved. I was deeply engaged in every aspect of the creative process, from prototyping to final assembly. I wish I could only do that. But unfortunately, after making a watch, you have to sell it as well and run the company.

Christian sketched initial designs by hand, which we digitised into 3D CAD models. I personally built the prototypes and collaborated with Sincere’s management to refine the design, ensuring it honoured Christian’s vision while incorporating our craftsmanship.

ESQ: What’s next for the brand? Any upcoming projects?

PK: This watch was a major milestone, but we’re continuously innovating. Our focus remains on becoming the world leader in astronomical watches. We really want to do scientific research and make a watch as perfect and as close to the real thing as possible, essentially blending scientific research with high craftsmanship. Future models will push the boundaries of what’s possible in astronomical watchmaking.

ESQ: How do you see the future of astronomical watchmaking evolving, and how does the Grand Planetarium Eccentric contribute to that vision?

PK: I think this watch is already that next evolution. It’s the most accurate depiction of the solar system in a wristwatch, complete with eccentric orbits and all planets. The more in-depth you get in astronomy, the more questions you’ll have and the more ideas pop up for new models. If we write them all down, we’ll have new ideas for the next 50 years.

ESQ: Was it difficult adjusting from being a watchmaker to a CEO?

PK: It happened gradually. My journey began as a watchmaker in Geneva, then as a technical director, and eventually CEO. Becoming an entrepreneur was a bigger shift—it meant taking complete responsibility for the company.

But I think I love this combination because sometimes your head is so full of emails, questions, financial stuff, or press discussions. You just want to sit behind the bench and build something. Watchmaking is really peaceful, it’s therapeutic.

ESQ: What excites you most about this release?

PK: This watch symbolises our partnership with Sincere and our commitment to excellence. Sincere was one of my first customers when I acquired the company, and they believed in the company right away.

It’s the most complicated and refined piece we’ve ever made, blending artistry, technique, and emotion. It's very, very special. I even get a little emotional seeing this beautiful piece.

ESQ: Would you classify this piece as the magnum opus of Christian Van De Klaauw?

PK: Yeah, definitely. It’s as complicated as it gets; from the craftsmanship to the technique, it’s everything.

In the distant lands of Northern Ireland, there is a coastline where the Atlantic crashes against fractured earth shaped like hexagons. Known as the Giant’s Causeway, hexagonal pillars rise from the sea like nature's own puzzle—its unique structure giving life to mythology and legends. Among them is the story of Merlin, the legendary Arthurian wizard who is said to have once stood on this very coastline. Here, he could sense the potent magic of the basalt stones, lifting these hexagonal wonders from the sea and spreading them out with enchanting geometry.

It's this sublime magic that Roger Dubuis recaptures in their latest masterpiece, Knights of the Round Table, the Omniscient Merlin. The Maison has not only incorporated basalt into watch, but has assembled a diet of extraordinary materials to create a dial that mimics this mystical terrain in miniature.

56 individual blocks are patiently mounted by hand, each carefully positioned at a variety of heights to echo the complex and storied landscape. Basalt, pink gold, black grass in the Murano style, and transparent glass sit on a base plate of 18K pink gold, working in tandem and contrasting with each other to create an interplay of shadows and light. Slightly angling some blocks helps accentuate the depth of the dial, avoiding a standard honeycomb effect.

Arthur’s Knights

All this sets the stage for the main event. At the watch’s edge, twelve knights stand at the ready, each claiming an hour mark with a unique pose. If you look close enough, you’ll find a personality behind every figure at the Round Table. To imbue each knight with the detail of the slimmest weapon or the nuances of a worn helmet, each figure requires up to three days of meticulous craftsmanship to complete.

Now, it's time we float back down to reality a little and talk about the more grounded features. The watch itself has an imposing presence—measuring 45mm in diameter, and 16.87mm thick—yet it looks lighter and more compact in person than the numbers might suggest. This effect is partly due to the cleverly designed front sapphire crystal that extends beneath the bezel, allowing light to flitter in and offering a clear view of the dial from the side. On the caseback, you’ll find a 360-degree oscillating weight, designed to evoke the stained-glass windows of the medieval age. Encircling this is perhaps the hardest engraving you’ll ever see on a watch.

“Around this table, the bravest knights will gather as equals. They will set forth in search of adventure, righting wrongs, protecting the weak and humbling the proud.”

I like to think that this quote inspires the automatic Monobalancier RD821 calibre beating within, driving it to operate steadily at 28,800 vibrations per hour with a power reserve of 48-hours.

The Omniscient Merlin is just one of the many in the Knights of the Round Table series that Roger Dubuis has released but it is the first to be offered to the public. With only 28 pieces crafted, the invitation has been extended—although the choice is ultimately yours to decide whether you want claim to a seat at this exclusive round table.  

Arnold & Son’s Perpetual Moon “Year Of The Snake”

A snake, delicately engraved in 18-carat red gold—a material revered in Chinese culture for its symbolisation of power, wealth, and happiness—coils gracefully around the branch of a Gingko tree. Set against an aventurine glass dial, a nocturnal theatre unfolds, where luminous constellations dance around a grand mother-of-pearl moon. The scene feels suspended, as if time has loosened its grip, much like the slow uncoiling of the snake towards the observer.

And yet, it is the snake’s gaze that holds you. Calm, untroubled, its eyes neither condemn nor forgive. They simply are. No malice lingers, no cunning plans slither. Instead, they offer a reflection—of peace, of introspection, of something that cannot quite be named. What do you see in those eyes? Or, perhaps, what do they see in you?

Jaeger-LeCoultre’s Reverso Tribute Enamel “Snake”

From front to back, darkness is a ubiquity that dominates both planes of the case. Through the alchemy of Grand Feu enamel, glass and metal fuse to form a rich, lustrous black surface—polished to a depth that feels endless. It carries an air of decadence akin to that of lacquerwork used in ancient China, which made objects feel permanent and sacred.

Out of this deep darkness unfurls a wreath of golden clouds—and from that gilded haze, a fierce snake, its fangs bared in defiance. There is no restraint, no artifice—only unbridled fervour. Eighty hours were poured into carving this snake. Take another look at the watch, do you see only a snake? Or do you notice the weight of time, etched into every scale, every fang, and every curve?

IWC Schaffhausen’s Portofino Automatic Moon Phase 37 Year of the Snake

At first glance, the watch looks unassuming. Elegant, yes, but lacking the bold allure of its counterparts. Yet, there’s beauty in this restrain, an insistence on not showing its cards all at once. In Chinese culture, red is the pulse of life itself—the sun in the sky, the flow of blood, the warmth of fire. Gold, in contrast, carries the weight of good fortune, the shimmer of prosperity. Together, red and gold meet on the dial, not in a clash but in a union, creating a (quiet) explosion of decadence.

The story deepens once you turn over the watch. An 18-carat 5N gold snake takes the form of an oscillating mass, flush against your skin. As you move, it moves with you, slithering silently. Where is it heading, this golden serpent? Towards wealth, perhaps? Success? Or is it endlessly chasing its own tail, caught in the eternal futility of wanting what can never be held?

Dior Grand Soir Year of the Snake

If the Portofino Automatic Moon Phase 37 Year of the Snake was a study in restraint, Dior’s Grand Soir Year of the Snake is a masterclass in opulence. Set against a dreamy mother-of-pearl dial adorned with a Toile de Jouy Pattern, a beautiful opaline snake outlined in rose gold emerges from a canopy of leaves. In its wake, flowers shimmer from transformation, their petals shifting from iridescent to golden. Even butterflies fall to this Midas-like touch—their bodies infected with golden blight from antennae to tail.

But the snake is not content being contained within the confines of the dial. Its influence extends outwards, claiming even the watch itself. Stainless steel may construct the case, but the bezel has been graced by rose gold, encrusted with 52 brilliant-cut diamonds along its circumference. Here, the serpent slithers between worlds of boundless ambition and the almost-dangerous power of beauty. And as you trace its path, only questions arise: Where does ambition end and excess begin? Or does the snake know something that we don’t—that boundaries, like time itself, are nothing more than illusions?

Following the success of its pink-dialled sibling from 2024, TUDOR is injecting another burst of colour into its iconic Black Bay Chrono lineup. The new "Flamingo Blue" channels the spirit of South Beach into a sophisticated sports watch, manifested in the form of a turquoise dial.

Details that matter

While flamingos themselves aren't blue, the dial's distinctive turquoise hue evokes the tropical waters where these birds inhibit—bright skies, shimmering lagoons, and the kind of carefree energy that comes with the imagery. The 41mm chronograph maintains the Black Bay's signature design elements, including the iconic "Snowflake" hands—a Tudor diving watch hallmark since 1969—and a domed dial with two contrasting black sub-counters. Paying homage to TUDOR’s first chronographs from 1970, the layout includes a 45-minute counter and a date window neatly positioned at 6 o’clock.

But don’t be fooled by its playful look—the Black Bay Chrono "Flamingo Blue" is as serious as they come. At its core lies the Manufacture Calibre MT5813, a high-performance automatic movement featuring a column wheel and vertical clutch. The chronograph movement, derived from Breitling's B01 calibre but enhanced with TUDOR’s own regulating organ and exclusive finishes, offers a robust 70-hour power reserve and COSC certification that qualifies for everything from adventurous pursuits to day-to-day wear. The watch can also reach depths of up to 200 meters, living up to its sun-soaked aesthetic.

A fixed bezel with a tachymetric scale adds a dash of motorsport flair, harking back to the 1970s Oysterdate chronographs that cemented TUDOR’s connection to the racing world. Yet, the Black Bay Chrono "Flamingo Blue" doesn’t overplay its sporty side. Instead, it strikes a careful balance between the racetrack and boardwalk—perfect for the massive market of collectors who love drag racing and long walks on the beach.

Then there’s the bracelet. TUDOR’s five-link stainless steel bracelet with the T-fit clasp might not steal headlines, but it deserves praise. Offering five adjustment positions within an 8mm range, the rapid adjustment clasp requires no tool, allowing wearers to tweak the fit on the fly. The ceramic ball bearings ensure a smooth, secure closure while adding a subtle tactile pleasure to each adjustment. 

The Black Bay Chrono "Flamingo Blue" isn’t a watch for those looking to fade into the background. It’s a statement piece that merges heritage with personality, embracing the boldness and individuality of Miami. Practicality? That depends on who you ask. But for those who believe that individuality can coexist with style, this is a watch that fits in anywhere—and yet stands out everywhere.

Before Napoleon rose to power, before George Washington became the first president of the United States, and even before the invention of the bicycle, there was Vacheron Constantin. Since 1755, this watchmaking maison has continually pushed the limits of craftsmanship, achieving milestones like creating the world’s first watch complication, the thinnest manual-winding movement, and the most complex mechanical watch ever made—an impressive timepiece with 57 complications.

Now it’s 2025. Two hundred and seventy-seven years have passed, and the house is celebrating its rich legacy with the relaunch of one of its most iconic models: the legendary Historiques 222. And this time, it returns in a highly coveted steel version.

The original 222 debuted in 1977, a time when sports watches were largely functional tools for pilots, divers, and explorers. Elegance and sportiness were like oil and water, but Vacheron Constantin never seemed to care about those rules. But with the launch of this steel iteration, something feels different.

When I first held the 2025 Historiques 222 in my hands, it struck me as deliberate and assured. Every detail felt purposeful, without any unnecessary embellishments. This isn’t a watch that relies on flashy innovations or trendy themes—it simply exists, settled in its purpose. Vacheron Constantin, a proud member of haute horology’s holy trinity, knows its worth.

The real show

It all starts and ends with the bracelet. Unlike the gold version that was launched in 2021, this steel iteration makes it much more accessible to a wider audience, shedding nearly SGD90,000 of its golden counterpart.

The angular links and hexagonal inner links work in perfect tandem to achieving a clean, polished fit that drapes on the wrist like a silk gown. The brushed and polished finish only enhances its sophistication. Instead of a twin-blade,  the bracelet now closes with a triple blade instead, ensuring a more secure and effortless closure. Once clasped, the two ends vanish into one another, leaving only the Maltese cross as a marker of their meeting.

Modern confidence

Much like its predecessors, the 2025 Historiques 222 retains its iconic proportions: a 37mm case diameter, 7.95mm thickness, and 45.3mm lug-to-lug length. Key features like the notched bezel, flat planes, and the Maltese cross at 5 o’clock remain intact.

But there’s a new charisma to this iteration, thanks to its dark matte blue dial. Unlike the monochromatic dials of the past, this deep hue exudes a confident, composed charm that somehow manages to conjure the spirit of the 70s, while standing firmly in the present. It’s essentially timeless—like it's been here for a while, and will continue being here for years to come.

What’s inside counts, too

Through the sapphire window of the case back, we get a view of the in-house calibre 2455/2. This self-winding movement operates at 4Hz, offering a 40-hour power reserve—impressive for a calibre just 3.6mm thick. As a visual treat, the 22K 3N yellow gold oscillating weight features an engraving of the original 222 logo and a notched motif along its edge, mirroring the bezel.

The 2025 Historiques 222 isn’t about innovation or spectacle. It’s about presence, about knowing who you are without the need for adornment. Vacheron Constantin understands what it means to create a watch that transcends eras, and the new Historiques 222 is a masterful example of that philosophy.

The start of our itinerary was met with little fanfare. We arrived at Paris Charles de Gaulle Airport in the early parts of the morning; waiting with the disembarked throng watching the luggage carousel go round and round.

Despite the lazy morning traffic and barricades nearer to the city centre, the journey to the Mandarin Oriental on Rue Saint-Honoré took about 45 minutes (a shy 12 minutes over from Google Maps’ estimated 33 minutes). At OMEGA’s behest, Esquire Singapore got to experience the Paris Olympics.

OMEGA Hospitality Programme is pulling out the stops to warrant that everything goes like clockwork. From our stay at the Mandarin Oriental hotel that OMEGA took over for the duration of the Paris Olympics to being able to attend the games, the entire operation was a well-oiled machine.

This sort of fastidiousness isn’t foreign to a company like OMEGA. Like its watchmaking, precision is paramount. Adherence to the schedule notwithstanding, there’s the pressure of ensuring that the timekeeping of the games is up to snuff. OMEGA has to oversee 329 Olympic events, across 32 sports, operate 435 scoreboards and manage 530 timekeepers and professionals to operate the equipment.

Timekeeping has always struck me as an insurmountable charge. A Sisyphean task. Time has existed before homo sapiens and will continue to exist after our sun dies out. Our mammalian brains dream up of how to stem it, control it even, but we can’t corral a wild and bestial presence. You can’t mount it and break its spirit. We are rocks that are worn down by time’s rushing waters.

So, no. Linguistically, we cannot “keep time” as much as we can master it. But we can catalogue its passing. We can categorise it into months and days, into easily digestible numbers. We can capture its ghost in photographs and videos; even record human achievements. Mea culpa if I sound profound, wanky even. Given that Paris has been the cornerstone of almost every influential philosophical movement, it’d appear that I’m caught up in its environment.

Throughout our tenure at the Games, there will be brief pockets for ponderance. For now, we revel in the now; as we wait in the lobby for our room keys; awed by the vertical garden with the OMEGA logo and the glass-cased line-up of special limited-edition Paris Olympics timepieces.

“TIME MOVES IN ONE DIRECTION, MEMORY ANOTHER.”

In human memory, we have always considered OMEGA as the official timekeeper of the Olympics. But it wasn’t the first.

That distinction goes to Longines at the inaugural Athens Olympics in 1896. After that, timekeeping for the next several Olympics was handled by a myriad of watch brands. During that period, timekeeping was dependent on stopwatches, with devices that were accurate to 1/5th of a second at the 1928 Amsterdam Olympics. For the Los Angeles Olympics in 1932, OMEGA was appointed as the sole entity to time the games. A lone OMEGA watchmaker accompanied 30 rattrapante (split-second) stopwatches that were flown from Biel/Bienne to LA.

With this split-second feature, it allowed for intermediate timings to be recorded. What, also elevated OMEGA’s (and the Swiss reputation) timekeeping status at the time was that said stopwatches were accurate to the nearest 1/10th of a second. This would be a race for watch brands; to develop more precise timekeeping devices.

The year 1948 saw the birth of electric timekeeping, where OMEGA first introduced the photoelectric cell or “Magic Eye” at the St Moritz Winter Olympics and then at the London Olympics. Used in tandem with the slit photo finish camera invented by the British Race Finish Recording Company, the devices proved useful during the 100m sprint of the 1948 London Olympics: Two American runners, Harrison Dillard and Barney Ewell, clocked the same time of 10.3 seconds. It was only after examination of the photo finish image that Dillard was given the gold medal.

OMEGA would continue its timekeeping position until the 1964 Tokyo Olympics, where the duties were conferred over to Seiko. OMEGA would retake the timekeeping appointment for the 1968 Mexico City Olympics before it fell into Longines’ hands for the 1972 Munich Olympics. The title of official timekeeper would return to OMEGA leading to this year’s Paris Olympics.

With this split-second feature, it allowed for intermediate timings to be recorded. What, also elevated OMEGA’s (and the Swiss reputation) timekeeping status at the time was that said stopwatches were accurate to the nearest 1/10th of a second. This would be a race for watch brands; to develop more precise timekeeping devices.

“EVERYWHERE IS WALKING DISTANCE IF YOU HAVE THE TIME."

I’ve clocked in a great number of steps during my three days at the Paris Olympics. At the end of each day, my feet felt like they had traversed the globe.

Transportation to the games proved challenging with roads being blocked or rerouted. We had to alight from the bus at significant distances from the venues.

Aside from developing calves and setting dogs barking, the scenic route is quite something. You soak in the city's history as you traipse through boulevards, past classic Haussmannian buildings with their iconic wrought-iron balconies and homogenous façades. Sometimes, when the sun hangs high, its dappled rays light the structures just so; giving the city an added depth. Given that most Parisian dwellings were built in the 1800s and have been reinforced throughout the years, I’d wager that they will continue standing. We are ants trying to make homes in unmoving mountains.

OMEGA took over the Hôtel de Poulpry, Maison des Polytechniciens, turning the 18th-century mansion into a retrospective of OMEGA’s Olympic timekeeping history. The once-imposing architecture and the decoration of the Second Empire are now replete with the signature OMEGA red.

The OMEGA House started at the 2012 London Olympics, then followed by the Rio Olympics in 2016. “We’ve designed OMEGA House to really bring guests into the heart of the brand,” Raynald Aeschlimann, OMEGA’s president and CEO said. “There’s so much to explore and uncover, with surprises around every corner.”

Spread across multiple floors, the OMEGA House Paris holds interactive elements that members can be immersed in. After the trek, most of the guests lingered in the courtyard, strategically parked near the threshold where the wait staff emerged with seemingly endless light bites on silver platters.

Once sufficiently refreshed, we reconnoitre the inside of the hospitality house. The reception room carries the full timeline of OMEGA’s history with the Olympics and Paralympics. Venture within and you’d find different rooms dedicated to OMEGA’s watchmaking universe: there is a room about the brand’s timekeeping tech that is critical to the Olympic Games; there’s another where guests get to experience being an Olympic champion; there’s a space that delves into OMEGA’s association with space exploration (anchored by a large gold astronaut); an area committed to showcasing a collection of current OMEGA Seamaster watches.

There were celebrities that OMEGA invited to the Games and OMEGA House. At our time at OMEGA House, Chinese actor and recent OMEGA brand representative, Liu Shishi appeared with Aeschlimann to address the Chinese members. Nicole Kidman and Keith Urban sat behind us at a Women’s Beach Volleyball game; Kidman possessing some sort of ethereal glamour with nary a bead of perspiration in the afternoon heat. Daniel Craig—post Loewe campaign side bangs—swung by the OMEGA House, again sporting a never-before-seen OMEGA timepiece that would be revealed later in the year.

When it came to the closing night of the Paris Olympics, the party at OMEGA House was a star-studded affair. Personalities like actor Ariana DeBose, triple jumper Jordan Diaz and swimmer Katie Grimes graced the event. In his closing speech, Aeschlimann remarked about witnessing OMEGA’s timekeeping at the heart of the Games and how the Olympics brought the world together. “It’s been an honour to welcome guests and friends to OMEGA House from all corners of the globe.”

“WHILE IT MAY SEEM SMALL, THE RIPPLE EFFECT OF SMALL THINGS IS EXTRAORDINARY.”

In 2019, the outbreak of COVID-19 in Wuhan would spill out into the rest of the world. On 11 March 2020, the World Health Organisation declared COVID-19 as a pandemic, with the weekly global death toll at 650; it would rocket to a reported global death of 49,959. Going into the following months, the number showed no signs of abating, which didn’t bode well for Tokyo, which was scheduled to hold the Olympics in July. Concerns were rife, and after careful consideration, the Tokyo Olympics would be rescheduled to 23 July 2021.

There is a glint of silver in that thundercloud.

While the mood of the Tokyo Olympics was sombre, it was a welcome distraction. Sans physical spectators, participants risked exposure to the coronavirus and pushed the limits of the human body. One of these athletes was Quan Hongchan.

Discovered by her coach, Quan joined the Guangdong diving team in 2018 and took part in the regional competitions, winning gold medals that year and the next. By the end of 2020, Quan earned her place on the national team. The following year, she placed first in a competition, qualifying her for the Chinese Olympic team. Her presence at the Tokyo Olympics garnered Quan, not only as the youngest participant but also three perfect 10 scores for the Women’s 10m Platform.

Had the Tokyo Olympics proceeded as scheduled, Quan, then 13, would not have been able to compete due to the age limit set by the International Diving Federation. One might argue that even if she missed out on the Tokyo Olympics, she would still excel at future events. But in the throes of a pandemic, seeing someone like Quan compete with such mastery and at such an age felt like the outline of hope, of a future.

“HARDER, BETTER, FASTER, STRONGER.”

Like previous Olympics, throughout the Paris Olympics, OMEGA used its timekeeping equipment, along with pieces of updated tech.

One such advancement is the use of Computer Vision. It tracks the athletes in their respective fields and collects a range of performance data that are extrapolated by AI and machine learning. For diving, a system of cameras is trained on the divers, from their jump to their entry into the water. From the data, a 3D vision of the dive is created, along with the calculated metrics, like airtime and speed into the water. The cameras also track the safe gap between the diver and the board during their routine; if the minimum distance between the two isn’t maintained, it might factor into the final score.

Even without the equipment, it was clear that China was dominating the finals of the Women’s Synchronised 10m Platform event. We watched slackjawed at Chen Yuxi and Quan Hongchan perform with such synergy that when the camera was filming them from the side during their flight, the two divers looked like one body before the waters betrayed twin rip entries. Chen and Quan nabbed gold with 359.10 points, putting them at a stunning 43 points ahead of the runner-ups.

“We have always done extremely well with the timekeeping,” Aeschlimann says. “We have covered the Paralympics since it first started but some of the games are difficult to time because, because of the [differing] handicap of every athlete of the same category.”

The technology that OMEGA used in the Olympic Games had been years of development and refinement. Take the equipment used for the track. Given that sound is slower than light, athletes in the furthest lanes would hear the starter’s pistol later than those who are closer. OMEGA replaced the conventional starter pistol with an electronic one that’s connected to speakers placed behind the starting blocks in the interest of fairness.

When the trigger is activated, a start pulse is given to the timing system before it plays a recorded “gunshot” all at once (as a visual aid, a light would flash as well). The starting blocks also have sensors that detect any false start through the athlete’s foot against the footrest.

Other than the Scan‘O’Vision ULTIMATE camera, located at the finish line are photocell technology that shoots out four beams of light. Replacing plastic finish tape, the winning time is recorded the moment a runner disrupts the beams.

OMEGA’s Quantum Timer replaces the mechanical stopwatches. With an enhanced resolution of one-millionth of a second, the Quantum Timer is five times more accurate. Driven by a micro crystal component embedded in the timer, the resolution is 100 times more than previous timekeeping devices.

In the waters though, that’s another story. Waters refract light, and capturing visuals is made more difficult when there’s splashing. Swimming lanes are equipped with their own high-speed camera that takes and sends 100 images per second. A lap counter placed underwater informs the swimmer of how many laps are left, should a swimmer lose mental count. To record a swimmer’s timing, OMEGA introduced touchpads positioned at both ends of the pool back at the 1968 New Mexico Olympics. Swimmers “stop the clock” by exerting pressure between 1.5 and 2.5kg (a swimmer’s wave or pull away during a turn in the water generates about 1kg of force); this is the most accurate way to measure time. Speed climbing (introduced at the 2020 Tokyo Olympics) is the second Olympic sport that has touchpads at the top of the wall.

There’s a lot that has gone into the Summer and soon also Winter Olympics, but the Paralympics proved to be harder to track. “We have always done extremely well with the timekeeping,” Aeschlimann says. “We have covered the Paralympics since it first started but some of the games are difficult to time because, because of the [differing] handicap of every athlete of the same category.”

Differently-abled Paralympians are in another classification to ensure a fair competition. A panel of medical and technical experts evaluate the athletes’ impairments in their performance in the sport. Each discipline has its own classification system, as are the individuals partaking in the sport.

Take para swimming for example. Athletes are allocated based on the impact their impairment has on swimming, rather than on the impairment itself. Depending on who is competing, if there are athletes with “extremely low visual acuity and/or no light perception”, the rest must wear blackened goggles during the race to ensure a level playing field.

Because of the personalised nature of the Paralympics, OMEGA had to tailor its tracking system for each Paralympian to safeguard the integrity of the competition and timekeeping.

It would be days later—4 August—at the Men’s 100 metres finals that OMEGA’s photo finish cameras were put to the test.

“TIME IS RELATIVE; ITS ONLY WORTH DEPENDS UPON WHAT WE DO AS IT IS PASSING.”

The 100m sprint is one of the highlights of the Olympics. Usually, over within 10 seconds, it is a race that is straightforward and boils down to the simple truth, “only the fastest win”. Usain Bolt remains the undisputed world record holder at 9.58 seconds. Since his retirement in 2017, people have been waiting to see if Olympic hopefuls could break the record.

For the Paris Olympics, the men’s 100m was the most tightly contested final in Olympic history as six out of eight sprinters, recorded top-25 all-time 100m records. The difference between the fastest in the field, Fred Kerley (USA) at 9.76 seconds and the slowest, Kenny Bednarek (USA) at 9.87 seconds was a mere 0.11 seconds.

Kishane Thompson (Jamaica) had been touted as the successor to Bolt and odds for him taking gold at the 100m race were favourable. Up against, Noah Lyles (USA), in raw timings, Thomson has him beat by four-hundredths of a second.

As sprinters pushed off from their starting blocks, they sped down the tracks, most of them neck to neck. It was anybody’s game in the first 80m before the camera swivels and we saw a blur cross the finish line. The word “Photo” appeared on the scoreboard—a photo finish. Thompson and Lyles were clocked in at 9.79 seconds, marking this as one of the closest finishes in Olympic history.

A deliberation took place as the sprinters stared at the scoreboard. According to RUNNER’S WORLD, Omega Timing CEO Alain Zobrist guessed that it took “official timekeepers and judges on site 10 seconds to determine the first two positions, so about 5 seconds each.” When those distressing seconds were over, Lyles was announced as the gold medallist. Lyles beat Thompson by five milliseconds.

The equipment used at the finish line was OMEGA’s Scan‘O’Vision ULTIMATE camera; a line-scan photo-finish device that captures 40,000 digital frames per second. You’ve seen the photo finish. This contentious picture is the result of one pixel-wide sequential image of the runners crossing the finish line. Although Thompson’s foot crossed the line, Olympic regulations state that only the athlete’s torso—not the head, limbs and feet—that reaches the edge of the finish line is the winner. And that’s where the red line and Lyles’ torso meet; at 9.784 seconds.

And the cherry on the top? Lyles, who is OMEGA’s brand ambassador, ran the 100m track while wearing a Speedmaster Apollo 8 Dark Side of the Moon.

“IT’S A MARATHON, NOT A SPRINT.”

On 15 May 2017, the International Olympic Committee (IOC) announced OMEGA would be the Games’ official timekeeper through to 2032; a hundred years since the Swiss company first took up the role for the 1932 Los Angeles Olympics. It was a momentous milestone that cemented OMEGA’s timekeeping capabilities and advancements.

But what happens when the 2032 Olympics is done and dusted? Another century for OMEGA? I’d reckon so. It’s the difference between a photo-finish and being leagues ahead of your peers; OMEGA falls squarely in the latter. As long as OMEGA continues to innovate; to better its current timekeeping tech. In a sense, their competition is itself. It’ll be a matter of endurance, to maintain the distance from the rest; OMEGA gets to be the final word in timekeeping.

“We contain multitudes” as the saying go. It is with that notion that the make-up of these remarkable watches are sights to behold. Derived from materials that soar above mere metal and plastic, these timepieces are worth their weight in…well, the element they are made out of. It's time we explored the intersection between nature’s elements and the craftsmanship in timepieces.

Franck Muller Vanguard Damas Racing

Sparks fly when magic happens. Sparks fly even further when Damascus steel is being forged. With its roots tracing back to the samurais and ancient middle east, whispers spoke of their ability to slice a falling strand of hair, or chop through other blades without losing its edge. The recipe for true Damascus steel has long been lost to time, but The Franck Muller Vanguard Damas Racing manages to capture its essence. By pattern welding two steel alloys and dipping them in an acid bath, that signature visual is reborn onto the watch’s case. The timepiece’s skeletonised design evokes the scorched aftermath of the forging process, revealing the intricate mechanical heart beating within. The ash grey finish completes the illusion, resembling a blade freshly forged from ingot, stripped bare long after the last spark has faded.

Bvlgari Octo Finissimo Ultra COSC

Steam perfectly captures the paradox of subtlety and might. It’s delicate and wispy. Yet, it possesses the raw strength that fuelled the Industrial Revolution, becoming a zeitgeist of its time. This very power plays a hidden role in the creation of the Bvlgari Octo Finissimo Ultra COSC, the world’s thinnest watch. It’s responsible for a vital process that transforms solid titanium tetrachloride into a purified vapour before condensing it into pure titanium, the same material used to craft the timepiece. The watch’s razor-thin profile shares an ephemeral affinity with steam—barely there, yet undeniably present. Just as steam can slip through the smallest cracks, this timepiece can glide effortlessly under any cuff. Did I forget to mention that it’s also a COSC-certified chronometer? Like I said, mighty

Hublot Big Bang MP-11 Water Blue Sapphire

Ice embodies purity with such elegance. Its translucent being beckons our eyes to peer into its essence—tranquil, pristine, and if you look close enough, whispers of a quiet sizzle. Similarly, the Hublot Big Bang MP-11 Water Blue Sapphire captures this allure with a blue-hued sapphire case. Like a watch frozen in time, its sculptural 7-barrel movement protrudes from the dial, mimicking a teardrop on the verge of falling. But this design isn’t just for the eyes, it grants the watch the ability to house a power reserve of 14 days, echoing the enduring freezing quality of ice. The sapphire case serves as a window to the MP-11’s soul, allowing full transparency to the fine inner workings of the machine. Yet, this transparency belies its strength—Hublot guarantees 100% resistance to knocks and scratches, blending delicate beauty with robust durability

IWC Aquatimer IW379503

Dirt is often regarded rather derogatorily, yet it is the very foundation of life. It is in the dirt that seeds germinate, and it is through the quiet alchemy of decay that ecosystems thrive. The IWC Aquatimer IW379503, with its bronze case tells a similar tale. As time leaves its mark, the metal weathers and tarnishes, mimicking the natural process of ageing and the accumulation of history—much like the earth itself. This timepiece invites us to find beauty in the imperfect, the aged, the seemingly mundane.

Illustration: Joan Tai