TAG Heuer's frequent collaborations with Porsche have made the two brands nearly synonymous. Given its name, I initially assumed the TAG Heuer Carrera series was probably an existing collaboration with Porsche. I later discovered that the name “Carrera” really originated from the legendary Carrera Panamericana Road Race in Mexico, once considered the most demanding and dangerous road race in the world. With such high expectations to live up to, it makes sense why the Carrera timepieces are renowned for their durability and performance in the motorsports world. TAG Heuer is now reimagining its Carrera Extreme Sport series with the introduction of two striking new models, a chronograph and a tourbillon variation.
The new models in the series share a cohesive design in its DNA, featuring integrated rubber straps inspired by the air intake systems of racing cars. The redesigned case, now reduced in diameter, integrates a single container with two barrels on the side. Its skeletonised dial is accentuated with bold black lines that remind the eyes of a car’s rim, while the dial disk has been redesigned to include an open-worked date disc. Both the hour and minute hands are coated with Super-LumiNova, ensuring visibility even during those late-night drives.
Leading the lineup is the TAG Heuer Carrera Chronograph Extreme Sport, which boasts a 44mm grade-2 titanium case, available in four distinct colourways. The vibrant orange colourway draws inspiration from the heat of the racetrack, while the blue variant pays homage to TAG Heuer’s signature colour. For those with a more refined taste, there's a monochromatic black option. The final chronograph combines titanium, ceramic, and 18K 5N rose gold for a look that feels both luxurious and sporty. The engine powering the watch is the TH20-00 in-house caliber, which delivers an impressive 80-hour power reserve.
The TAG Heuer Carrera Chronograph Tourbillon Extreme Sport, on the other hand, feels like the more sophisticated sibling of the two. Powered by the TH20-09 in-house caliber, this model offers a shorter power reserve at 65-hours but a vertical clutch and column wheel propels a bidirectional automatic rewinding system. This allows the watch to wind efficiently with minimal movement and ensures a longer lifespan by evenly distributing wear and tear across its components.
Coming in similarly at a leaner 44mm case, two striking variations will be on offer: a sleek all-black and luxurious gold and titanium version. The black model features a forged carbon tachymeter bezel, known for its scratch resistance, and rhodium-plated indices for enhanced reflectivity. Conversely, the gold and titanium version showcases an 18K 5N rose gold case and bezel, fortified with a black DLC-coated titanium container. Its indices are rose gold plated, striking a delicate balance between elegance and masculinity. Both versions feature a skeletonised dial that reveals the complexity of the tourbillon and movement that delivers a water resistance of up to 100 metres.
“We don’t sell watches, we sell art pieces,” is what CEO of BOVET, Pascal Raffy told me over lunch at the BOVET Story Exhibition. And for years, that's exactly what they've done—creating timepieces so exquisite you'd be forgiven for thinking they belong in a museum rather than on your wrist. This focus on artistry is precisely why everyday-wear timepieces are a rarity for the brand. However, after years of requests from collectors and customers, Raffy finally decided to break tradition with a daily timepiece that somehow manages to still retain that air of artistry. Introducing the Récital 12, BOVET's first-ever bracelet timepiece.
Two years. That's how long BOVET spent researching and developing a bracelet that would meet the house’s standards. Crafted from grade 5 titanium—a material known for its strength and corrosion resistance—the watch is not only durable but also remarkably lightweight. Its density is only 60 per cent of stainless-steel, making it weigh nearly half of a hypothetical stainless-steel counterpart. But now, onto the main selling point.
The subtle lustre and smooth finish of the bracelet lends a sophisticated look to the timepiece. It features a V-shaped design, borrowing from the “V” in BOVET which contours the wrist, creating a slimming effect. Interestingly, when the clasps are folded, it forms an infinity symbol.
The links are engineered to move independently and feature an expansion mechanism allowing up to 3mm of adjustability throughout the day, ensuring a perfect drape on any wrist.
They say the eyes are the window to the soul, but the Récital 12 lays its soul bare for all to see. The 13BMDR12C2 calibre is a brand-new movement that’s been flipped on its belly to bring the intricate mechanics typically hidden on the caseback to the forefront. With a power reserve of seven days or 168 hours and a sweeping arched power indicator at 12 o'clock, the movement is both capable and visually striking.
At a glance, the face of the timepiece looks pretty convoluted, but closer inspection reveals a balanced horizontal symmetry within the inner workings of the Récital 12. The hour and minute hands rest on a dial that stands alone like an island—which are available in dark blue, emerald green, or turquoise lacquered guilloché.
As a testament to Raffy's vision of BOVET watches as wearable art pieces, the three-pronged seconds wheel breaks convention by sitting outside the dial among the exposed gear wheels at 9 o'clock. This deliberate deconstruction of traditional watch design elements creates a visual dialogue, leaving room for artistic interpretations—but I’ll leave that for you to ponder its meaning.
Felipe Pantone, who cut his teeth spray-painting walls as a pre-teen graffiti artist has become a global sensation for his bold, kinetic creations. His signature style, characterised by vibrant colour gradients, geometric shapes, and optical illusions that seem to vibrate and move with the viewer’s perspective has now found its way onto a new canvas: the ZENITH DEFY Skyline Tourbillon.
Limited to a mere 100 pieces, the DEFY Skyline Tourbillon Felipe Pantone retains pretty much everything you loved from the original model, but with a few twists. It features a 41mm octagonal stainless steel case and showcases a tourbillon mechanism with a lightning bolt bridge—a recurring motif in Pantone's art—executed in a stunning gradient of metallic rainbow tones. The watch dial, crafted from sapphire, displays a micro-engraved pattern that creates a moiré visual effect, adding to its hallucinogenic nature. Then again, time itself is a dizzying concept, so this piece makes a fitting tribute.
In this interview with Pantone, we delve into the mind of one of contemporary art’s most daring innovators and discover how he transforms a timepiece into a kinetic masterpiece.
ESQUIRE SINGAPORE: What were the biggest challenges and rewards of this collaborative process?
FELIPE PANTONE: One of the biggest challenges was finding the perfect balance between honouring the technical mastery of Zenith and infusing it with my artistic vision. Watchmaking is a field steeped in tradition, and pushing boundaries within that framework required a lot of careful consideration. However, the reward was immense—seeing a concept that originated in my mind take shape in such a finely crafted, functional object. It’s not just art you can see, but art you can wear and experience in a very personal way.
ESQ: What do you hope the watch will evoke in people who wear it?
FP: I hope it serves as a reminder of the dynamic, ever-changing world we live in. The watch is more than just a timepiece; it's a symbol of energy, transformation, and the blending of past and future. I want people to feel a sense of movement, not just in the mechanics of the watch, but in their own lives as they navigate through time.
ESQ: How did you balance personal expression with the commercial expectations of the watch industry?
FP: Balancing personal expression with commercial expectations is always a tightrope walk. But I see it as a challenge that can lead to innovation. For this project, I focused on how my style could complement the craftsmanship of Zenith, rather than overshadow it. The key was to stay true to my aesthetic while also respecting the heritage and precision that Zenith is known for. It’s about creating a dialogue between art and industry, where both can thrive.
ESQ: Can you describe a eureka moment you had during the design process?
FP: The eureka moment for me was when I realised how to integrate the lightning bolt motif into the tourbillon bridge. It’s a recurring element in my work that symbolizes energy and speed, and it fit perfectly into the watch’s design language. This wasn’t just a visual enhancement—it was a conceptual bridge between my art and the intricate mechanics of watchmaking. That moment was like seeing two worlds come together seamlessly.
ESQ: Are there any other mediums you'd like to explore in the future?
FP: Absolutely, I’m always looking to push the boundaries of where my art can go. Architecture and interior design are already in my sights with Casa Axis, but I’m also fascinated by virtual and augmented reality. These are mediums that allow for an entirely new kind of interaction with art—one that can be immersive and multi-sensory. It’s the next frontier for blending the digital with the physical in a way that challenges perceptions.
ESQ: How do you overcome creative blocks?
FP: I find that stepping away from the work and immersing myself in other forms of creativity often helps. Whether it’s listening to music, traveling, or even just spending time in nature, these experiences tend to unlock something in my mind. Sometimes the solution isn’t to push through the block but to change your perspective until the path forward becomes clear again.
ESQ: What book, film, or piece of music has had a profound impact on you recently?
FP: Roxy Music’s "In Every Dream Home a Heartache" has been on my mind a lot lately. The song starts off as a reflection on materialism and the hollow pursuit of perfection, but then it takes an unexpected, almost eerie twist. That shift from something seemingly mundane to something profoundly unsettling is fascinating to me. It’s a reminder that what we see on the surface is often just a façade, and that the deeper layers are where the real story lies. That kind of unexpected transformation is something I strive to capture in my own work.
The DEFY Skyline Tourbillon Felipe Pantone is limited to 100 pieces that will be available from ZENITH online and physical boutiques, as well as with select retailers, worldwide from 12 September at 14:00 CEST
When, last year, customs officers at Los Angeles Airport spotted a number of small packages marked "bracelet’, "decoration" and "wall clock", their suspicions were aroused. And, rightly so. Opening them, they found USD1.3m worth of watches: Panerais, Patek Philippes, Omegas and lots of Rolexes. Or, at least, that’s what they would have cost had they been real. In fact, all 41 of the watches were fakes.
They also represent just a tiny fraction of the global trade in counterfeit watches, sales of which boomed over the pandemic, as the bored or comfortably-off looked online to fulfil their horological cravings. Figures are hard to rely on but upwards of an estimated 40 million fakes are circulated every year, according to the Federation of the Swiss Watch Industry, some 25 per cent more than the Swiss watch industry produces itself.
Those fakes make for a business worth USD3 billion dollars a year—with a record year of 2013 seeing 90,000 fakes confiscated in Dubai alone, the city the Federation identifies as one of the key strategic storage hubs through which fakes are then exported internationally in those many small packages. Watches now account for between 20 and 35 per cent of all sales of counterfeit consumer goods—that’s despite them being illegal in most countries.
Not that this seems to dissuade anyone buying a fake. Or those who manufacture them—mostly in China, Hong Kong, Singapore and, chasing cheaper labour, increasingly Vietnam and Thailand—often on sophisticated factory lines also making legitimate parts for the legitimate watch industry. They’ll take an order for so many “Rolex-style” cases, for example, as they would for any other watch component. Bit by bit these various components come together at various locations and, at some nebulous point involving the application of brand names, a look-a-like becomes a counterfeit and a criminal matter.
“The battle against the counterfeit watch market is very hard to win. It’s really about reducing their visibility as much as possible, about intervening on a diplomatic and political level,” says Yves Bugmann, president of the Federation of the Swiss Watch Industry. “Counterfeiters want to benefit from the value that often world-famous watch brands have created, and people want to access a certain social prestige that counterfeits present. But while some of them we just can’t influence, we find quite a lot do respond to a good argument.”
The problem is, perhaps, that no one of these arguments is a killer. Those countering the counterfeiters speak, for example, of the risk of buyers exposing themselves to malware, or to having their credit card details stolen—this does happen but the sophistication of the online marketplace, and the guarantees that underpin it, make this increasingly unlikely.
They speak too of the poor quality of counterfeit watches: the cheap metals, the likelihood of them lasting not long at all, their inability to fool anyone that they’re the genuine article. But that was then. We’re now in the era of the so-called “super- fake”, even of the ultra-fake. The counterfeiters’ embracing of the latest manufacturing technologies, from CNC machines to 3D printers, means the top-notch counterfeit today is all but indistinguishable from the real thing, at least to the naked eye of a non-expert. Knowledge accumulated over time means the fakers have only got better, and faster, at what they do. That’s concerning when, it’s been argued, the less distinguishable a fake watch becomes from the original, the more consumers become unwilling to pay the premium for the real thing.
Pre-owned watch dealer Watchfinder & Co noted in a 2023 report that five years ago 80 per cent of counterfeit watches sent into its stores were easily identified as fake, with 20 per cent needing closer inspection. Now those figures have been reversed. Of course, this is an aesthetic judgment, a question perhaps of less-than-perfect finishing; the counterfeit may still be well-made and contain a dependable movement, but it will lack the technology—in terms of materials and movement—of the genuine article. Some fakes can only be spotted in being handled—the hand-setting is off, or in daylight the colour isn’t quite right—which is no good to the online buyer.
“The fact is though that the counterfeiters’ emphasis is on the look of the watch because that’s all the guy who buys a counterfeit really cares about,” explains Fabrice Gueroux, author of Real & Fake Watches and an independent authenticator for many high-rolling collectors. “Yes, you can sometimes close your eyes and hold a counterfeit in your hands and there’s something that doesn’t feel right about it, but you need deep knowledge of the genuine watch for that and, of course, that’s what most people don’t have. With enough time even the best fake shows itself, and the best ones have put in the extra time on the paintwork, the fonts, the bracelet. But even I’m surprised by just how good a counterfeit can now be”.
That, he explains, is down to two factors. On the one hand, Gueroux laments, “the quality of some Swiss watches is not as high as is always claimed—so the borderline difference in quality between counterfeit and genuine watch can make spotting those counterfeits the hardest. With some brands [typically those seeking an especially high margin] the quality of the counterfeits is actually better...”
On the other hand, counterfeiters—and he says there are five mega-factories in China that collectively dominate counterfeiting, and which are known to make many millions of fake watches every year—used to have little competition and few, closely protected distribution channels. Now they have lots of competition and the internet has blown the market wide open, necessarily pushing quality up.
“Sure, many people buy a counterfeit because they just want the same look at the best quality for the cheapest price,” says Gueroux, “and they know that the real thing would cost, say, USD20,000. But then that person sells that watch on as ‘genuine’ and prices it accordingly to be convincing. And so on, such that there are so many good counterfeits [passing as genuine] on the market now.”
As for those Swiss makers still at the top of their games, they’re left facing off their counterfeiters, locked in an unending arms race of serial numbers, hallmarks, engravings and holograms—and, eventually, their inevitable copies too. “[And while] there are a lot of technical anti-counterfeiting and traceability measures now being used and developed,” notes Bugmann, “ultimately they’re of no use if the consumer deliberately wants to buy a fake”.
It does make the Swiss industry rightly worried about buyers being duped with, say, a dodgy IWC or Hublot though. And the most well- heeled and well-connected buyer can fall foul: the Brazilian footballer Neymar, rapper Little Baby and musician John Mayer have all bought watches they only later found out were counterfeit, leading to legal action in some cases.
Even brands and expert valuers can be conned: the most expensive Omega ever sold at auction, a supposed 1957 Speedmaster sold for USD3.4 million by Philips to Omega in 2021, turned out to be a so-called “Frankenwatch”, put together using parts from various vintage watches. Embarrassment perhaps prevents other stories of being duped from circulating; or, perhaps, people are just not duped in this way all that often.
Watchfinder & Co suggests that one in five watch buyers have been victims of purchasing a fake watch, the kind of figures, no doubt, that incentivised Rolex to take ownership of the problem by launching its own certified pre-owned programme in 2022. Of course, many other buyers—the small majority, according to one study—know full well that they are buying a fake watch. After all, the vast majority of fakes—Rolexes with quartz movements and the like—are still obviously so.
The counter-counterfeiters even make the appeal to guilt. There’s the rather tired line about morally minor crimes—as they may be perceived—being used to fund major ones, the likes of human or drug trafficking, though this is more a bogeyman argument than one that’s well-evidenced. The Federation of the Swiss Watch Industry speaks of counterfeiting’s negative impact on employment and revenue—to the tune of EUR1.9 billion annually—across the legitimate industry.
But the vast majority of people buying a fake would not buy the real thing were the counterfeit not available—they couldn’t afford it, yet still crave the status power that in part makes the genuine brands so appealing. This is especially the case in rapidly developing economies where peer comparison pressures are more stark. Indeed, the first in-depth studies of why sales of counterfeits are growing—led by Dr Xuemei Bian, professor of marketing at Northumbria University, UK—suggest that the motivation for buying a fake is far more sophisticated, and twisted, than the simple fact that of its relative affordability.
“One clear driver in purchasing [counterfeit watches] is the thrill of the hunt,” she argues. “There’s a fun factor in finding the best counterfeit for the right price. There’s a sense now of people who buy counterfeits belonging to a kind of ‘secret society’, one that’s curious about the original items and the counterfeits alike, especially in relation to their quality. There’s a transfer of the interest they would have had in the original article to the counterfeit. It’s a gateway to enjoying Rolex and other brands”.
In other words, Dr Bian’s research reveals, there is a growing culture of counterfeit buyers who buy them out of admiration for the artistry inherent in the fakery, as one might take a pleasure in just how convincing a fake Renoir is relative to the original. What’s more surprising, Dr Bian adds, is the incorrect assumption that counterfeit watches are only bought by those who can’t afford genuine ones.
“We found that even affluent people who can buy the real article buy counterfeits,” she says. “In part that’s because other people are less likely to question whether their watch is real or fake. They look the part. In part because they just see mixing up their watches—real and fake—as fun, or a bit naughty.”
So what of the ethical question? Don’t people just think buying a counterfeit watch is wrong? The Fondation de la Haute Horlogerie’s anti-counterfeiting campaign of a few years ago was based around the statement “Fake Watches are for Fake People”. But, Dr Bian argues, this highlights a disconnect between what a prestige watchmaker may think of as wrong, and what a consumer might.
Take, for instance, arguably the watch industry’s strongest case against counterfeits: the plain and simple one that it’s an infringement of their intellectual property, the investment the real makers have put into building the brand value that makes counterfeiting their wares worth it in the first place. This is not necessarily regarding design per se—this typically needs to be protected under patent, and when patents expire watch brands are free to copy one another’s designs, and maybe it doesn’t help their cause that they have done so most liberally—so much as of names, logos and other trademarked elements. A replica or ‘homage’ that’s a precise copy all except the branding isn’t a counterfeit— ethically maybe it is, but not usually in law.
“Of course a lot of people know what they’re buying even if the ad calls the counterfeit a ‘replica’ or some such kind of code. But what we’re dealing with here is theft of intellectual property, of the ‘Swiss-made’ label, of the maker’s reputation,” says Bugmann. “This can be frustrating for the industry especially given that, for the EUR300 you might spend on a fake, you could actually buy a good Swiss watch—maybe not one from a top luxury brand but from what’s still a prestige manufacturer.”
An affront to these intellectual property rights really can be detrimental to the top brands’ reputations too. If counterfeiters reduce the branded products’ exclusivity, people who could afford the real things are less inclined to buy them: if there are fake Rolexes everywhere, the appeal of the genuine article is limited, in part lest it too be considered a fake. Research by Moty Amar, professor of marketing at Ono Academic School, suggests that the moral disgust—to overstate it somewhat—felt towards a counterfeit not only negatively affects it use, but also attitudes towards the genuine item that, as it were, looks like the counterfeit.
“A copy of one of our watches—all copied except putting ‘Bell & Ross’ on it—is a counterfeit,” states Bruno Belamich, the brand’s co-founder, in no uncertain terms, “and that is an infringement of intellectual property rights. Counterfeit watches are not authentic products but imitations designed to copy the look and feel of the brand-name watch. It’s the desirability of the brand [that we have created] that’s ‘the cause’ of the desire to buy counterfeits.”
Unfortunately, further psychological studies have suggested that while the perceived risk can influence the rationalisation of why people buy counterfeits, ethical concerns—the likes of "what impact might I have on Cartier’s bottom line?"—don’t typically register at all. Yes, many strategies are used to dodge ethical consideration. Some see buying counterfeits as just making perfect consumer sense— they’re entertaining, cheap, almost disposable; others deny responsibility—"I’m merely the smallest cog in a long chain of events over which I have no influence"; while others argue that the market for counterfeits is beneficial to the brands copied. It’s a way of paying them a back-handed compliment.
Others, remarkably, even see their decision to buy a counterfeit as a form of retaliatory behaviour—a way of hitting back at brands they see as acting in a socially irresponsible way through their ‘unreasonably high’ pricing. But, whichever way you cut it, the idea that buying a counterfeit watch is in some sense wrong barely even figures, especially when it comes to dry legalistic matters of IP.
Besides, that’s only relevant to modern watches anyway. The whole world of fake watches is leaning towards ever greater complexity given the growing interest in vintage watches in recent years. Frankenwatches are said to now account for a fifth of all vintage watches sold in the US. Over the course of a watch’s lifetime it’s possible that the case will have been over-polished or the dial reconditioned; indeed, send a watch back to its maker for servicing and, until this vintage market won recognition, it was standard practice to make the watch look as new again as possible. But is a vintage watch with undisclosed reconditioned parts—perhaps reconditioned long before the current owner took possession—a counterfeit? Is, similarly, a customised watch, or a “modification”, in some sense counterfeit? These questions are still being worked through.
“Put modern hands on a vintage Monaco and it’s not exactly a counterfeit, and yet it will have a very real impact on its value,” stresses Jonathan Scatchard, founder of specialist dealers Vintage Heuer. “But the problem is that the quartz crisis [of the 1970s and 80s] caused all sorts of anomalies when so many Swiss watch companies went bust and parts were distributed and used across the industry. Authentification services have advanced considerably in recent years. But the vintage watch market has also made the question of what is a counterfeit and what isn’t even more of a grey area.”
And, adds Fabrice Gueroux, assuming that we will continue to live in a consumer culture that keeps telling us to define our self-worth through our possessions, it’s only going to get greyer still.
“The manufacturer can’t win this battle,” he states. “You have reality and you have PR. You see the manufacturers spending a lot of money on anti-counterfeiting tech but it’s all BS. They can’t keep up. You know the only way to tackle watch counterfeiters? It’s for manufacturers to push up the quality of their products, and to keep pushing. We’re getting to the point where that’s the only way that the fake watch is going to look fake.”
Originally published in Esquire ME
How do you respectfully honour another culture’s design legacy? Well, you call in the experts to make sure you get it right.
Which is exactly what the Swiss marque Vacheron Constantin have done for their latest Métiers d’Art Tribute to Traditional Symbols collection.
The set of four limited edition watches feature two interpretations of the “Seawater Cliff”, a famed Chinese motif that dates back to the Ming dynasty and was officially named under Emperor Wanli. VC artisans worked with the Former Associate Research Librarian of the Palace Museum, Mr Song, whose speciality field of study is the cultural tradition of Imperial China, to create dials that emulate a motif found on court buildings, furniture, porcelain, and most famously, Imperial dragon robes.
The Eternal Flow design is made via an originally Chinese technique called Jintai Blue, a form of cloisonné enamelling, which depicts mountain peaks caressed by tidal waves and set against a starry sky.
220 gold wires were used to delineate each part of the motif, taking over 50 hours to complete. Layers of enamel are then placed—how many is dependent on its colour and intensity—and it's fired in a kiln in between each coating. A polish and then an enamel coating is placed to enhance the final product.
The second design option, Moonlight Slivers, has a depth effect on a monochrome base. With hollowed waves, blue enamelled parts and raised diamonds set against a 18K white or pink gold (depending on which you choose) model, this style is a slightly more subtle option compared to the former.
It also uses enamel techniques, while the waves in the background are engraved into the dial to create volutes. Each sea tide is delicately hand-set with diamonds to evoke the moon slivers that inspired the name of this piece.
Behind the dial, the watches are powered by an in-house calibre 2460 with a 40-hour power reserve. The 22K gold rotor echoes the symbolism of the dial, since the oscillating weight is delicately engraved with a motif recalling the movement of waves and tides.
Originally published on Esquire UK
In 2022, TUDOR decided to embark on a venture to join the Alinghi Red Bull Racing Team as its main partner. With a common creed of pushing the boundaries of traditions and technology; TUDOR dove headfirst into the exciting world of yacht racing.
As the 37th America's Cup approaches (22 Aug–20 Oct), the spirit of partnership between TUDOR and Alinghi Red Bull Racing will test the waters of Barcelona. This will be TUDOR's foray into the world's most important sailing event.
TUDOR announced the release of two remarkable timepieces to celebrate the brand's entry into this competitive sphere: a time-only Pelagos FXD 42mm (25707KN) and the Pelagos FXD Chrono 43mm (25807KN). Both watches are part of the exclusive "Alinghi Red Bull Racing Edition." Crafted from high-performance materials like carbon composite, titanium and stainless steel, within these robust bodies are the Calibre MT5602 (COSC) and MT5813 (COSC) movements, respectively; both self-winding and come with a 70-hour power reserve.
Mirroring the cutting-edge engineering of the Alinghi Red Bull Racing AC75 yacht, the "Alinghi Red Bull Racing Edition" utilise a high-tech composite of titanium and carbon—a first for TUDOR. Inspired by the titanium hydrofoil, the titanium bi-directional rotatable bezel has a black matte-finished carbon composite insert and grade X1 Swiss Super-LumiNova luminous material for visibility. The racing blue of the AC75 yacht's carbon-fibre hull is reflected in the blue-matted dial, where the luminescent ceramic composite monobloc hour markers add that strikingness to the overall design.
The "Alinghi Red Bull Racing Edition" timepieces have a black matte-finished carbon composite cases with fixed strap bars. On the stainless steel caseback is an engraved Alinghi Red Bull Racing logo. "Snowflake” hands—one of the many signatures of TUDOR divers' watches—are grade X1 Swiss Super-LumiNova luminous material filling. With all these factors, the "Alinghi Red Bull Racing Edition" watches make formidable companions on the high seas.
On cresting waves and the sea-tanged winds, the elements may assail those who dare but the spirit of adventure and innovation often supercede boundaries. With TUDOR's partnership with Alinghi Red Bull Racing, that push against limits can propel them to greatness.
Discover the Pelagos FXD “Alinghi Red Bull Racing Edition” watches at the TUDOR boutique by Cortina Watch at Raffles City, #01-37C or online.
The Porsche 963 is a winner. Racking up podium finishes in over two-thirds of its races, the vehicle is, quite simply, built to succeed. Hailed as “the pinnacle of Porsche’s engineering expertise,” the race car notably celebrated its first major endurance race with a win at the 24 Hours of Daytona this year. Having dominated the racing world, the Porsche's appetite for winning has bled into the realm of horology by partnering with TAG Heuer to transform the Porsche 963 into a limited-edition chronograph.
Fittingly limited to just 963 pieces worldwide, the TAG Heuer Carrera Chronograph x Porsche 963 features sub-dials with four Super-LumiNova blocks—a ceramic-based compound that captures and stores light to produce luminescence in the dark—echoing the iconic night-time visibility of the Porsche 911. This feature captures the thrill of 24-hour endurance races where drivers battle from dusk till dawn, and uncompromised legibility is vital.
Taking a page from the Porsche’s playbook, the 44mm watch features a bold skeletonised dial with tubular structural elements evocative of the race car's high-performance chassis. Forged from lightweight yet robust carbon, the bezel mirrors the engineering ethos behind the Porsche 963’s construction. Lift the hood and you’ll find a TH20-00 Calibre, a vertical clutch chronograph movement similar to the systems found in cars connecting the engine’s flywheel with the transmission. This ensures a smooth, "jump-free" chronograph operation. Y'know, like a Porsche.
While its technical specs are impressive, true beauty lies in the details. The red index at 4 o’clock isn’t just a splash of colour; it's a symbol of the surge of adrenaline as a race counts down. The watch’s rubber strap takes inspiration from NACA-style low-drag air inlets found in legendary Porsche race cars like the record-breaking Porsche 917. Even the oscillating mass—a hidden treat for watch enthusiasts—features the iconic Porsche steering wheel motif, further blurring the lines between wristwatch and race car.
Since ancient times, sports have symbolised and celebrated the spirit of human endeavour. Legendary feats of physical and psychological accomplishments have been enshrined in the annals of history. Within the context of sports, much of the basis of achievement centres around time, with competitors striving to be the fastest in the field. As part of our celebration of wellness, we commemorate the instruments that not only measure and determine the basis of sporting competition, but also symbolise the spirit of human endurance across land, ocean and in the air.
In motorsport, no race embodies the sporting spirit of endurance and mastery better than the renowned 24 Hours of Le Mans. Drivers are required to possess cat-like reflexes and superhuman levels of stamina in order to survive, let alone compete and think about beating other contenders to win the gruelling 24-hour race. To commemorate the centenary of the world’s best- known endurance race, Rolex issued a special limited-release Daytona (recently discontinued in white gold, and replaced with a yellow- gold iteration). The embodiment of Rolex’s nine decades of motorsport heritage, the Daytona has always been synonymous with legendary feats of motorsport achievement.
As for this particular Daytona, the distinction lies in the details. Apart from a special bezel that highlights the “100” indicator in a bright racing red, the “Le Mans” Daytona also sports an exclusive, new calibre 4132 movement that boosts the maximum chronograph measure from the standard 12 hours, up to a Le Mans-appropriate 24 hours. In terms of aesthetics, the ‘reverse panda’ dial is reminiscent of its ‘Paul Newman’ predecessors of the early ’70s—a deliberate choice, considering Paul Newman himself was an avid racer and one-time competitor in the 24 Hours of Le Mans in 1979. The horological embodiment of the human desire to consistently push the limits of motorsport, the Rolex “Le Mans” Daytona combines motorsport history with the best of Rolex’s racing association and watchmaking heritage.
Out at sea, no race brings out the best in maritime performance more than the America’s Cup. The oldest competition in international sport, the contest draws the crème de la crème of sailing talent and yacht design innovation, and is the pinnacle of competition in a nautical arena. Officine Panerai, too, is no stranger to the sea. Having supplied the Royal Italian Navy for a substantial part of its history, maritime performance is a key pillar of its DNA. On the other hand, the Luna Prada Rossa sailing team has become synonymous with seafaring performance and a desire to push the limits, having notably been the Challenger of Record for the 2021 iteration of the America’s Cup.
The partnership is one borne of the love for the sea and has birthed timepieces that capture the union of daring, skill, cutting-edge technology and that relentless pursuit of excellence that drives Luna Rossa’s competitive edge. This year’s release is no different. The Submersible GMT Luna Rossa Titanio—unveiled at this year’s Watches and Wonders—combines the best of Panerai’s watchmaking nous.
The first timepiece featuring the new SuperLumiNova X2 lume on the indices and hour hand, the Submersible GMT Luna Rossa Titanio has a case made of the same Grade 5 titanium used in the manufacture of the Luna Rossa racing yacht. The watch is also—as expected—water resistant up to 500 metres, and is proven to withstand pressure of up to 25 per cent more than the guaranteed water resistance value. A handsome union of avant-garde technology and transcendental performance, the Submersible GMT Luna Rossa Titanio is the personification of the Luna Rossa Prada Pirelli team as it vies for its first America’s Cup victory this August.
Since early civilisation, humanity has shared a collective desire to take to the skies, long before the Cartier Santos-Dumont Reverse Wright Brothers’ first powered flight. Following their breakthrough in 1903, the human desire for continual improvement and exploration saw inventors and engineers begin to push the boundaries of flight, seeking to go higher, faster and further—exploration that persists even today. Across most aviation endeavours, time has been one of—if not the most important—elements at play, with watches such as the Cartier Santos-Dumont testament to the importance of time in the process of flight. While the modern Santos-Dumont is more of a dress watch than a true ‘sport’ watch, its continued relevance spotlights Louis Cartier’s foresight and design acumen—staying power is not something easily achieved, given how modern trends fade almost as quickly as they emerge.
The source of that staying power becomes immediately evident through this year’s Santos-Dumont Rewind. While it presents itself as any other regular Santos-Dumont in terms of movement and case dimensions, it displays the time in an interesting and playful way: backwards. To achieve that, Cartier has mirror-flipped the positions of the Roman numerals on the dial—read clockwise, it goes from 12, to 11, to 10, and so on. Despite its cleverness, however, the Rewind is still a piece that insists on being taken seriously—the smoky, scarlet dial and matching ruby cabochon (denoting its platinum case) subtly hint at the pedigree beneath its quirky facade.
As a timepiece—its presentation of the horological unpresentable in a format that has come to be beloved by watch aficionados everywhere—reveals the postmodernist artistry behind the Santos-Dumont’s design process. That said, it still carries the competitive, sporting essence of its predecessors, while reminding us all of the need to rediscover the elements of fun and freedom in sport every now and then.
In recent years, Singapore has become well-established as one of the world’s top export markets for watches, boasting some of the world’s most engaged enthusiasts and collectors. As interest in horology continues to blossom here, it is inevitable that tastes develop beyond superficial interest in the usual top manufacturers. It is only natural that an appetite for vintage timepieces and independent watchmakers is burgeoning. In recognition of the increasingly diverse tastes in Singapore, Ali Nael and Nelson Lee began the Singapore Watch Fair (SWF), with the goal of helping establish Singapore as a regional hub for watchmaking and collecting. Since founding the Fair in 2017, it has grown, mirroring the island’s growth as a watch export market: from initially being the watch component of the luxury festival Jeweluxe to becoming a standalone event, supported by the Singapore Tourism Board (STB) and Resorts World Sentosa (RWS).
This year’s event, taking place at Resorts World Sentosa from 2-6 October, is set to build on the success of last year’s, with both STB and RWS continuing their support. Focus-wise, SWF will also continue to heavily feature independent watchmakers, whilst featuring more appearances from top manufactures, amongst other displays of watchmaking savoir-faire. Watches will remain the central attractions but this show is not just for collectors; there will be something for everyone as SWF demonstrates how and why beautiful watches are central to Singapore’s cultural landscape.
In our recent chat with festival director Nelson, he reflected on the story of SWF thus far, and the new experiences attendees can expect to look forward to at this year’s edition.
Nelson Lee: Yes – especially one that is able to bridge the geographical distance between Switzerland and the region – not just in terms of bringing watchmaking expertise to Singapore, but also being able to gather regional interest in one place. There have been stellar examples of such events in the past, but there hasn’t really been one that is consistently held on an annual basis.
Moreover, given how Singapore has cemented itself as a top export market for Swiss watches, there definitely is local demand for such events to be held in Singapore, which last year’s SWF proved. So, it wouldn’t be so much that the world needs another watch fair, but more that the region needs an annual watch fair in Asia to look forward to each year – one that caters to local interests, and that is able to form a point of convergence for the best of horology and devoted aficionados in the region.
A key focus of the SWF is that we’re always looking towards the future – this underlines our commitment to showcasing a variety of independent watchmakers every year, which stems from our belief that these independents represent the future of watchmaking, for instance, Krayon and L’Epee 1839…
Nelson Lee: To begin with, I believe it’s only in the past five or so years that widespread interest in independent watchmakers and vintage collecting has begun to solidify and take off. As with the rest of the world, the value and appeal of watches only really entered the mainstream consciousness during the COVID period of socio-economic volatility. In the years since, tastes have only developed and diversified to include appreciation for the fine work of independent watchmakers. The SWF has always mainly focused on independent watchmakers and vintage collecting – areas where we felt demand was concrete, and a platform on which we could showcase how far watchmaking has come, and how it could develop, through the juxtaposition of timeless vintage pieces with the finest craftsmanship and avant-garde innovation that contemporary watchmaking has to offer.
In terms of practicality, it was only in 2023 that we were able to secure the support of a second key partner, Resorts World Sentosa. Even then (and the support of STB since 2017), despite the fact that we are more motivated by passion than by profit, the cost factor is not something that can be easily ignored.
Nelson Lee: In 2022 and 2023, the panel discussions spotlighting women who collect watches – conducted by TickTock Belles’ Stephanie Soh and Deborah Wong, amongst others – proved to be very popular. We see this as a reflection of change within the collectors’ demographic – where women are now keener to create a space for themselves in what is a traditionally male-dominated sphere, so we’re definitely retaining that and bringing more engaging perspectives from our female collectors.
Besides the various watch panels and plenary sessions, we’re also looking to ramp up the interactivity of the event: through new, on-site, immersive audio-visual driven launches and dinners, as well as a new interactive activity driven by watch expert Carson Chan, perhaps better known on social media by his IG handle @watchprofessor.
In terms of a more hands-on experience, there will also be a strap-making workshop conducted by master craftsmen, which we hope will highlight the innovation and intricate craftsmanship of an oft-underrated aspect of watchmaking.
We are also looking to bring in two more established international watch manufacturers, to add a different dimension to the craftsmanship and innovation expertise that the independent watchmakers will bring.
For more on the 2024 edition of Singapore Watch Fair, click here.
Unless you're a hardcore horologist or petrol head, you can be forgiven for not knowing the name Ukyo Katayama. To motorsports enthusiasts, he's the journeyman F1 driver who racked up five Championship points across 97 Grands Prix in the Nineties. For watch enthusiasts, it's his signature emblazoned on the hardest-to-find TAG Heuer F1 (we're talking the OG, candy-coloured, Swatch-like plastic versions, btw). And not just on the dial, or tucked away on the caseback. It's on the glass, obscuring most of the bottom half of the watch. (Deep breath, date window ultras.)
Eagle-eyed Esquiristas may recognise this model from the wrist of Nicholas Biebuyck, TAG Heuer's heritage director, who was wearing it during our recent trip to Watches & Wonders. He called it his "travel watch", and it stood in refreshingly saccharine contrast to all the steel and gold on every other watch boss's wrist.
That he was wearing it was the latest clue that Tag was belatedly about to relaunch a watch fondly remembered for being affordable and fun, and the gateway to a world of watches where those two things are often in short supply. Sure enough, the bright and beautiful F1 is back, launched in a collaboration with Kith.
Hand on heart, we're a little disappointed with its departure from those two founding principles. Which is why we're still more than a little obsessed with the Ukyo Katayama version, which is the only signature model in the entire, nine-year run of the first era of F1s. Though his record might seem unimpressive, he was racing in an era when points were scarce and only a few manufacturers had competitive cars. His 97 races is still the Japanese record, and despite failing to finish 63 of them—largely thanks to mechanical issues—he was a phenomenon back home, so much so that TAG Heuer stepped in as a personal sponsor, with a spot on the sleeve of his race suit.
We love the watch not so much for Katayama, but because it embodies everything that made the original F1 such a brilliant piece of watchmaking; its four primary colours, that bonkers signature, the accessible retail price. They were originally aimed at the Japanese market and, whereas you can pick up most of the original F1s today for a few hundred dollars on resale sites, Japan is where you'll find one now, and only if the horology gods are smiling on you.
While Kith Heuer has all the makings of a down-the-street-queues day-one sellout, we're still holding out for something that's got a few more miles on its clock.
Originally published on Esquire UK
The world remembers the legacies of Tenzing Norgay and Edmund Hillary, the pioneers who conquered Mount Everest. This year marks the 70th anniversary of their historic achievement. To honour this milestone, both families, in collaboration with the Rolex Perpetual Planet Initiative, have revitalised two cultural hubs in the Everest region. These are tributes celebrating the rich tapestry of the history, traditions and the Sherpa culture.
Back in 1953, a Nepali-Indian, and Hillary, a New Zealander, scaled the highest peak of Mount Everest. This triumphant ascent, the first in recorded history, turned a lofty dream into a tangible reality. Synonymous with precision and durability, Rolex watches were a go-to for the explorers as they could endure the harshest conditions and unprecedented altitudes.
The climb wasn’t merely a personal triumph; it marked the genesis of a profound mission. Norgay dedicated his life to empowering the Sherpa community. Since young, Norgay trained and fostered safer climbing practices and ignited a spirit of adventure with the students at the Himalayan Mountaineering Institute in Darjeeling. His legacy lives on through the Tenzing Norgay Sherpa Foundation that is supported by Rolex.
Similarly, Hillary, through The Himalayan Trust, transformed the Everest region with hospitals, schools, bridges and even the vital Tenzing-Hillary airport in Lukla bear his signature. His foundation pioneered environmental conservation by sowing seeds of reforestation around Everest’s foothills.
The Perpetual Planet Initiative, launched by Rolex in 2019, amplifies this commitment. From safeguarding oceans with Mission Blue to understanding climate change with the National Geographic Society, Rolex has partnered with visionaries shaping our environmental future. Today, the initiative boasts over 20 partners, from conservation photographers like Cristina Mittermeier to organisations like the Coral Gardeners. Rolex also nurtures future explorers, scientists and conservationists through scholarships and grants.
As we celebrate the indomitable spirit of Everest’s pioneers, Rolex honours a legacy intertwined with courage, innovation and a fervent love for our planet. Rolex’s unwavering commitment ensures that these stories of triumph, not just on the world’s highest peaks but in the realm of conservation, continue to inspire generations to come.
Last year, former Bond (the spy, not the female string quartet) and Omega aficionado Daniel Craig set the rumour mill working overtime after he was spotted wearing a mysterious Omega timepiece at the Planet Omega event. It was the iconic chronograph, Speedmaster. But it was with a white dial, nothing that had been seen before. Well, until (cue first five notes of “Also Sprach Zarathustra”)... now.
Displays of the Speedmaster needed to be easily readable: white markers on a black dial. There were several Speedmaster models but those were in limited runs. A piece that came close to the Speedmaster Moonwatch Professional in Canopus Gold aka white gold. But “white gold” isn’t the same as “white-white”.
Thus, the white dial Speedmaster Professional aka Moonwatch. Now, as part of Omega’s main collection, not only is the dial white, it is lacquered as well, a finish that’s never before been used on a Moonwatch’s step dial. This new steel case, white dial piece has black detailing and applied indices. Coupled with a vintage-inspired five-link bracelet; the anodised aluminium bezel sporting the “Dot over Ninety” on the tachymeter scale; and powered by the Co-Axial Master Chronometer Calibre 3861, makes this model a more attractive get.
It’s easy to assume that the selected colours served as inspiration for an astronaut spacesuit. But there’s another deeper significance to it. Let’s turn the clock back to the 1969 ALASKA I prototype. Omega was working on creating a timepiece that was optimally suited for space travel. To reflect the sun’s heat, the white dial chosen for the ALASKA I. The removable protective red case? That is now an homage to the red “Speedmaster” name on the Moonwatch white dial.
It’s said that “space is the final frontier” but that’s not the case with Omega as it pushes against its limitations to find what else can keep it ticking.
