If you ever have a chance to examine the Corum Golden Bridge watch , I heartily recommend that you take a look. Once you do, you may have a hard time putting it down. For anyone that loves timepieces, particularly those with really exceptional mechanical movements, spending a few contemplative moments with a Golden Bridge watch will almost certainly prove to be a very memorable experience.

If you aren’t familiar with the Corum Golden Bridge watch, allow me a moment to give you a small bit of background on it. It was designed in its original form for Corum by none other than the highly colorful independent watchmaker Vincent Calabrese, who co-founded the AHCI (the Horological Academy of Independent Creators) with fellow watchmaker Svend Andersen back in 1985. If a person was completely unaware any other of Calabrese’s fascinating watches, the Golden Bridge watch alone would be proof enough of an extremely creative and ingenious mind. This unique movement takes a beautiful, slender bridge made from a slender piece of 18K gold, and mounts the entire mechanism of the watch lengthwise along this vertical plane. To show it off, Corum created a striking exhibition case that was really more of a “frame” for the front and back sapphire crystals that made it possible to examine this singular work of horological art from every angle.

As beautiful as the original Corum Golden Bridge watch was, it wasn’t perfect. The initial design, while exceptional in its beauty, was also somewhat fragile, and apparently, its manually wound movement could be easily damaged by overzealous winding. So, it came to be that in 2005 Corum introduced a subtly updated version of this watch which sought to correct the minor technical issues of the original movement; they also made a gentle modification to the case design to allow for even greater viewing intimacy with the Golden Bridge movement. The Vaucher firm in Fleurier, which specializes in high-grade movements and difficult complications, re-engineered the movement, and the winding system in particular, so that now, the spectre of possible overwinding presents no real concern.

I’ll stop there, because I am not cognizant of the full gamut of differences between the original golden bridge movement and the one which Vaucher constructed at Corum’s behest. However, the beauty of this watch has not changed one bit, and it really is unlike any other watch that you will ever handle. In one sense, this movement is “simple”–it is manually wound, and shows only the time on two hands. Yet, it is extremely intricate in that one can see the whole extent of the mechanism, from winding works, to going train, to the escapement. This is fascinating, because for one, a non-engineer like myself gets a grasp of just how much complexity there is in the most fundamental of watch mechanisms, and on a broader level, it allows you to drift beyond the mundane (and sometimes discouraging) aspects of Time’s passage, as you get lost in the subtle nuances of each component and how it contributes to the function of the watch as a whole. If there ever was a watch that makes you slow down and savor, this has to be it. Take one of these watches into your hand, slowly wind the crown that is oh-so-elegantly situated at the bottom of the case, and let the journey begin…

Corum’s new case for the Golden Bridge watch really lets you get up close and personal, since it is slightly larger than its predecessor, and its gold or platinum case/cage has a greater area of transparent sapphire to facilitate viewing. After all, how many movements can you readily observe from the side? With this one you can, and it is a real pleasure—the central bridge itself, made from yellow, white, or rose gold is a work of art, adorned with a hand-engraved scrolling motif. Due to this hand-engraving, no two bridges are ever exactly alike.

Have you ever been frustrated with someone who goes crazy for sparkly diamonds, brilliant colored stones, or magnificently designed jewelry, but can’t see the equally stunning and very similar qualities in a finely decorated, intricate mechanical movement? I know I’ve been there—and for the life of me I don’t get it, either. With this watch however, you just might be able to get the message across. The Corum Golden Bridge watch is one amazing piece of horology, in which the movement IS the jewel; I doubt many people could fail to be captivated by its unique charms.

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  Designer silver jewelry has been elevated into a new realm of modern chic with Franco Pianegonda’s designer jewelry collection. Pianegonda’s sterling silver jewelry designs are bold, unique and fabulous! While perusing the latest  Pianegonda jewelry catalog, it becomes apparent that this Italian designer jewelry  brand is determined to do things their own way.

This ethic is manifest in the striking and colorful jewelry designs that fill their collection. Bright blue topaz, rich purple amethyst, gleaming black onyx, and other gemstones bring color and contrast to highly polished sterling silver. Along with these luscious materials, Pianegonda’s jewelry designs feature bold shapes such as elongated hearts, large crosses, and thick chain links.

The line also mixes in rich 18k yellow gold. Gold has a long history in Italian designer jewelry, and these two-tone designs are one way that Pianegonda simultaneously tips their collective hat towards their Italian heritage while also bringing designer jewelry into the future with high fashion designs.

Another unique feature of Pianegonda’s designer jewelry offerings is their extensive line of men’s jewelry. Bracelets, fashion rings, necklaces, and cufflinks all receive a thoroughly modern recreation in the hands of Pianegonda’s design team.

If you are looking for designer jewelry that makes a statement, look no further!

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 As those who have followed past blogs of mine know, I have a real attraction to elegant watches with straightforward design. I will also admit to a great admiration for the Manufacture Chopard , and have followed their rapid-rise (since 1996, when they introduced their remarkable in-house 1.96 movement) in the ranks of truly elite Manufactures who produce exceptionally fine, exclusive mechanical movements; as I have said in the past, I happily sold a well-loved 5107R Patek Philippe Calatrava to help fund the purchase of a Chopard L.U.C. Twist , a decision I have never regretted.

Recently, I had a chance to handle the new Chopard L.U.C. Extra Plate  dress watch. Let me tell you, this is an absolutely exquisite dress timepiece, and one that must be handled and seen to be fully appreciated—although the press photographs of it are certainly attractive to begin with. First of all, this Chopard watch is, in my humble opinion, perfectly sized. At 39.5mm, it is decidedly larger and more expressive than yesteryear’s dress watches of 33-35mm, yet it is not grossly over-sized (an important consideration for a true dress watch). The 38-40mm range is nearly ideal, and that is my evolved view formed after seeing and handling many watches, and assisting customers with different timepieces. Such a size range looks good on larger wrists, while not overpowering those whose wrists are not so generously endowed. In short, the Chopard L.U.C. Extra Plate watch is a perfect balance between presence and elegance.

The Chopard L.U.C. Extra Plate is a wonderfully thin watch, at 6.80mm high–a fact which is particularly noteworthy when you consider that this watch uses an automatic-winding movement, rather than a manually-wound one! Of course, Chopard has developed a new movement, the L.U.C. 96HM, which is another development from their outstanding 1.96/3.96 micro-rotor based movements, modified to omit any date or second hand functions. Like the other L.U.C. micro-rotor calibers, this movement has the remarkable power-reserve of approximately 70 hours. One could say that such an impressive power reserve is hardly necessary on a dress watch, but since when was necessity an adjective we apply to dress watches, or luxury goods in general? Once again, Chopard really delivers with the horological goodies. Besides, this watch is so good looking that I am sure fortunate owners will probably be giving it wrist time far more often than just those occasions when the tuxedo comes out. Chopard has opted to conceal this movement beneath a solid caseback, but traditionalist that I am, that doesn’t bother me in the slightest. Partly, this is due to the fact that almost every mechanical watch produced today, worthy or not, has a sapphire back these days, but mainly its because I know the love for fine detail and perfectionism that Chopard invests into each L.U.C. movement. Check out these evalutions on the limited edition Chopard L.U.C. Fleurier watch (which also has a solid caseback) to see what I mean. And as these reveal, even these solid casebacks are works of art in their own right.

http://www.watchprosite.com/show-forumpost.classic/fi-5/pi-1945613/ti-297252/s-0/

http://www.watchprosite.com/show-forumpost.classic/fi-5/pi-1953238/ti-298342/s-0/

The Chopard L.u.C. Extra Plate watch is being offered by Chopard in both 18K yellow and white gold. For the ultimate traditional look, the yellow gold version might be preferable, with its white Roman numeral dial. However, my personal pick is the white gold model. The depth and shine of the glossy black dial is incredible—it has an appearance quite like that of polished black onyx. Accented with the shining white gold Arabic numerals and baton hands, this Chopard watch exudes the class you associate with anything that is “the very best”. The case finishing is absolutely impeccable, something shared by all Chopard watches; this is one of the advantages of Chopard’s long background as a jeweler, as well as a watchmaker. Even the massive ardillon buckle is a real luxurious treat, and is completely unlike the rather puny thin gold buckles you see on some minimalist gold dress-watches. Cradling this watch in your hand, the solid feel and impressive mass is truly delicious.

It is also worth mentioning that this beautiful watch won the top prize at the 2006 Grand Prix d’Horlogerie de Geneve in the category of ultra-thin watches. Considering the impressive level of competition (representing nearly all the traditional Swiss haute horlogerie brands) at this prestigious annual Genevan competition, this is an accomplishment for which Chopard should be very proud.

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 Back in October of 2006, Lawrence (co-owner of Lussori, and a dedicated collector of watches) wrote an excellent and provocative blog posting in which he noted that many Manufacture movements, while prestigious and desirable to watch aficionados, were all too frequently temperamental; conversely he argued, more common “off the rack” (my term) movements should not be dismissed, as many of these could be counted on to perform excellently. What I admired about this blog was its honesty, particularly considering the collecting experiences of its author–highly complicated and prestigious watches, frequently with very high grade Manufacture movements. In short, as regards watches, Lawrence has “been there, and done that” far more than most ever will, making his advice particularly compelling. His observations were intended, I believe, to let people know, especially those who are just getting fired up about high-end timepieces–and spending increasingly large amounts of disposable
income–that more expensive/rare does not necessarily translate into better function/ greater reliability.

Much of what Lawrence expressed, I agree with, based upon what I have witnessed, either personally, or from discussions with other watch people. Follow any watch forum, and you will hear tales of woe–of course, the same people will sigh, and say how much they adore the particular watch that gave them a hiccup, and as soon as it is back in their hands, shiny, new, and working properly, they will begin their covetous and joyful plans to buy the next Holy Grail watch, probably one even more complicated, and exclusive than the last. Its really a lot like car engines. Consider an exotic car like a Ferrari: People who own and covet these fine cars will admit to some occasion or another where a given car had to receive some attention (sometimes multiple times) for maintenance, or adjustment; yet this seldom blunts their enthusiasm to enjoy their Ferrari(s) to the fullest, or acquire further examples for their collection. This sometimes temperamental behavior from the car is a trade off these Ferraristi accept, given the thrilling performance, scintillating history, and incomparable sex appeal that the Ferrari embodies. At first glance, the question of temperamentality in a car like a Ferrari may seem odd–how can a largely hand-built engine, with only a few thousand produced per year, be anything but perfect, especially with all the devoted attention its passionate builders put into it? But upon a closer consideration, the following point becomes clear—the more of an engine that are made, the more statistical samples a company will have to measure performance, reliability, long term durability and other valuable intangibles. Any problems can be categorized, and optimizations can be made on subsequent production runs. As a result, after such a product has been refined over the course or years or even decades, you are left with a machine which performs with excellent repeatability and predictability.

I’m going to cool the car/watch analogy now, first of all because its been beaten to death by every watch scribbler out there (including yours truly) and secondly because, like many analogies, its not terribly exact. There are as many differences between cars and watches as there are similarities, but that is the topic for another blog. Here is my point—in watches, there can be an excellent compromise between exclusivity and performance, and the key to that is the design priorities of those who create the movement. Getting controversial perhaps, I will bring up Rolex. While the mere mention of this brand can agitate a formerly peaceful watch discussion like no other, the fact remains that it is a pure Manufacture of granitic solidity and nearly complete autonomy. And one of the foremost reasons their watches have been successful is the quality of their movements. Now, this is not a quality indicated by exquisite finissage, gold rotors, or prestigious hallmarks, but rather the kind that is proven through an ability to endure the elements, rough treatment, and remain functional and serviceable for decades–one reason that you still see many well-worn Rolex Oysters from the 1960’s or even earlier still ticking away merrily on the arms of their owner, or a descendant of that owner. A large part of this is the priorities that Rolex has long placed upon practical considerations—functional reliability, durable movement architecture (such as their long-time use of an adjustable full balance bridge), and an extensive and trained service network, all very good things for a watch owner, irrespective of whether you love this brand, cant stand it, or are somewhere in between.

So, can we have our cake and eat it too? Can we have a movement which is on the one hand, special and exclusive, yet also trustworthy and suited for use as a “daily driver”, so to speak? Very possibly, yes. Other manufacturers have taken notice of consumers, and their likes and dislikes, and we are starting to see more and more fine movements which are Manufacture, yet reflect a preoccupation with user-friendliness, serviceability, and reliability. Audemars Piguet has done well with its handwound 3090 Caliber and selfwinding 3120 Caliber movements—reminiscent of the Rolex 31X series of movements, these in-house AP calibers feature a full balance bridge; this and many other aspects of these two AP movements were optimized to ease the burden on watchmakers who service and adjust the watch in the future, as well as reduce the need for more frequent servicing intervals; at the same time, these mechanisms are exceptionally beautiful and reflect the haute horlogerie background of Audemars Piguet.

How about Ulysse Nardin? They have recently introduced a brand-spanking new Manufacture movement–the UN-160 Caliber–which also uses the full balance bridge, is designed for optimal long term durability and precision, and also uses a host of new technologies, such as the extremely cool Dual-Ulysse escapement (with unique escape wheels manufactured from nickel-phosphorus), an in-house designed balance wheel, and a rotor mounted on lubrication-free ceramic bearings. Then, there is Patek Philippe—the venerable Geneva manufacturer has added to its long list of Manufacture movements a new chronograph caliber specifically created to be used–and used lots. Recognizing that many users do like to actually play with their chronograph functions, and furthermore like to run the chronograph all the time (using the central chrono seconds as a main second hand) their designers got to work and created a caliber designed to specifically do just that, without any excess wear and tear on the chronograph gear train. The Jaeger-LeCoultre “Autotractor” movement, which occupied the company for a considerable period of time, was specifically created to be as durable as possible, and reports on this movement by owners have been very positive. When IWC needed to create a durable movement for their new Ingenieur watch, they went back to the drawing board and created the 80110 caliber, which is thickly built for maximum resistance to shock, employs a highly reliable bi-directional system (the Pellaton mechanism, which IWC has refined since the 1950’s) and even utilizes a rotor mounting which absorbs shock, as well as Delrin cushions against the bottom surface of the rotor in case an extremely severe shock should cause the rotor to actually flex enough to strike the movement. Like the other examples, IWC’s 80110 caliber movement was also designed to be extremely watchmaker friendly, so that long term servicing issues can be dealt with as expediently as possible for the owner.

The quest for trouble-free operation has extended into smaller, less visually evident (yet tremendously important, from a watchmaking perspective) details such as the hairspring and escapement. Audemars Piguet and Ulysse Nardin, like Omega before them, have both introduced exciting new escapements, designed to reduce or eliminate the need for lubrication (and hence, more frequent servicings), while Patek Philippe and Rolex have both created new anti-magnetic hairsprings which promise to be far more resistant to environmental interferences such as magnetism. Yet, these are only a few examples of some of the new wave of innovative techniques we are seeing within the mechanical watchmaking industry, and I apologize in advance for the many I have no doubt left out in my haste. Much is also being done within the highly creative independent watchmaking sector, an incubator for brilliant horological concepts that sometimes find their way into production—such as was the case w
ith Omega adopting the revolutionary Co-Axial escapement, invented by the incomparable horologist George Daniels.

Reliability or exclusivity? Perhaps the choice is not so stark. Based on current developments in the watch industry, I think we are on the verge of having both. Time will tell of course, as these new developments in movements prove themselves over time, but with the current commitment of the watch companies, I am optimistic that watch lovers have a lot to be excited about.

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Raymond Weil filed a suit again Charlize Theron in the state supreme court today. Apparently she was caught wearing a Christian Dior watch at a film festival in Austin Texas (bummer).

Apparently in their agreement Theron was not allowed to wear any other watches for the terms of her contract. She became a watch ambassador for Raymond Weil watches back in February 2006 and Raymond Weil went straight to work promoting the heck out of her image spending in excess of 20 million on the advertising campaign before Theron “2-Timed” them (ouch!).

I hope our friends at Raymond Weil are able to find a new watch ambassador who is more responsible and just as easy to look at.

To my friends at Raymond Weil:

Make your new years resolution a challenge. Find yourself shiny new ambassador who is easier to work with and more responsible. Because I like the brand, I am going to offer some advice regarding your next brand ambassador.

Stay away from:

Lindsay Lohan, Britney Spears, Ryan O’Neil, Robert Downey Jr, Pete Doherty, Kate Moss, Kieth Urban, Mel Gibson, Nicole Richie, Kobe Bryant, Tawny Kitaen, Rush Limbaugh, Michael Richards, Charlie Sheen, anyone with the last name Hilton, or anyone on the Cincinnati Bengals football team.

I hope this helps….

Here is a little advice to other watch ambassadors or future watch ambassadors out there:

If you sign a contract, take all the other watches you own and put them in a safe deposit box and don’t pick them up until your contract is over… I have seen many watch ambassadors wearing watches they aren’t supposed to be wearing. It may seem accidental, but its your job. That’s right, it’s your job. If you get paid for it, it’s a job.

Good luck to our friends at Raymond Weil.

-Paul Morillo

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England’s greatest export has officially cleared customs.

Thats right, Victoria (aka Posh Spice) and David (aka Becks) are setting up shop in the city of angels. Becks has a new gig playing playing for the LA Galaxy and Posh has a new gig revitalizing the sagging Rodeo Drive economy.

In this picture Posh seems to be a bit of a technophile with a Motorola Razr and a Sidekick in the same hand (A feat generally reserved for Stanford MBA’s in Silicon Valley who want to look important at Starbucks).

The reason I am writing about dear Posh is that I happened to noticed a few things on her arm. One, she has a really interesting tattoo (I can’t seem to make out what it says). Second, she seems to be wearing what looks to be either an iced-out Chopard H-Watch or a Harry Winston . This watch is big pimpin. It has a diamond bezel, diamond dial, and a black crocodile strap.

I can’t be sure what it is. It could be either.

-Paul Morillo

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My appreciation for simple watches has been documented in a previous blog; and, I will say again, that nine times out of ten, if I am given the choice, I will select an simple object of outstanding design clarity or execution over something that is complicated and showy, for my own personal use.  That is just the nature of who I am, and probably says something about my own personal priorities and perspective (or perhaps my limited budget).  Whatever the reason, that in no way prevents me from appreciating truly amazing achievements that push the boundaries of what is possible, particularly when it comes to watches and the craft of horology.   Complicated watches have a long history in the horological field, and they have captivated watchmakers and collectors alike, stimulating the pursuit of the ultimate in both technique and craftsmanship.  Famous pocket watches such as the Breguet  Marie Antoinette, the Leroy ‘01, the Patek Philippe “Graves” Supercomplication, and the Durrstein/Audemars Piguet Supercomplication represent milestones in phenomenal watchmaking.

In the spirit of those titanic complications, I have to share with you an amazing link I put aside some time ago, detailing the creation of a singularly amazing feat of watchmaking for the wrist–a supercomplicated watch which began its life in the 19th century as a phenomenal Grande Sonnerie-Minute Repeating pocket watch movement comprised of 491 parts made by the great watchmaker Louise-Elysee Piguet (of which Piguet made three, the remaining two having been lost). This surviving movement became the property of Franck Muller , who elaborated its complex structure further with a retrograde perpetual calendar, thermometer, and equation of time, thus making it the most complicated wristwatch in the world at that time, an accomplishment which brought Muller much fame.  The owner of this singular watch, still convinced that more could be done, took it to Paul Gerber, a noted independent watchmaker in Zurich, who elaborated it still further with a flying tourbillon; after this point, the watch was presented at Basel, to great acclaim.  After this, Gerber again returned to his workshop with the singular masterpiece, as the owner had additional ideas for the watch’s further development.  Amazingly, Gerber managed to also integrate into the Louis-Elysee Piguet movement a column-wheel controlled split-seconds flyback chronograph mechanism and a power-reserve indication for both the movement and the striking works.  To recap, from the time he began his work to the end, Gerber had added an additional 386 parts onto the Muller-elaborated Piguet original, which was already a marvel to begin with, all without adding anything in width to the movement, and only slightly to the height.  Along the arduous road to this watch’s completion, Paul Gerber faced many nearly insurmountable challenges, and the heavy emotional burden of working with an irreplaceable and immensely complex base movement which the slightest error could ruin completely. 

I don’t want to steal any thunder from the very knowledgeable authors of this wonderful article, who really went to great depth to document the years long saga of effort, expense, and creativity involved in the realization of this beautiful and utterly unique watch.  From the efforts of the owner and watchmaker Paul Gerber came a watch which can stand forever within the pantheon of ultra-rare haute horlogerie.  An amazing range of photos, animations, and even sound files (for the chimes of the sonnerie and repeater) accompany the text, and make for a wonderful study and appreciation of this masterpiece of mechanical art, and the broader appeal of watchmaking at the most exalted level. 

 http://www.tp178.com/jd/uber-comp/artikel_4_1.html

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