Tudor Hits a Homerun With the Tudor Black Bay and Black Bay 58 GMT
This release is an expected homecoming of sorts after Tudor unveiled the third-generation revitalisation project of the emblematic Tudor Black Bay last year, beginning with the burgundy variant. The headlining news is the introduction of the METAS Master Chronometer certified Manufacture Calibre MT5602-U and a sexy five-link bracelet to accompany the Tudor Black Bay’s refreshed slimmer case profile. A quick segue into the new movement — the independent certification from METAS guarantees better chronometric performance while conforming to anti-magnetism standards.
The black variant alongside last year’s burgundy.
Whilst the 41mm diameter remains, the slim case offers greater proportion and wearing comfort when strapped on. A subtle tweak to the bezel sees a toothier design with a slight overcompensation allowing for better grip. Outfitted in shades of black, which appear dark grey in certain lighting angles, Tudor just reminded everyone how good a black-on-silver combination is with this monochromatic take. A duo of steel bracelets in either a “rivet-style” three or five-link configuration dramatically alters the Tudor Black Bay’s looks from utilitarian to sports chic, while the rubber option reigns supreme in comfort and casualness. Tudor’s “T-fit” clasp is fitted on the strap attachment regardless of style or material.
The watch Tudor fans have been crying for, the Tudor Black Bay 58 GMT.
Fan favourite Tudor Black Bay 58 just got doubly better at this year’s edition of Watches & Wonders. While the collection has taken plaudits over the past few years, its latest iteration is a home run as Tudor presents the Tudor Black Bay 58 GMT, which happens to be Master Chronometer certified, too. Much of the Tudor Black Bay 58’s original blueprint remains the same, with the exception of a bidirectional GMT bezel clad in burgundy and black with gilt accents. An additional fourth hand, the GMT indicator, takes reference from the inimitable Tudor Snowflake hand but in a slimmer profile.
The rubber strap alters the Tudor Black Bay 58 GMT’s look rather drastically. Our vote goes to the bracelet.
The simple additions combine to elevate the dive-ready Tudor Black Bay 58 into an all-conquering timepiece capable of taking on deep oceans and timezone changes. Within the 39mm stainless steel case hums the Tudor Manufacture Calibre MT5450-U, now Master Chronometer certified to deliver greater precision and anti-magnetism to interferences below 15000 gauss. The Tudor Black Bay 58 GMT comes delivered with a three-link “rivet-style” stainless steel bracelet with polished and satin finishes or a black rubber strap, both fitted with the Tudor "T-fit" clasp.
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Jaeger-LeCoultre and Roy Wang Present the Dragon of Time
Jaeger-LeCoultre collaborates with Roy Wang for dynamic new artistic expression
Light is perhaps one of the single most important elements of human vision. It facilitates the creation of images in our minds and forms the basis of our perception. Without it, the wondrous creations of nature and artisans are imperceptible. Within the hallways of Jaeger-LeCoultre’s Vallée de Joux manufacture, light allows its masterpieces to sparkle with splendour, where every stroke of hand decoration and the intricacies of watchmaking come to life. In the same spirit of artistic expression, Jaeger-LeCoultre welcomes rising light painter Roy Wang into its Made of Makers family of esteemed artists gathered to expand La Grande Maison’s dialogue between watchmaking and the arts.
The rising Chinese artist, renowned for his culturally rich imagery, brings his signature dragon to life through calligraphic-like strokes of light and a peculiar paradox — tempering with the speed of time. Wang’s rapid light strokes and the camera’s slow shutter speed combine to capture the ephemerality of light painting. Precision, another hallmark of Jaeger-LeCoultre and a central element to this year’s novelties plays a critical role in Wang’s spatial awareness when conceptualising his art. While larger pieces, be it in watchmaking or light painting, are more forgiving with tolerances, the need for precision amplifies as creations are miniaturised.
Light painter, Roy Wang
Jaeger-LeCoultre commissioned three photographs and a stop-motion video as part of this collaboration, as Wang drew from his experience after visiting and discovering watchmaking in depth at La Grande Maison. Together with Wang’s dynamism and signature styles, the two worlds of East and West combine seamlessly for the artistic expressions of 龘 (dá – Flying Dragon), 叒 (ruò – All the Best), and 燚 (yì – Burning Flame). The former 龘 pays tribute to the Maison’s iconic Reverso, while the latter two 叒 and 燚 respectively celebrate the intricacies of the Duometre watch calibre (this year’s novelty highlight) and pay homage to a 19th-century Jaeger-LeCoultre pocket watch. At the pinnacle of the duo’s collaboration is the stop-motion video 时光绘龙 (Dragon of Time), as Wang’s dragon embarks on a fantastical journey through the Jaeger-LeCoultre manufacture shrouded in darkness and shining a new light on La Grande Maison.
Wang’s four commissioned works will make their public debut on the opening day of Jaeger-LeCoultre’s The Precision Pioneer exhibition in Dubai from 7–19 May (click here to register if you happen to be in Dubai). Men’s Folio had the opportunity to speak to Catherine Rénier, CEO of Jaeger-LeCoultre, and Roy Wang two weeks before the exhibition about their artistic collaboration and the facets of precision in their lives.
Catherine Rénier, CEO of Jaeger-LeCoultre, at the Maison’s Watches & Wonders Geneva booth this year.
Precision is the central theme of Jaeger-LeCoultre this year. Though it’s a very complex topic that can go on for hours, what is the simplest expression of precision in La Grande Maison?
Catherine Rénier (CR):Precision is about the perfect gesture if I have to condense it into a few words. It is the perfect gesture when elaborating the artistic expression of a watch’s decoration, the perfect gesture of the watch’s hairspring and beating heart that gives the energy and chronometric precision, and the perfect gesture of the components’ production because this is almost the starting point of precision in watchmaking. Precision has been an ongoing topic and a foundation from day one throughout the 190-plus years of history of our maison, and a value that has run through under manufacture since then.
Describe the importance of precision during your process and how it affects the final results as a light-painter, Roy.
Roy Wang (RW): Precision is very important for me, too, especially when the light strokes are invisible to me during the process. I control the light through muscle memory and spatial memory. I was a sportsman before, and I dedicated my time to practicing my basic skills. I did the same when I first started with light painting in 2010. I spent so much time painting a single shape. With practice and knowing that practice makes perfect, I can draw whatever I want now with maybe one or two attempts.
What is an element of precision that goes into your everyday life?
RW: I’m an easygoing person, you know, but my friends always say, “Roy goes into a crazy mode when he’s light painting”. All the details and precision involved with light painting, such as the shooting time, camera settings, the distance between me, the light source, and the background, make me very serious. My concentration levels are 120% when I’m light painting or even when I played rugby last time.
CR: I would say the mastery of time. Being extremely busy, professionally and personally, like everyone else, the precision of allocating the right time and being fully dedicated to what you do at every moment is essential. That requires careful and precise time management and the precision of being present in whatever you are doing at any given moment.
The Made of Makers program explores the relationship between horology and art, including contemporary art, gastronomy and music. What was your first impression when you came across Wang’s artworks, and what did they bring to Jaeger-LeCoultre?
CR: Photography has been a long-time inspiration for the manufacture. We saw the canvas camera, and we also have a partnership with the Museum of Photography in France, so it’s an artform that is very present in Jaeger-LeCoultre. With Roy’s light painting, we come across a modern and new interpretation of photography. I love to see the evolution of the Maison’s relationship with this art form. It’s very meaningful.
The Duometre Calibre 388 housed in the Jaeger-LeCoultre Duometre Heliotourbillon Perpetual.
What are some values of Jaeger-LeCoultre that convinced you to join as one of their Made of Makers?
RW: Firstly, I’m very honoured and proud to be the first Chinese artist to join the Jaeger-LeCoultre’s Made of Makers family. I was very happy working with the (Jaeger-LeCoultre) team and incorporating Chinese elements into the three single-exposure works. This project challenged me a lot because I usually work on large-scale paintings, but Jaeger-LeCoultre brought me into the tiny watchmaker’s universe. I had to review my tools and techniques, but I enjoyed the challenge and the final outcome. I drew the dragon around a hundred times, and the team spent roughly six hours working on the stop-motion video of the dragon flying through the manufacture that Catherine likes. I love the connection between the two cultures.
The stop-motion video shows the Jaeger-LeCoultre manufacture in complete darkness, only illuminated by Wang’s dragon flying through the halls and corridors. Did it give you a different perspective of the manufacture?
CR: Seeing the centuries-old Jaeger-LeCoultre manufacture open up to another culture, another art form, is very touching. The best moment was seeing Wang’s dragon flying through the corridors because it’s a symbol of how two worlds of technical expertise, artistic expression, and two cultures can meet each other and give a whole different perspective on their artistic expression.
The Jaeger-LeCoultre Reverso Tribute Chronograph housing the new integrated chronograph calibre 829.
Your work involves an element of the unknown, as you rely on spatial awareness and muscle memory. What do you “see” when you plan your work?
RW: As I said, it’s all about practice. When I started light painting in 2010, I saw a little beam of light for the first time while drawing. I started seeing light trails about one or two seconds long with more practice. Afterward, I used my left hand to mark my drawings. For instance, I’ll mark the position of the dragon’s eye before moving to its head, and so on. Now, I remember the positions through muscle memory. Practice makes perfect; that is my idea for light painting.
A picture of Pablo Picasso from 1949 in Life magazine captured by Gjon Mili sparked your interest and passion in light painting, Roy. What would you like to communicate with people when they see your artworks many years later?
RW: Years ago, a Spanish girl emailed me saying she was inspired by my light dragon from Pingyao, which I posted on Instagram and asked many questions about her graduation thesis. I later started my light painting series about the 山海经 (The Classic of Mountains and Seas, a compilation of mythic geography and beasts). I adapted it and drew different beasts in modern cities, and through this art, people learned more about Chinese culture. People later started asking about my days as a light painter and rugby player. All of these are for the future, and after this project (with Jaeger-LeCoultre), more people around the world will know about light painting. I love the video so much and could watch it the whole day! [laughs]
The dragon is one of Roy’s signature subjects in his artworks. In Chinese culture, the dragon represents strength, power, success and ambition, to name a few. How do these values resonate with you and Jaeger-LeCoultre?
CR: Well, ambition, strength, and power resonate with any company that wants to shine in its field of expression. From an artistic standpoint, it’s a beautiful representation of a very expressive animal with a lot of detail, as seen in the images and video. The dragon has inspired some of our creations over the years, and there’s always an intricacy to it. So, at many levels, and again, this time with Wang, it means stretching ourselves every time we work with the dragon.
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TAG Heuer Thrills at LVMH Watch Week
A better look at two novelties from TAG Heuer LVMH Watch Week 2024
Where does TAG Heuer stand now that Frédéric Arnault has left for a bigger role within the LVMH Group? There was much doubt about his appointment at TAG Heuer given his age, but after the transformation he brought to the manufacturer, credit should be given when it is due. Arnault’s focus was getting TAG Heuer’s core models to be performing at optimum levels. Naturally, much of the focus was shone on two of Jack Heuer’s darlings — TAG Heuer Carrera and Monaco, although the TAG Heuer Aquaracer is one of the biggest beneficiaries after drifting listlessly for several years now.
This year’s novelty release at the LVMH Watch Week wields Arnault’s influence, which is a given considering watch designs take an average of 18 months at the earliest to conceptualise and then go into production. While there is much excitement as to what Julien Tornare brings to the table, having worked with a chronograph specialist for six years, we will still see pieces that bear Arnault’s identity, which is pushing the limits of conventional watchmaking, or into the avant-garde realm as TAG Heuer’s slogan suggests.
The first of these is the TAG Heuer Carrera Chronograph, bearing the updated Glassbox design from 2023 and flaunting the iconic Dato configuration. Similar to a few other reproductions, such as the TAG Heuer Carrera 60th Anniversary and Carrera Skipper, this year’s iteration tugs on the heartstrings of vintage Carrera enthusiasts. After several experimental productions after the original Heuer Carrera was born in 1963, the team arrived at a design in 1968 which saw the date window relocated to the nine o’clock position after it made a brief stop at the 12 o’clock position in 1966. The revival of this configuration, coupled with a newly designed Glassbox and calibre, primes the TAG Heuer Carrera Chronograph for a strong year ahead.
Curiously, the choice of dial colour might baffle some who would prefer a classic colourway for the Dato’s reintroduction, but TAG Heuer has a thought of their own. The unique teal green dial debuted in the 2021 TAG Heuer Carrera limited edition before reappearing in 2023’s TAG Heuer Carrera Chronograph. Historically, the shade pays homage to motorsport history, particularly the vintage green shades of the racing cars during the thrilling era of national colour racing from the 1920s to the 1960s. Selecting the colour was a nod to TAG Heuer’s racing heritage and the golden age of motorsports.
Another of Arnault’s marks would be the highly polarising TAG Heuer Carrera Date Plasma Diamant D’Avant-Garde. When the initial TAG Heuer Carrera Plasma Diamant d’Avant-Garde Chronograph Tourbillon concept was launched, it caused a stir amongst the watch community, notably for its synthetic diamonds and, unfortunately, price. For decades, the watch community prided itself on naturally occurring stones, where sourcing and colour-matching precious stones are oftentimes the most tedious step of gem-set pieces. Lab-grown diamonds eliminate these constraints with their replicable consistency, but yet, perhaps as a nod to tradition, it has not gained much favour amongst watchmakers. As specialists of the avant-garde, TAG Heuer’s foray into this field would have raised nothing more than a few eyebrows. If it is not them, then who would proudly grab the baton to tap into the limitless potential that lab-grown diamonds offer? The first piece was the ideal test bed; diamonds of irregular shapes were encrusted into the TAG Heuer Carrera Plasma Diamant d’Avant-Garde Chronograph Tourbillon’s case and bracelet, demonstrating diamonds need not be of the usual cuts.
This year’s TAG Heuer Carrera Date Plasma Diamant D’Avant-Garde takes a more muted approach following last year’s pink predecessor. At the heart of this avant-garde creation is TAG Heuer’s revolutionary Plasma technology, which enables the delicate and sensitive growth of lab-grown diamonds. Diamonds, in their purest form, are colourless due to the absence of defects within the stone’s atomic arrangement. For TAG Heuer to create the yellow diamonds, it has to dope the diamonds by incorporating atoms from diverse elements to achieve the ideal hue. Here is where TAG Heuer’s Plasma technology sparkles (no pun intended), as it can execute a controlled doping disorder in a perfectly regulated environment to produce high-quality lab-grown diamonds.
A 2.9-carat polycrystalline dial sits proudly within the 36mm white gold case. In this instance, the dial is achieved by growing a vast number of diamond crystals as one, creating a highly faceted single diamond entity that gives an iridescent sparkle. 12 white gold indexes set with white baguette-cut lab-grown diamonds of 0.5 carats, and TAG Heuer’s signature shield cut in yellow lab-grown diamond sits atop the crystalline dial. Much of the attention, though, will gravitate towards the diamond crown — a single, 1.3-carat, yellow lab-grown diamond.
The Piaget Polo 79 Celebrates a Visionnaire and Watchmaking Icon
With the advent of Piaget’s 150th anniversary this year, you would expect the maison to pull out its heavy hitters and boy, they sure did with the Piaget Polo 79. If anything, this release sets the stage for what will come this April at Watches & Wonders 2024, when Piaget unveils their novelty pieces to celebrate a major milestone in its history.
Talking about major milestones, the Piaget Polo 79’s direct predecessor, known simply as the Piaget Polo, represents an important chapter in Piaget’s history books. For long, Piaget has established itself as one of the forerunners of dress watches, but the dawn of the 1980s saw a shift in their client’s (especially the elites and who’s-who) lifestyle.
“We really had to answer to this particular demand of our customers who are used to getting just dress watches.’ explained Yves Piaget at the time. “But now our customers like to do more and more sports. That’s part of the evolution of our lives today. They want to be exquisite, even in sport. They want to wear a better watch, even in their sports. So we created this sport line which is waterproof, shockproof.”
Yves Piaget’s answer to that was simple: the Piaget Polo, which crystallised his love of horses and the highlife that was emblematic of the glamour of the 1980s. He took a step further, though, to differentiate it from the rise of 1970s steel sports watches (notably Gérald Genta’s designs) by forging the Piaget Polo entirely in gold, making it equally at home at a polo game or night club. Beyond the glitz and glamour, the watch showcased Yves’ vision as it paved the way for an array of variations to come, including round, square, gem set, bi-colour, and complication pieces.
Fast forward to the present day, the Piaget Polo 79 pays tribute to the original creation, echoing its design codes, most notably from its striking gold case and bracelet. Alternating polished gadroon and brushed block links flow seamlessly from the watch case, which also bears the same visual language as the bracelet.
The mastery of Piaget’s artisans and metalsmiths is on full display as the individual components are formed and shaped as though the entire watch was sculpted from a single piece of gold. In keeping with modern-day tastes, the Piaget Polo 79 houses the ultra-thin 1200P1 calibre in favour of the famed 7P quartz movement from its heyday.
