The Fusion concept was one of the 2000's horologic bubble's stylistic drivers. 
It was initiated by Hublot and much of the watchmaking industry followed suit. Yet, for many brands, "Fusion" merely meant "superimposition", superimposition of materials, of styles, of complications….
In order to well understand what "Fusion" stands for, one ideally has to have some culture in science fiction, to be familiar with the SF and Cyberpunk literature, with Lang's Metropolis, with these urban, cold, technological and tough universes. Harry Winston's design department has obviously grasped these aesthetic codes quite well.

Indeed, the brand officially presented the Ocean Sport Chronograph at Baselworld. This watch is definitely part of the Fusion trend.

In fact, this high-tech “toolwatch” is a case study in successful cross-trending. If it was a car, one would call it a crossover.
But if one had to draw a comparison with the automotive world, the piece would borrow more from a BMW X6 than from a Pontiac Vibe….

A "Horologic crossover", why?



Prior to wearing the watch, one notices that it is quite bulky, as much because of its 44mm as because of its wide directional bezel (the watch is waterproof up to 200m). But the watch’s cutting-edge look gives way to luxury; as soon as one wears it, one is surprised by the piece's weightlessness and comfort, and one could think it is made of titanium.
 But after careful scrutiny under the sunlight, the reflections are different, as different as those seen on white gold vs. platinum. Furthermore, this case's metal ages differently from titanium…
This metal is Zalium, an alloy of zirconium (chemically close to titanium) and aluminium, patented by Harry Winston; this material stems from some cutting-edge alloys utilized in the aerospace industry.
This high-tech material makes perfect sense with the watch's super-technical look and the mix of brushed metal and of PVD coated inserts.



The watch develops its entire flavor when one carefully examines the dial: under certain angles, it merely seems to be a polished black surface; but under other angles, a magnificent blackened ruthenium skeleton shows up.
 In fact, the only part of the movement based on an ETA 28-92 that is skeletonized is the exclusive Harry Winston's chronograph plate. This module directly sits on the 28-92, in order to maximize the contrasts; the dial is covered by a slightly smoked crystal, which makes the watch look stealthier.
The Ocean Sport series' very angular case,  is fitted with the perfect dial: skeletonized, dark and technical. The sprawling skeleton seems to spread upon the bezel, through the black PVD coated inserts.



To go on with the process of putting some Cyber into the classic watchmaking codes, the dial features a date aperture at 12 o'clock, which is almost surprising, since it is split by the chronograph second-hand.
To get an optimal legibility, one has to start the chronograph, very playful; Harry Winston should have pushed the envelope further, by proposing a wider chronograph hand in order to completely conceal the date.

Finally, despite their super-modern design, the sub-dials remain quite discreet, like those of classic chronographs;
The second-hand is really plain, which is even better as it makes the skeleton even more visible.

If the independent watchmaking's dreamwatches have successfully reinterpreted the skeleton in a futuristic watch, the domain of more affordable pieces took a back seat, and has done little to update the classic skeleton style.



Yet, it is precisely this watch's strength: it makes relevant the marriage between a virile toolwatch and the classic watchmaking codes, in a discreet and perfectly finished synthesis.
The best illustration is the dial: the hands' slenderness stands out in sharp contrast with the skeletonized plate's hardness, which shows up when the light is reflected by the movement.

After many years of wanderings, the Cyberpunk integrated to watchmaking, this trend better known by watchmakers as "Fusion", was eventually perfectly mastered in this Harry Winston.

When you write during Baselworld 2012, you don't have time for reading, and you sometimes have some very good surprises when you discover some watches, as it was the case on Chopard's booth.
Unexpectedly, Chopard achieves an excellent show in a globally dull Baselworld 2012.

As our most loyal readers certainly know, the team Watchonista has been positively impressed by the Chopard Engine One Tourbillon fitted with the caliber L.U.C 1TRM.
This watch was an aesthetic and technical success, because it was entirely built around its movement.

 However, it had the flaw of its qualities: its price. A tourbillon is expensive, and very few amongst us could pretend to be able to afford the watch.

So, we hoped that Chopard would reinterpret the L.U.C Engine One's spirit into a more affordable price range.

It is now done, with the LUC 8HF. The "HF" is not a reference to the Lancia Delta Integrale. Here, "HF" stands for "High Frequency", and the "8" is a remainder of the 8Hz frequency.
 But the watch probably borrows some of the spirit of the famous rally car, even if unconsciously.
 It features angular and virile shapes, innovations and high performances, all of these actually fitted into a rather compact watch, actually.
 In fact, it is almost surprising that, despite all the connections established between the brand and the automotive field, Chopard did not build the 8HF's storytelling around this theme.



The main interest in this piece, is of course the technical solutions which make this 8Hz frequency achievable.
 Most of the attempts at high frequencies usually remain in the realm of prototyping.
 With these very expensive watches, produced in extremely limited edition, one remains in a research laboratory , where calibers are especially and only developed to reach the high frequencies.
 Chopard took the absolute opposite line, by choosing a slightly modified LUC caliber as a basis, in order to produce a less exclusive watch, very quickly.



Hence, the only difference with the classic Caliber LUC 4Hz is the escapement device.
The impulse peg and the escapement wheel are made of silicon, while the balance wheel and the spiral remains in traditional materials, even if they are adapted to the high frequencies.
 In fact, the original barrel remains the same and features the same power reserve, in spite of the doubled frequency (theoretically, when one drives twice as fast, the gas tank empties accordingly).
How? Namely, all the optimization work focused on the escapement wheel and the anchor.
 The latter moves with  a far reduced amplitude than that of a caliber set at 4Hz.  As a result, this stage uses less energy.
The specific shape of the regulating parts and the silicon's physical properties complete the job.



The dial is also much contrasted: it is made of grained silver, and features a red small "large second hand", on a black sub-dial.
It is a wise choice, as it gives way to the flowing of time, at a rate of 8 leaps per second.
 By the way, it would be interesting to see a flying second moving at intervals of 1/16th of a second...



Just as the dial, the casing is a lucky mix between modernism and tradition.
Both parts of the 42mm case are made of titanium, with a waterproofing up to 100m; it’s very coherent with the sport design of the case. The casing's upper part features a very traditional polished titanium finish, in contrast with the highly technical finish (by plasma thermal spraying) of the black shot-peened case back.
While the overall design is very convincing, the case back is a bit surprising, with the little aperture on the escapement block, through a sapphire glass.
So, akin to the Engine One Tourbillon, the song matches the plumage: the union between futurism and traditionalism in the caliber, shows on the watch's exterior.
 This piece is available for less than 15,000€, which is a reasonable price, if one takes into account the movement’s imbedded technology; featuring  a COSC certification, which is a first for a caliber set at more than 36000v/h, ( 57,600v/h for 8HF) ; it demonstrates that the brand trusts its product.



The LUC calibers are also popularized by the “Manufacture”.
Presented this year, this gold watch features a new generation of calibers, intended to replace the ETA movements. In order to face the expected shortage of Swatch Group calibers, Chopard entirely internalized its production. This will be a delight for the future buyers of Mille Miglia and other series, which were previously powered by Valjoux calibers.



In terms of architecture, the new Chopard 01-04-C is very close to the LUC 01-01-L ; It is set at 28,800v/h, with a 60-hour power reserve. The movement measures 28.80mm by 4.95mm.The Chopard 01-04-C reuses more or less the LUC 01-01-L's layout, but without the handmade finishes and with 4 jewels less.
The LUC's beautiful decorations are replaced by a very industrial brushing (which reminds us of the P9000 from Panerai); it is very convincing, and at any rate, far superior to the best finishes proposed by ETA.



To well understand the approach of Chopard's watchmakers, one could compare this caliber to the Citroen ID19 ;
When the Citroen DS was presented in 1955, the engineers from the Quai Javel had already a cheaper version of this high end model in mind: the ID19.
 While this economical model sacrificed some of the DS' luxury features, it still featured the cutting edge technologies and the outstanding handling qualities of the brand's flagship.



The “Classic Manufacture” is available in three colors of gold, with a 38mm case with a very convincing streamlined design.
 It is almost a start from a blank slate, as the design is so different from Chopard's style. The dial is lacquered in white, with painted roman numerals.
 This minimalism is appropriate, since it highlights the caliber and the transition initiated with this new range of movements.



Finally, we discovered the L.U.C Lunar One, a new version of Chopard's perpetual calendar.
While the previous pieces spawned from a will to popularize the calibers and technologies of the brand , the Lunar One is a demonstration of the Chopard manufactory's know-how.
 With a diameter of 43mm, a waterproofing up to 50m (hence, it is Jump-into-the-swimming-pool-fully-dressed-proof) and its XL sub-dials, it is a dressy watch, but not too much.
 Even though it looks classic , it preserves a casual and pleasant side, and allows the watch to be worn with most of the outfits. The rose gold case enhances the classic flair of the watch; the white gold reinforces the sporty side, which is appropriate for a positioning on the sport-chic QP market, a rather marginal sector.
 One could think of examples such as the pleasant deMonaco QP or some De Bethune, but the sport-chic combined with the QP, unfortunately remains a niche. One has to say that, with the variations of the light (it must be even noticeable with the sun light), the dial looks less ornate than on the photos.
For that matter, the large "orbital" moon phase (which means that the disk revolves around its axis) is quite visible in the dial, thanks the contrasted colors.
The remaining indicators, the sub-dials and indexes, are a in matching tones, which, in real life, lightens the
several QP's indicators, despite their large fonts.



The caliber is a LUC96-13L aka QP, an automatic 33mm movement, set at 28,800v/h; it features a 70-hour power reserve, provided by two barrels. Like all the QP caliber on the market, it is modular. The complication plate is nonetheless one of the most complex available nowadays, especially because of its "Grande date" and of its moon phase with a small time lag (one day every 122 years).
 And of course, the “L.U.C” finishes convey an undeniable charm, which reinforces the attractiveness of this watch.
The new Lunar One features 2 certifications: The "Poinçon de Genève" based on the new standard, and the COSC, which is quite rare for a QP.







In a transition period, when the future of watchmaking is uncertain, Chopard successfully anticipates the end of the deliveries by the Swatch Group, but also prepares the future by being one of the first brands to propose silicon and very high frequencies for a "mass market" series.
Finally, and it is maybe the most important point from a customer's standpoint, the aesthetics evolve toward something more actual.
 

La 5270 is so beautiful, all the other Patek are erased.

Tonda 1950

The Parmigiani Fleurier Tonda 1950 fits into a big trend of the Sinophile watchmaking; the (colossal) Chinese market is fond of plain Hours-minute-second with a classic diameter.
Yet, in this field, there were a tremendous number of reissues of pieces from the 50’-60’s; many brands merely reproduced these codes without the era’s magic.
However, certain brands, like Lange & Söhne or Vacheron Constantin, make very fine things in this vein.
Parmigiani recently took up the Quest for the Bauhaus’ horologic Grail: the quintessential horologic layout.
Minimalism is too often mistaken for dullness and the functionalism for the banality.
If making a white classic 3 hands is easy, it is a bit, or even a hunk more difficult in black…
Many brands make (or subcontract) superb powdered or grained silver;
They produce « liquid-paint » enamellings (©www.Watchonista.com), eggshell whites, “Silver-Surfer” silvers, more than perfect whites…. In short, some fine white which conveys quality.
But regarding the black, it is despairing. Dull colors, light sinks, corny textures on a B-uhr made by a “little” German, the final result is poor in terms of quality.
Weak product management? Lazy suppliers? Color more difficult to master?
With this Tonda 1950, Parmigiani Fleurier demonstrates that it is possible to achieve a beautiful black.
This Tonda’s black is surprisingly powdered/shimmering/eggshell (just wear the watch, you will understand).
For the lovers of more sportive watch (without white dial), it is bliss.
Because the vivacity of the dial’s black combines with the distinctive PF lugs and the sharp hands, to produce a very dynamic look.
As a result, the watch seems larger than the advertized 39mm… Still in this idea of “perceived quality”, the brand name circled in gold combined with the narrow indicators complete the effect.
Even if the white Tonda 1950 is a success, it is with the black version that Quadrance (PF’s dial department) demonstrates its Know-how. Sportive, dressy, neo-classic, it is an achievement.










                                                                                                                                                                                                                                                       
Tonda Retrograde Calendrier Annuel

Nowadays there is a crack in the very high-end watchmaking, between sports-chic (Royal Oak, Overseas, Nautilus…) and classic dressy watches.
This distinction was created by some big wigs of the Helvetian design, such as the late Gerald Genta.
And since the 70’s, the design of high end classic watchmaking collections almost hasn’t evolved aesthetically.
But nowadays, Parmigiani Fleurier punches a hole in the establishment of the high end dressy watches, by modernizing the classic codes. Hence, the movement of the “Tonda Retrograde Calendrier Annuel”, completely designed, assembled and finished in the Parmigiani-Fleurier manufactory, represents the horologic “swissness” pinnacle.
The annual calendar movement is of course automatic, to allow the use of a watch winder  Even if the circular-graining of the 22K gold balance is superb, one could almost regret that it blocks the light which perfectly enhances the subtle Côtes de Genève and beveling. The dial is a surprise: a neo-classic design featuring grainy silver at the center and powdery at the periphery; you will notice the many details, especially the PF logo circled with gold.
But the centerpiece is of course the Grande date, indicated by a retrograde hand instead of an aperture.
The day is indicated at 9 o’clock and the month at 3 o’clock, when the moon phase for the Northern and Southern hemisphere sit at 6 o’clock. This super-accurate complication only has to be adjusted every 120 years.
The watchcase is 40mm across, but the exclusive and dynamic lugs, together with the Hermes wide alligator sports wristband make it look like a 42mm.
The bet on the Tonda line seems to be worthwhile for Parmigiani: that of having the Swiss conservatism evolve while keeping with the tradition.  It is not really a novelty, but this watch is rare and interesting enough for us to dwell upon, lengthily!













Bugatti Super Sport

In 2004, Parmigiani presented the Bugatti Type 370 (which is the top speed in Km/h of the first Veyron), featuring a first: a movement with a transverse architecture, just like a super car engine block.
While the actual trend is to produce movements as large and as flat as possible, PF did the exact opposite: a movement as small and as thick as possible, in order to fit it transversely in a watch case which is reminiscent of the hoods of the Bugatti from the 30's, such as the famous "Type 35" and "Type 41”.

In order to satisfy the increasing market and to pay an ultimate tribute to the Bugatti Veyron, the most mythical
Super car from the 2000's, PF just presented the "Super Sport", dedicated to the limited eponymous edition of the Veyron. Rather than perform a makeover on the "Type 370" with orange and black, the brand of Fleurier proposes an entirely different watch. It keeps the lateral display, so useful to tell time without having to let go of the wheel.
Thus, the caliber and the watch case of the "Super Sport" are completely new.
While the 370 paid a tribute to the classic Bugatti's front part, the Super Sport is still a tribute to the case that contains the Bugatti's engine, but this time with the Alsatian intergalactic fighter's rear part as an inspiration.
The bow is curved like a raindrop, the most aerodynamic natural shape. As a coincidence, the typical wing shaped case lugs of Parmigiani are reminiscent of the Bugatti Super sport's rear part, thus, multiple aesthetical references.
The watch is as unusual in its dimensions as it is in the way it feels on the wrist. One finds again the sensations experienced with the "Type 370". It is such a surprising and innovative watch in the way it displays the hour, that wearing it is more indispensable than ever. The crowning touch is that the astonishing work performed on the movement, with its bridges and plates with "Black Gold" colored Côtes de Genève, is visible through six sapphire crystals: the contrast with the white gold case is stunning. Therefore, like the two Veyron Super Sport's coupled V8, one can see two barrels that provide a 10-day power reserve (circular graduated scale displayed on top of the watch).
The watch is manually wound through a dynamometric crown, which retracts with simple pressure.
With the Bugatti series, Parmigiani signs one of the most successful partnership of the motor sports world, by producing an elitist and groundbreaking watch, all the way through to the architecture of its engine.
A piece worthy of the independent high-end watch making's most original creations.













Transforma Rivage Chronograph
The photograph, bending under the weight of his camera, his eyes blinded by the flashes, sometimes reaches a level of exhaustion almost hallucinatory. To be honest, the first time I saw this Tranforma Rivage Chronograph,  I thought it was a mistake.  In the flow of dressy neo-classic watches of PF, this watch looks like a UHO, as if Mercedes-Benz produced a G Class . At first, one could think that a specialist of aerospace/professional/adventure watches, like Sinn or Fortis, had lost their way in the Vallee de Fleurier rather than in the Guangzhou valley.
Then, when one looks at the details, it is obviously Fleurier's quality: it is beautiful, it is very well finished, but most of all, it does not lapse into the technical pedantic arrogance. Joy, happiness.
Regarding the caliber, it is far from a 7750 with a dubious pedigree: the watch is powered by the PF334, 50h power reserve, 28800v/h (but with a display "divided" by 2, (down to 1/4th of a second instead of 1/8th), 68 jewels, with an overall Fleurier quality. In fact, the chronograph is 43mm across with a large aperture. The external case is made of titanium, while the internal case is made of woven carbon fiber (because of this Transform-ability, the watch is waterproof up to 30m only, versatility opposed to water resistance, it is a matter of choice !)
Yes: the internal case. Because the watch is "convertible", it can be fitted in the titanium wrist frame as well as in a steel pocket watch case. The chronograph's secondary dials are also made of carbon fiber while the main dial is made of graphite, to stay within the realm of carbon. The light effects are magnificent and highlight the stylized map of the globe. While you got the explanation for "Transforma", you are still missing the one for "Rivage": it is a limited edition watch (100 copies), an homage to the Swiss sailor Bernard Stamm, whose new boat is made of carbon fiber.
Let's hope that this success will be the inspiration for a new line at PF, as much as this aerospace/adventure style is despised by the great brands, wrongly so.


















Toric Ovale

At SIHH 2010, there was this magnificent piece from Vardon & Stedman brothers, an oval shaped pocket watch!
It was exceptional because it featured telescopic hands that retract following the railway’s curvature, a display that is a feat dating more than 200 years and was never reissued in the same way.
When I saw this watch, I tried to find any modernized version on the net. Nothing! It is one of these moments when you wish you were a watchmaker! Two years later, Parmigiani proposes a veritable tribute to this pocket watch, the Toric Ovale; PF creates a watch that does more than mimicking the original design, it reproduces the complication altogether!
It is also one of the most thoroughly shaped watches, as it features an oval shape down to the tip of its hands.
The hands retract at 3 and 9 o’clock and extend at 12 and 6 o’clock. For the large hand lovers, it is rapture: not only are they large, they grow even larger!

Based on its Vaucher/PF110 caliber (8 days Power reserve, set at 21600v/h), the Toric Ovale encloses the PF114 shape movement, (8 days Power reserve as well), which features a chiseled floral ornament.
The display complication that pulls or pushes on the hands in order to alter their length is relatively thick, which is noticeable on the Power Reserve and Date apertures’ bezels, respectively sitting at 12 and 6 o’clock.
To stay in the realm of the dream, one could imagine, in the future, a "Grande seconde" that would follow the same elliptical curve.

Of course, in watchmaking, technique is nothing if not served by a flawless design. The watch is an absolute aesthetic achievement; a single criticism though, the aperture that shows the movement on the back of the case is vaguely potato-shaped, when one could have expected it to be fully oval … To achieve an oval watch is always a challenge, because supermarket watches sometimes sullied this shape, a little kitsch…   In this case, the watch is beautiful, as it takes after the Bauhaus, the Art Deco (a fundamental influence at PF). The lugs designed by the brand from Fleurier never fit better than on shaped cases, akin to the Bugatti Super Sport (the watch); they perfectly suit the offbeat case design.
As you can see on the wrist shot, it is rather a Dandy’s watch; the lugs are tapered at the level of the spring bars, to follow the case’s curvature. With regards to the dial and the hands, it is a real surprise: the indexes are a reminder of the famous Panerai’s «sandwich dial», and provide a quite adaptable sporty look to the watch.
With the «Grand feu » enameling finish, one obviously stays in the realm of chic. Akin to the indexes, the extendable hands are blue, the color of oven treated titanium, a highly complex technique mastered by few.
Now that this technique is acquired, I want to see some future Parmigiani featuring blued titanium dial…
The oval is pervasive on the watch, from the hand’s tip to the lugs, as well as through the numbers, the watch benefits from a hard-liner geometry. One could almost regret that the oval balance has not yet been invented!












 
Dragon Clock
Chinese market my love. China is obviously the new Sinorado of the Helvetian watchmaking.
And this year is The year of the Dragon.
The Dragon is a fabulous creature, more than in any other mythology, in that it borrows from the camel, the tiger, the eagle and the demon, as well as other creatures.
The "Dragon" clock by Parmigiani is based on the "Le chat et la souris" mechanism. "Le chat et la souris" was extremely sober, as it borrowed a lot to Art deco with an asserted minimalism.
If the profusion of precious material could make the clock look heavy, but the dynamism of the clock remains, the dragon's posture is energetic and it looks absolutely ferocious.
It runs behind the pearl of knowledge with as much energy as the cat ran after the mouse.
The dragon's body is made of gold and silver.  The scales are made of jade, 585 pieces fitted depending on their color in order to produce a shaded effect. The eyes are made of ruby, the tongue is carved in cornelian and the claws are made of white gold. The pearl of knowledge is set with diamonds, sapphires and rubies.
 Of course, the dragon stays with all the traditional Chinese mythology codes, as it is also the case for the characters, displayed on the base made of rock crystal. Following the tradition, each of these characters represent 2 hours in base six. The pearl of knowledge jumps 6 times per hour, while the dragon does the same once over the same period; Of course, it takes enormous amounts of power to move this mass of precious materials.
If the theme borrows a lot from Chinese mythology, it is also the case for the making.
Like the Dragon, which is a mosaic of animals, the clock is a mosaic of artwork.















Rather than an exclusive presentation, I chose to dwell upon the finest pieces of PF, because the most surprising feature of the brand from Fleurier is variety.
While many brands specialize in a single product, PF does the exact opposite, from the neo-classic watch, to the style of independent watchmakers, from the sports watch with Grande Complication to the clock worthy of the Guinness book.
Parmigiani is not entangled in an heritage, this young brand has still everything to play for, and that’s its strength.

I like the first one...not bad!

Better than not bad! 

World Poker Tour. Last year, I had announced flat out (no bluff at PifPaf’s) that it would be the Officine’s best year.
Incidentally, the title of the article was « the apogee ». Unless there‘s a miracle (but it is just a business), one would inevitably be disappointed.
This year’s disappointment is relative, because we are far from the perigee, and it is even the most interesting SIHH of Panerai since 2006 (except for 2011, of course).
This Panerai presentation at the SIHH 2012 stays within the continuance of last year’s, with many neo-vintage pieces.
This content knocks a hole in the theories about some Officino-Paneristic conspiracy like “Reopen 1940”, theories stating that frustration would be used as a marketing technique.
Because, for the second consecutive year, the beautiful Italian spreads her legs widely, totally offered to the unsatisfied desire of Paneristis.



One could even conclude that the Officine’s product policy is the result of random factors (how we could explain the avalanche of Radiomirs?). But also of political factors, linked to an internal shake-up in Neuchatel headquarters.

For the « Laboratorio Di Marketing », it is also an in vivo test for the fabulous PAM399 « 1940 », the last big paneristic fantasy, which could trigger a frenetic debate among auto proclaimed historians, for many days, in order to determine if the watch looks more like the 6152 V1 or less likely the 6154…
It does not matter; the essentials are here, a vintage Luminor watchcase, without crown-guard and featuring the inscription « Radiomir ».
It is an almost perfect synthesis of the most arousing vintage codes, the missing link between the Pithecanthropus-Radiomirus and the Lumino-Sapiens-Sapiens.





But all this verbiage would be to no avail if the song did not match the plumage. On the wrist, it is to die for, it is the perfect mix between elegance and savagery.
The dial, even if it is not conforming from an historical standpoint, is perfectly balanced : the large “small second hand” perfectly matches the bold font and the large indicators.
The choice of hands is perfect, the OP has clearly utilized the same “double pencil” design as the Radiomir from last year , and it is just as well, as the hands fitted on the PAM372 are downsized.
The dial is dark brown, which leaves some room to dream about an ochre one, in the same vein as the 6154’s, burnt by radium. Regarding the crystal, it is made of Plexiglas; I prefer sapphire, but again, all the better as it leaves some room for the future.



The watchcase, with its edged middles, almost as thin as that of a PAM232/2499 (hence far thinner than the PAM372’s case), its full but nonetheless thin lugs, and above all the absence of the plain (and notoriously uncomfortable) crown-guard, with the crown from the 40-50’, is of course the highlight of this PAM399, difficult to forget it since the design is such a success!





The design is almost perfect (with an ochre dial, a different font and without the small second hand, it would have made it), but because of the price, the number of copies available, the caliber and the poor waterproofing, one stands in the realm of the “Officine di Umorismo”. The announced 30 meters discredit the piece as a real sports watch (let’s imagine a Watchonicar clamped to 50km).
But most of all, the Minerva caliber (large balance, 18,000v/h, 55h Power reserve), does not feature the level of finishing that could justify the outrageously high advertised price (about 20k€).
The profile turning is excellent (on the brass wheels), but the lack of interior angles, or the average finishes of the Cotes de Genève and of the beveling in general, cannot justify a price three time higher than that of very similar models from the OP.
Obviously, a caliber by Karsten Frässdorf would be a better match for the price of this beauty…



The watch will be delivered with or without the PAM398, depending upon the local market.
With 100 copies (why not 1940 , damn !) and a entry price of 20k€, as with the PAM300, the watch might not be seen very often in the Paneristic GTG, a vault PAM to be stored beside the 300, that’s too bad.
However, the toughest part of the psychological work is performed by the Officine, and one could (and will !!) speculate for months or even years on the future mass market version, fitted with a P.3000 and featuring a waterproofing worthy  of a diver.
The Panerai PAM399 for a buzz lasting 1000 years !!



This PAM399 is also available in rose gold, still in 47mm, still without crown guard, still featuring the Minerva caliber.
As much as I adore the rose gold Radiomirs, this one barely made me aroused; maybe I didn’t wear it for long enough.
Nonetheless, it is very attractive and costs about 35k€ (it stings, compared to the price of an American 1921, 20k€  at Vacheron). 


To go on with the Radiomir (which should be an easy task regarding this SIHH2012), the PAM449 « 2533 » is the other unforgettable Rad of this year’s event.
It outshines the PAM373 (by the way, I heard some teeth grinding for distributors, there obviously were cancellations regarding the PAM373 and 376).
The 449 offers magnificent blued hands, which are a better match for the « prototype » design and the fineness of the indicators, for far cheaper (thanks to the 47mm stainless steel case).
The contrast between the beige Luminova, the blued hands and the font borders on (reaches ?) perfection.
When one wears this PAM449, one realizes that the gold hands previously fitted on the « 2533 » dial were a bit too-much.
The watchcase still features the ungraceful thickness of the 2011 Radiomir’s middles; and, as a general tendency with the Radiomir, the case back looks even thicker…





However, the overall design is a total success, the watch looks furiously vintage, and for a short while, I thought I was trying on a collector’s piece pulled out of a hat at Christie’s.
It is even one of the nicest vintage-like Radiomir in the history of the Officine since the 232.
Its only flaw: only 500 copies are available, chronicle of fights in boutiques foretold.



The PAM448 « Cali », its twin sister, ironically named, because since it follows the 249 and the 349, one would legitimately expect it to be named PAM449 “Cali”, but no.
This new Cali looks a lot (too much?) like the PAM249, featuring a similar black dial and large blued hands.
On this model, the Plexiglas crystal is not domed (but “Top Hat”, like the one fitted on the PAM449) and the waterproofing is increased up to 100 meters; the watchcase swells up like all the Rad fitted with a P.3000 (and yet, the slight extra thickness of the P.3000 compared to the Unitas 6497 does not justify this plumpness).




It is a new launch window for those frustrated with the PAM249 and who do not want to pay top-dollar (about 6800€ for these PAM448-449).
Panerai is currently the only watchmaking brand where buying from the catalog is more attractive than from the second hand market!
However, with only 500 copies available, you will have to be in good terms with your dealer (I emphasize this last word).

Since Richemont stopped participating in BaselWorld, the consequences are numerous and surprise us at every edition.
More and more similar events take place during the SIHH week… It makes sense.
Because the Swiss watchmaking, 95% French-speaking, embarks on an illogical transhumance toward the German-Switzerland every spring.
The wish to relocate was real, but there were no coordinator and no site to do so.







For its third edition, the GTE gradually becomes a must-attend of the Genevan “Wonder week”.

This year, the GTE moved into the Espace Hippomène. This site, which hosts the Watch Days in November, is located in the Quartier des Charmilles in Geneva, and is easy to get to from the Cornavin train station or from the Cointrin Airport.
If this site is farther from the SIHH via public transportation, the drive time is equivalent.  But what the Espace Hippomène loses in terms of accessibility from the SIHH, it gains in terms of comfort, room and quality.







The spanking new Espace Hippomène, recently renovated, contrasts sharply with the 70’s look (worthy of a James Bond movie) of the GIGC. Roomier, brighter, this site is far more suitable for discussions, meetings, for watch advertising as well as for photography. Because if the CIGC is a superb conference room, its constrained surface area could not keep up with the growth and the enthusiasm surrounding the GTE.

For those who attended the Watch Days at the Espace Hippomène, well, forget what you saw.
The layout of the aisles of the GTE takes after that of the previous editions, but two times larger.
If the place is more suitable for exercise, refreshments were not forgotten:  so, if you are starving, you will find “The Caviar House” and “Nespresso” located in the middle of the exhibition.

 It is also a first for WatchOnista, or even for the overall web of watchmaking.
It is, to my knowledge, the first time a Website has a booth to welcome the other bloggers, with a Mac. to access to watchonista, but above all sofas to sprawl out on, rest, have a drink and discuss the magic of this Genevan “wonder Week”.
As the GTE opens on Sunday, one day before the SIHH, it was a watering hole for the big lions of the web of watchmaking, administrators, moderators and bloggers assembled in an informal way before the Monday morning rush.

The show is intended to become an all-Genevan event, as was obvious the night of the award-ceremony.
Large trade-shows like the SIHH or BaselWorld are totally international events, where globalization prevails.
The GTE is Swiss-French speaking (aka “coherent” French).
Akin to the EPHJ, it is also a true oasis for watch-related meetings, one of these rare places where one can see on the same stage Jean Marc Wiederrecht, Eric Coudray and Karsten Frasdorf, three of the most brilliant watchmakers of our time.

The reason why I mention a stage is that, like all the previous editions, the best exhibitors were awarded.
This year, two exhibitors were bestowed the GTE “Super Watch Award”.







Following the acknowledgement speech by Florence Noel Kameloni given to the numerous GTE partners, the jury held the award-ceremony.
The panel was made up of big wigs from the watchmaking journalism world as well as from the watchmaking industry:  Elizabeth Doerr (journalist), Axel Kufus (professor of watchmaking), Geoffroy Ader (Sotheby’s), Anders Modig (Plaza Watch) and of course Jean Marc Wiederrecht (Agenhor). 










Cabestan received the “Design Award” for the new version of the famous “Cabestan Tourbillion”, with a simplified winch, but featuring a wider and streamlined watchcase.

For the “Tensus”, Heritage Watch Manufactory was presented with a well-deserved “Super Watch Award”, a prize they had not received at the previous edition of GTE.
The Tensus is a chronometer watch featuring a series of constant force devices, all along the energy chain.
It is certainly the first of a long series of trophies.
Indeed, the Tensus revolutionizes the classic chronometry, all while respecting its standards, most notably through its large 16mm balance.

This first practice-run was also an opportunity to hold informal conversations with the exhibitors of exotic creations.
As an indication of the increasing momentum of the GTE, there was a large number of Asian buyers, watch lovers and journalists, on the very first day of the show.

Watches @ GTE : http://www.geneva-time-exhibition.ch/

This two first day portends great things for this 2012 edition. Somes Watches taken @ the GTE:

Ahh that green citroen....

Citroen, the best car brand.