I’m sure everyone reading this is wondering when we’ll be doing our collaborative follow-up to the Christopher Ward Shoreline. Don’t worry, news on that in due course – but for now, the collabs don’t stop coming, the latest of which is a particularly lovely number from our friends over at Fratello: the Fratello x Czapek & Cie Promenade Transparencies Viridian Green.

Green is apparently this pair’s colour as Fratello and Czapek & Cie’s first collaboration was on the gorgeous Antarctique Passage de Drake, with it’s gorgeous, scaled dial and integrated bracelet. While the colour here is the same Viridian Green though, that’s the only similarity.

For one, the dial, the focal point of the Antarctique has been removed almost completely. Almost, because the sapphire covering the open movement has been given a green tint, allowing a look at the micro-rotor movement underneath like through water. It’s a novel twist on the elegant, 38mm Promenade case, which is certainly home to some of Czapek’s more novel dials.

Perhaps most unusually, the smokiness of the dial emanates from the small seconds subdial at 4 o’clock. We’ve seen gradients from 6 o’clock before, but not this. It’s not ground-breaking, but it is a fun twist on fumé, drawing the eye to a particular focal point.

The movement underneath all that green smoke is Czapek’s signature SXH5 movement, the in-house calibre inside a good chunk of their stable these days. That means a 60-hour power reserve, 4 Hz frequency and a platinum micro-rotor, unusually made from recycled precious metal. It’s finished to the degree you’d expect from a proper prestige watch – enough that you can see why you’d want to open up the dial.

Speaking of prestige, we’re used to seeing most collabs fall into the accessible category, but Czapek & Cie are anything but. So, it shouldn’t come as too big a surprise that the Fratello x Czapek & Cie Promenade Transparencies Viridian Green will set you back EUR 32,000 (approximately £26,500) for one of the 50 pieces. It’s a pretty steep amount but then this is a gorgeous collab that fans of Czapek & Cie will undoubtedly leap on.

More details at Fratello.

While we’ve been waiting for over a decade for George R. R. Martin to drop The Winds of Winter, winter in the real world is well and truly here – at least judging by the recent snow flurries around the UK. Celebrating the cold season, Bell & Ross have released the BR-05 Skeleton Arctic Blue, a cool steel watch that features one of their most interesting dials to date.

Jumping right to the dial, it’s made from a translucent glass plate in arctic blue that’s been laser engraved with grooves that emulate the cracks in an icy surface. On top of that, a pad printing has been applied in white along the same lines, which furthers the realistic appearance of the cracks as though there’s a fine white powder of ice along their edges. It’s quite surprising for a brand like Bell & Ross to venture into the waters of realism considering how dedicated to artificial, mechanical instruments (like the BR-03 Horizon) they are.

Of course, the concept of an ice dial isn’t exactly new. However, I do rate this one quite highly because of the way it makes use of translucent glass instead of using a frosted texture. It captures the actual visual properties of ice as we traditionally think of it. Plus, it adds an additional layer to the design as we can see through the dial to the skeletonised movement housed beneath, making it look like the calibre has been frozen in ice. Like some ancient, lost technology recovered from the frozen ground and if I hadn’t used up my sole allowed pop culture reference for this article with George R. R. Martin, I would definitely draw parallels to the opening of Captain America.

The movement that’s on display is the BR-CAL.322-1, an automatic calibre with a 54-hour power reserve. In truth, it’s a little difficult to see the intricacies of the movement beneath the chipped and cracked ice dial, but I think that only helps to build the mystique and flavour of the BR-05 Skeleton Arctic Blue. It adds an increased level of depth to the display that’s really fun to explore. I also really like that it doesn’t fall into the common skeleton trap of making the time display illegible, as the hour markers and hands are still very clear and coated with lume.

Protecting the movement is the BR-05 steel case, with a diameter of 40mm and 100m water resistance in a rounded square shape. It has what is traditionally considered an urban or industrial design with exposed screws and clean facets that are made more apparent by the alternating brushed and polished finishing. However, here that urban style contrasts with the dial inspired by natural phenomena.

On top of what I think is one of the most interesting dials Bell & Ross have produced, the BR-05 Skeleton Arctic Blue is a limited edition of 250 pieces, which are exclusive to Bell & Ross’ boutiques and online shop. It’s available on either an integrated steel bracelet for £7,200 or a white rubber strap for £6,700. Of the two options I think the bracelet is the far superior.

More details at Bell & Ross.

Novak Djokovic is one of the biggest enigmas in all of sports. On a sheer performance level, the man is insane. He has won 24 grand slams and recently completed the Golden Slam by adding an Olympic gold medal to his trophy cabinet, which only four other players have done before. Off the court he’s an enigma as well, tennis’ controversial bad boy who can’t help but claim the adoration of crowds with his play. And now you can actually own part of his tennis legacy with the Hublot Big Bang Unico Novak Djokovic which is made from his recycled rackets and gear.

That’s right, the case of this watch is made from a composite material crafted from 25 of Djokovic’s HEAD rackets as well as 17 dark blue and 15 light blue Lacoste polo shirts. This material is combined with an Epoxy resin reinforced with quartz powder and glass veil for an ultra-durable and lightweight design. You can see the flecks of textile material inside the case along with the carbon from the rackets, giving the piece an intriguing and unusual camouflage pattern.

On top of the composite case, Hublot also changed its approach to the glass in order to further enhance the watch’s lightweight properties. Instead of a traditional sapphire crystal, the Big Bang Unico Novak Djokovic uses tempered Gorilla Glass, which is half the weight of its crystal alternative. An unusual choice but one that reflects Hublot’s willingness to explore modern innovations. Depending on the strap it’s presented on, the watch can weigh as little as 49.5g.

Below that glass is the watch’s openworked chronograph display. It’s presented in a light blue colour that matches the overall tone of the case. In keeping with the tennis theme, the chronograph elements of the watch feature accents in tennis ball yellow, including the chronograph pusher at 2 o’clock. A further tennis treat is the use of Djokovic’s personal logo as the chronograph seconds’ counterweight (also found on the movement’s rotor).

The movement that’s on display via the openworked portions of the dial and exhibition caseback is the HUB 1280 Unico automatic chronograph. It has a really solid 72-hour power reserve so you can put it down on Friday evening and it will still be ticking on Monday morning. Looking at the caseback you’ll also notice that the Hublot Big Bang Unico Novak Djokovic is a limited edition of 100 pieces, which makes sense otherwise Djokovic wouldn’t have any clothes left.

I know that Hublot designs can often be divisive due to their bold, unapologetic appearance but here I think that works really well. It’s as bold and unapologetic as the man himself. Not to mention that it offers the opportunity to own some genuine tennis heritage. Of course, such legacy doesn’t come cheap with the watch priced at £45,300.

More details at Hublot.

While they might not be quite so prolific as brands like Seiko and Tissot, Tag Heuer produce a lot of watches and always have a steady release schedule throughout the year. So, at this point, I’m sure we’ve all seen a lot of Carreras and a lot of Monacos. What’s surprising is the fact that Tag Heuer continue to find new styles and creative outlets within these designs. Case in point, the new Tag Heuer Monaco Chronograph Pink Skeleton, which I have here for review.

Taking it out of the box, I’m immediately struck by the vivid use of colour which is unlike any Monaco I’ve seen before, except perhaps for the Skeleton Limited edition in DLC and turquoise. The 39mm titanium case has a black DLC coating, which is matched by the black, skeletonised bridges of the chronograph display. Then, like a burst of neon light the hour markers, chronograph seconds hand and chronograph subdials are hot pink. It’s bright, bold and bombastic, which is entirely the point because it’s inspired by the vibrant lights of the Las Vegas Strip.

Tag Heuer have used bright colours before so that in itself isn’t that surprising, just look at the Skipper. But here, the mood of the Monaco Chronograph Pink Skeleton feels different. This isn’t a trackside sportster, a high tech F1 tool or even a cross-country grand tourer of a watch. No, this is a piece of Hot Wheels, Need for Speed, Fast & Furious, Burn Out insanity. And I kind of love it. An illegal street race under the bright lights of Las Vegas where you stop for a quick hand of poker with Vin Diesel, Brad Pitt and John Belushi at the Bellagio between laps.

On the wrist, it can’t fail to put a swagger in your step. The lightweight titanium is incredibly comfortable to wear and measuring just 39mm in diameter, it’s not overbearing either. It’s eye catching without being ostentatious because the darker, black portions of piece help keep it in check. Plus, the embossed leather strap with rubber backing is also comfortable and does a good job of preventing it from slipping.

Focussing in on the dial further, the Tag Heuer Monaco Chronograph Pink Skeleton has the signature skeletonised display that Tag Heuer have used across a few Monacos now. It reveals the inner workings of the calibre Heuer 02 beneath as well as exposing the date function at 6 o’clock beneath the small seconds counter. Admittedly that small seconds hand is so small that it can be quite difficult to see but hey, we’re here for the vibes more than anything else.

The calibre Heuer 02 is also a great movement with automatic winding, an 80-hour power reserve and a nice level of finishing thanks to the Geneva Stripes visible though the exhibition caseback. It also has a really nice action on the square pushers for controlling the column wheel chronograph, which is a large part of the point of a column wheel mechanism in the first place because it activates smoothly without the risk of any jarring resistance.

That all brings us to the price: the Tag Heuer Monaco Chronograph Pink Skeleton is £9,850. That’s exactly the same as their previous DLC coated titanium Monaco Skeletons so at least it’s consistent, even if it is admittedly quite a high price. Still, when you pair it with the sweet underglow of a night-time street racer, this is a watch that hits the spot.

More details at Tag Heuer.

Few watches are as synonymous with artistic styles as the Jaeger-LeCoultre Reverso and Art Deco design. And that’s for good reason because the Reverso collection dates all the way back to the early 20^th century and the emergence of the Art Deco movement It’s a bold and luxurious style and JLC have doubled down on that with a new dial decoration on the Reverso Tribute Chronograph Full Pink Gold.

Jumping straight to that dial, it’s made from pink gold with laser engraved horizontal lines that span the width of the display. It reinforces the geometric precision often seen in Art Deco designs while also highlighting the rectangular shape of the watch as well as echoing the gadroons (horizontal lines) found on the case above and below the dial. It makes for a really striking display, especially when paired with the pink gold hour markers and dauphine hands. Adding a level of legibility is the black minute scale which offers a much needed point of contrast.

Reversing the watch by flipping the body over reveals the second, hidden dial with skeletonised chronograph display. The layout of this dial is identical to the 2023 edition with the exception that the visible plate and bridges of the movement are now produced in pink gold. Hence the appellation Jaeger-LeCoultre Reverso Tribute Chronograph Full Pink Gold. The chronograph function itself is operated through the use of the rectangular pushers on either side of the crown.

Beyond the increased luxury of the dials, this model is more or less identical to the 2023 predecessor with proportions of 49.4mm x 29.9 mm with 30m water resistance. It houses the calibre 860 with a 52-hour power reserve and manual winding. The chronograph function consists of chronograph seconds and a retrograde 30-minute timer.

The Jaeger-LeCoultre Reverso Tribute Chronograph Full Pink Gold is presented with a pair of straps, one a black alligator number and the second a brown calfskin piece. In terms of price and availability, it’s £60,500 in a limited edition of 250 pieces. While I’m a fan of the regular dial of the Reverso Tribute, I think this one is a worthy alternative suitable for a golden limited edition. If you want a hyper luxurious two watch collection, put this side by side with the Vacheron Constantin Patrimony Self-Winding x Ora Ïto.

More details at Jaeger-LeCoultre.

Historically Tag Heuer are connected to many parts of the motor sport industry but today they’re focussing on a legend from F1’s past, Ayrton Senna, whose death stunned the world 30 years ago. In honour of the anniversary of his passing and in celebration of his life, Tag Heuer have collaborated with the Senna brand to produce the Tag Heuer Carrera Chronograph Tourbillon x Senna.

The watch is being launched to coincide with a new Netflix series on Senna’s life, a semi-fictional biopic, which airs on November 29^th. The series will feature many vintage Tag Heuers because Senna was a Tag Heuer ambassador in his life, much as Verstappen is today, and wore a Tag Heuer S/el with a / 100th second Chronograph. It therefore makes sense that Tag Heuer continue to celebrate his legacy with commemorative timepieces.

This latest piece is a 44mm diameter sports watch in titanium with a forged carbon tachymeter bezel that measures speeds up to 400km/h – the fastest recorded F1 speed being 374.97km/h (233mph) on a long straight. The bezel also features an inscription of Senna’s name and logo in vibrant yellow, which paired with the green seconds scale and blue minute scale around the edge of the dial make up the colours of the Brazilian flag, Senna’s home country.

Zooming in on the Tag Heuer Carrera Chronograph Tourbillon x Senna dial shows an openworked display with a tricompax chronograph layout. At 9 o’clock is a 12-hour counter with the Senna S logo, at 3 o’clock is a 30-minute timer and at 6 is the titular tourbillon. Below the skeletal bridges is a black plate with alternating graining in a checked pattern reminiscent of the checkered flag of a race. It really hammers home the motorsport theme of the piece as well as celebrating Senna’s three world championships.

The commemoration continues on the caseback with an image of Senna in his classic helmet. Through the transparent portions of the image you can see the Tag Heuer TH20-09 movement inside, an automatic movement with a 65-hour power reserve and column wheel chronograph.

Only 500 pieces of the Tag Heuer Carrera Chronograph Tourbillon x Senna are being produced at a price of £33,050, so it’s definitely a collectors’ piece. But whether you’re a wristwatch lover or racing enthusiast, there’s plenty to admire here. I particularly like the grained finish, which makes the watch stand out from the rest of the extensive Carrera range.

More details at Tag Heuer.

While today’s article focusses on the Rado True Square Automatic Skeleton Blue, if you took at Rado’s direction over the past few years, you’d be forgiven for assuming that they produced one watch in infinite variations of the Captain Cook. Ever since they relaunched the retro diver, they’ve been riffing on the theme with different colours, materials and levels of skeletonisation, which is a shame, not because there’s anything wrong with the flagship watch, but because it squeezes out some of the cooler, quirkier facets of the brand.

Indeed, while the Captain Cook was super successful in the 1960s, Rado’s history has been defined not by diving, but by sleek futurism and ceramic, the kind of pieces that still feel cutting-edge in design today. That’s especially true of the Ceramica from the 1990s, Rado’s first square, full ceramic watch – case, crown and bracelet all.

As far as I’m concerned, the Ceramica is a definitive ‘90s model and, while I wait with bated breath for some kind of reissue (if it worked for Hamilton’s PRX…), the next best thing is the model’s updated sibling, the True Square. Sure, the True Square’s perhaps a more traditional watch, with a bracelet narrower than the case, but it still has the same sleek, smooth, ceramic look – and the latest True Square Skeleton Blue amps up that funky futurism to a new level.

Rado love ceramic; it’s part of their DNA more than anyone save, perhaps, IWC. But this year they’ve been trying their hand at coloured ceramic, particularly blue. It’s something they leveraged previously on our cover-starring Captain Cook x England Cricket watch, which used a combination of blue and white. Personally, I prefer it here.

The smooth, rounded shoulders where the strap meets the case, the almost glossy sheen and the tactile bezel all look great in this specific shade of dark blue, less aesthetically plasticky than you sometimes get with something like white. It’s not the first time the True Square’s been released in coloured ceramic – as in, not white or black – as there have been both turquoise and peach versions in the past. But I would argue it’s the most wearable colour. It is very glossy, which I imagine would put some people off and while I’d prefer a matte finish if only to hide fingerprints, it does add to the True Square’s space-age sheen.

That ultra-modern look is emphasised by the dial too – or more accurately, lack thereof. Other than the two horizontal blue bridges dividing the open space into three, the entire movement is open. Rather than leave it as is, Rado has given the movement plenty of Côtes de Genève, making a feature of the visible metal.

Despite being technically a skeleton watch, there’s not actually many places you can see through the watch in its entirety, which I’m completely on board with. I’ve gone on (broken) record explaining that I wear a watch to hide my wrists, not stare at my arm hair, but I do like the intensely mechanical look of a clearly visible movement. This is the best of both worlds, especially when the metalwork you can see is tastefully finished.

Said movement is the R808, the same calibre as in the Captain Cook skeleton and pretty much any modern skeleton Rado. Said movement has a Nivachron hairspring for anti- magnetic properties and a power reserve of 80 hours which, given Rado’s a Swatch Group brand, we can assume that this is a Powermatic 80 by any other name, just much better finished.

Other than the colour, the most unusual thing about the new True Square is the collection’s first strap. The model always came on a bracelet before and for good reason, tracing its lineage as it does back to the Ceramica. It’s also a bit of a flex, as making a full ceramic bracelet isn’t as easy as it sounds, and it sounds pretty tough. Change is good though and the comfy, flexible rubber as an alternative to a full, polished bracelet makes the True Square immeasurably more wearable in a daily context. I’m not quite sure why it’s taken this long to make it a reality.

That wearability is the crux here. The True Square and the Ceramica before it have always been just the right edge of aesthetically cutting-edge, perennially new and shiny, and using ceramic for its looks perhaps more than the practicality other watchmakers love it for. But the combination of that flattering blue and the rubber strap pull back a little from that look, less futuristic, more forward- thinking and a lot more wearable – especially with this much horological tech at this price point.

Yes, there are a couple of issues. A mere 50m water resistance is less than I’d like for a daily wearer and I do find it a bit too glossy. But while it’s still not for everyone, it’s for many more potential collectors than ever before. Including me. At least, if they did a matte version.

More details at Rado.

Tag Heuer are the quintessential sports watch brand of the modern watch industry. From racers, to divers, to daily wearers, they’re the most in tune with what it means to be both stylish and ready for action (mostly racing). But when it comes to sporty style, Tag’s watches tend to lean in one of two directions. On one side you have the sleek, retro-slanted icons like the Carrera Glassbox and on the other side are the bold, almost industrial skeleton and openworked watches such as the Monaco GP edition. On a personal level I have always preferred the former over the latter. However, the new Tag Heuer Carrera Chronograph Tourbillon x Porsche Panamericana might just be the coolest openworked Tag Heuer watch to date.

We’ve talked many times about Tag Heuer and Porsche’s shared connection to the Carrera Panamericana, the legendary rally that takes racers through the extreme heat of Mexico. Both brands were independently inspired by the race, which is why we have both the Porsche Carrera and the Tag Heuer Carrera. This coincidence then led to the brands collaborating many times on watches like the Carrera Chronograph x Porsche 963. However, the Panamericana is actually more relevant than usual for their latest collab. That’s because the Carrera Chronograph Tourbillon x Porsche Panamericana has been released in celebration of the 70^th anniversary of Porsche winning their competitive category in the 1954 edition of the race.

Specifically, Porsche came first and second in the under 1,500cc sports car classification with the Porsche 550 Spyder, which also netted them third and fourth in the overall race. It’s these heritage cars that inform the design of the modern watch. The 550 Spyder’s Carrera Panamericana race livery was silver with yellow decals and so the watch has a silver display with yellow lacquered chronograph hands. Even more telling than the colours though is the fact that the openworked portions of the dial (Tag Heuer call it a skeleton dial but there is a subtle difference between the terms skeletonised and openworked and on balance I think openworked is a better definition here) are shaped like the 550 Spyder’s wheels.

The racing design elements don’t stop there. The two subdials at 3 and 9 o’clock, which display a 30-minute and 12-hour timer respectively, are black with silver flecks emulating the texture of asphalt. The 6 o’clock position that completes the tricompax display is occupied by the titular tourbillon – the visually impressive, rotating heart of the watch, which doubles as a running seconds indicator.

Zooming out from the dial, the Carrera Chronograph Tourbillon x Porsche Panamericana has a fairly typical chronograph case. It measures 42mm in diameter in steel with a combination of brushed and polished surfaces. The crown at 3 o’clock is flanked by two pushers for controlling the chronograph function. The only slight oddity is that it has no tachymeter and the internal, fixed bezel (or flange if you want to use specific terminology) has a 60-minute scale instead.

Powering the watch is the TH20-09 automatic tourbillon chronograph movement, which you can catch glimpses of through the open portions of the dial. It has a 65-hour power reserve supplied by a rotor shaped like a Porsche steering wheel – a design common to all their collabs. The movement also has a high degree of finishing with the Côtes de Genève being particularly prominent.

As for pricing and availability, the Tag Heuer Carrera Chronograph Tourbillon x Porsche Panamericana is limited to 255 pieces at £31,300. The number 255 comes from both the name of the 550 Spyder and the fact that the heritage car that took place in the Carrera Panamericana was number 55. In the introduction I made the bold claim that this is the coolest and best looking openworked Tag Heuer to date and I still agree with that at the end. I really like the combination of colours, the wheel-like shape of the openworking and the tourbillion, all of which come together to make the watch feel special. As a commemorative limited edition should be.

More details at Tag Heuer.

Pairing your wristwatch to your car has been a long tradition for collectors as the two interests often go hand in hand. However, at the very top end of both industries you find wristwatch and cars that have been designed as a pair. The most extreme example of which is probably the Rolls-Royce Boat Tail with custom Bovet but more recently are also collaborations such as the Jacob & Co. Bugatti Tourbillon and the Bugatti Tourbillon hyper car. Now, there’s this: the McLaren W1 hyper car and matching Richard Mille RM 65-01 McLaren W1.

Starting with an overview of the car, it’s a mighty beast. It’s powered by a twin-turbo V8 with hybrid drivetrain that outputs 1,258 bhp. The brakes, suspension and 8-speed transmission are all race quality, which combined with the carbon fibre chassis helps to make the W1 the fastest accelerating road-legal car McLaren have ever produced. Its styling is sleek and modern with the familiar orange and black bodywork of McLaren giving it a brooding, serious countenance.

Moving to the Richard Mille RM 65-01 McLaren W1, the aesthetic influence of the car is immediately evident. It measures 43.84mm x 49.94mm x 16.19mm in the classic Richard Mille tonneau shape, produced in high tech Carbon TPT with titanium accents. The use of carbon clearly reflects the materials used in the W1 car, on top of which the indented shape of the watch’s bezel is influenced by the compact, muscular shape of the car’s gullwing doors.

McLaren’s signature colours are represented across the watch’s skeletonised dial. The edge of the peripheral tachymeter, minute markers, split-seconds hand and chronograph 12-hour and 30-minute counters are a matching shade of orange. Meanwhile the chronograph’s second split-seconds hand, seconds scale and function selector are light blue. Contrasting with both of those colours, the hours, minutes and running seconds are bright yellow.

You may have noticed from the above complications that the RM 65-01 McLaren W1 is a split-seconds chronograph. What this means is that there are two central chronograph hands that are superimposed on top of each other. When you press the start pusher, both hands will begin moving simultaneously at the same speed. You can then stop the two hands independently allowing you to time two separate events that are occurring together. For example you could time individual laps within a longer race or you could time two competitors in a single race – useful for F1 when each team has two cars.

The movement controlling all this is the RMAC4, a hi-beat movement with a 5 Hz frequency and 60-hour power reserve. Having such a high frequency allows for a greater degree of accuracy for the split-seconds chronograph which is accurate down to 1/10^th of a second. The power reserve can also be topped up at a moment’s notice courtesy of a ‘rapid winding’ mode which is enabled with an orange quartz TPT pusher. You can view the movement through the skeletonised portions of the display and the sapphire exhibition caseback.

I have previously expressed that I prefer Richard Mille’s more understated designs, especially those in titanium, but if I was hard pressed to choose a carbon model, it would probably be this. I like how it builds on the standard RM 65-01 Split-Seconds by changing the shape of the dial and introducing McLaren’s signature colours. It feels like a fitting tribute to the brand and the W1. I can also imagine it strapped to Lando Norris’ wrist over a GP weekend. It’s priced at CHF 320,000 in a limited edition of 500 pieces.

More details at Richard Mille.

The Millesime collection has been a godsend for Raymond Weil. After nabbing itself a GPHG award with its debut appearance, the retro collection has expanded to encompass equally handsome chronographs and a solid number of colourways. It’s not hard to see why the watchmaker’s doubling down on it. And yet, that’s not all they’ve been doing.

You could argue that, despite being eclipsed by its younger, old-school sibling, the Freelancer is still very much Raymond Weil’s flagship. At the very least, it’s where they’ve consistently been doing more interesting things; the modern, frenetic, playful collection. And while most of the time I’d rather strap one of their new chronographs to my wrist, the latest Freelancer Skeleton has me almost converted.

Skeleton watches can be… divisive. I’m often not a huge fan of them, generally because they feel like they’re trying too hard to be cool, especially the ones that render everything in carbon fibre and cut away every conceivable part of the movement. I like to see a decent watch movement. The new Freelancer Skeleton – the Ref. 2783 to be precise – is a happy middle ground.

At 38mm across, it’s smaller than most similarly skeletonised watches. That alone makes it much more wearable and a feel a lot less like a haute horological try hard. Evidently smaller sizing is something Raymond Weil have taken to heart from the Millesime, and I’m here for it. It means that the overtly mechanical intensity on display is just that little bit less domineering.

The skeletonisation is tastefully done. The dial has been completely removed, of course, and the bridges have been skeletonised into a network of curving, anthracite supports. The rest of the movement however has been left relatively untouched. That means the various brass and steel components contrast fantastically with the dark bridges, with little pops of ruby bearings. It’s not what anyone would call colourful, but it’s certainly good-looking, especially with the additional finishing – a sunrayed mainplate and vertically brushed balance bridge – that Raymond Weil have added.

The movement is the RW1212, ostensibly an in-house calibre. Given it has a 41-hour power reserve, the same unusual number as the ubiquitous Seiko NH35 and 4R36, it’s hard to know if that’s a stretch or not, but there’s no denying it’s a good looking workhorse of a movement. That’s especially true of the brushed and skeletonised rotor.

Framed by a blue chapter ring, the frontside of the movement adds some structure to what would be the dial. It’s in a lovely medium blue, which is a safe default for this kind of thing, complete with the attached Raymond Weil lettering at 12 o’clock hanging like a signpost. Generally, I’d avoid mixing black and blue, but medium blue and anthracite? It walks the line and works, standing out enough from the intensely engineered backdrop to make it nice and readable. I much prefer it to the monochrome versions Raymond Weil’s shown off previously.

Indeed, it’s a rare skeletonised watch that you could call an everyday wearer, but the Freelancer 2783 fills that niche perfectly. Aside from the size, the five-link bracelet is comfortable enough for a full day on the wrist and thanks to the relatively long lugs, wears slightly larger than you’d expect from 38mm. Those lugs also give it punchier wrist presence, as does the large, cylindrical crown. To round off its go-anywhere, do-anything credentials, it has 100m water resistance, not enough to go diving but enough to beat back the elements. It’s much better made than anything you’d want to call a beater, but when push comes to shove, it feels like it can stand up more than your average daily wear and tear.

It feels good on the wrist, though I’m still not sure I can get used to seeing said wrist through the dial. Sure, it’s more obscured than on other skeleton watches, but it’s still a sticking point for me. That’s a personal compunction of course and if you love seeing the pure mechanics on display and don’t mind the backdrop then more power to you – this is a fantastic option.

So, onto the final element of the Freelancer Skeleton: price. Raymond Weil have gradually been upping their prices from where they were a few years back, but keeping the same value-for-money, and there’s a good amount of value on show here. That makes the £2,995 price tag not just acceptable but downright appealing. It sits in that sweet spot well under the other big players in the watchmaking field, but above your run-of-the-mill microbrands that live and die on headline-grabbing accessibility. It’s a respectable price tag sure, but one that still leaves you feeling like you’re getting a very good deal.

Am I full converted to skeleton watches? No, the Freelancer 2783 is still an outlier and one that, despite loving a lot about it, one I’m not sure I could bring myself to buy. But then I doubt many people would wear my gargantuan Seiko Tuna that I pretend I can pull off, so to each their own. The bottom line is, if you’re after a wellmade, everyday wearable skeleton watch, this is it.

More details at Raymond Weil.

Girard-Perregaux are one of the hardest brands to ascribe a generalised design philosophy to. Their horological stable contains the sporty Laureato, the retro Casquette, the cutting edge Neo series and the technical and highly skeletonised Three Bridges, all of which are vastly different in style. On top of that there’s the ultra-luxe La Esmerelda, which is relevant today because GP have released a new edition of the La Esmerlda called the ‘A Secret’ Eternity alongside a new Tourbillon with Three Flying Bridges for 2024.

Tourbillon with Three Flying Bridges 2024

This watch is a 2024 update to the 2021 original Tourbillon with Three Flying Bridges in rose gold. The updates to be found are very subtle, to the extent that they’re almost imperceptible unless someone points them out to you, which is why at first glance the two watches look virtually identical. They’re also focussed mainly on quality of life and wearer comfort.

Getting into it, the hour markers have been redesigned and the baton marker at 12 o’clock has been doubled up. The sapphire crystal glass and exhibition caseback have both been refined to give the box-style shape a touch more curve and offer a closer symmetry between the two. The crown is also larger and rounder, making it easier to use. The idea of being rounder is also seen in the smoother contours of the case as well as the shorter lugs and curvier case middle.

There are also a few updates that are mostly aesthetic and visual rather than altering the physicality of the piece. For one, the central hands now have a satin brushed finish and they feature more Super-LumiNova for low-light legibility. They’re small changes but ones that you’ll come to appreciate if you own the watch.

Beyond these updates, it’s the same Tourbillon with Three Flying Bridges as we have known it over the last few years. It has a 44mm gold case housing the GP09400-1273 automatic movement with white gold rotor. It has a 60-hour power reserve and is equipped with hours, minutes, seconds by way of a tourbillon, all mounted on the titular three bridges that span the void of the watch’s display.

It has a price tag of £146,000, which is a bit higher than the 2021 edition’s original price of £121,000. But frankly (and I will admit to not doing the maths) that seems like it’s not too far off the rate of inflation, especially as gold has been hit particularly hard in the last few years.

La Esmerelda ‘A Secret’ Eternity Edition

Proving that Girard-Perregaux really are fascinated with the year 2021, their second release at Geneva Watch Days is another update to a 2021 original. It’s the La Esmerelda Eternity redressed as the new La Esmerelda ‘A Secret’ Eternity in honey gold. Essentially the blue decorations of the original are now presented in a rich honey gold tone.

That includes the rose engine turned guilloché dial coated with grand feu enamel. The same is true of the champlevé enamel flanks on the side of the 43mm diameter case. The intricate engraving and horse motifs are inspired by a heritage pocket watch from 1889, which also means 2024 is the 135^th anniversary of that original timepiece. According to Girard-Perregaux, it’s the meaning of the horse motif that constitutes the watch’s hidden secret.

It’s the pocket watch heritage that inspires the La Esmerelda ‘A Secret’ to have a hunter style caseback, which is a style of back that has a cover that can be opened to reveal an exhibition window. Traditionally this was so that a watch could have a solid, protective caseback for vigorous activity while allowing you to admire the movement when in more polite surroundings. Here though, the delicate decoration and enamelling of the three-horse cover means neither is particularly suited to harsh treatment.

The movement inside is the GP09600-2083, which is essentially a non-skeletonised version of the Tourbillon with Three Bridges. Although the specs are notably different with only a 50-hour power reserve compared to the 60-hours of the standard edition above. But that can be excused considering the insane level of finishing on display here.

As you might expect, the price is a fair bit more extreme too with a ticket of £381,000. It’s available in a limited edition of 18 pieces, making it exceptionally exclusive to boot, if the price wasn’t already enough to make that the case.

More details at Girard-Perregaux.

Ever since the M.A.D 1 debuted back in 2021, it’s been one of the biggest independent success stories in accessible watchmaking, a watch that channels the mechanical art ethos of MB&F’s sister gallery into a signature, front-facing turbine design. And over the last three years it’s only gotten more colourful, with the latest in collaboration with designer Jean-Charles de Castelbajac the most playful yet. Bottom line, it’s cool and we love it. But even something as cool as the M.A.D 1 can be improved – case in point, the MB&F M.A.D.1S.

Coinciding with the start of Geneva Watch Days this week, the MB&F M.A.D.1S is a welcome evolution of the initial design. That S makes a difference in two different ways. Firstly, the M.A.D.1S is slimmer and more streamlined than the original. It still has that same kinetic impact, the unobstructed view of the front-facing rotor, but does so in a bit more of a wearable size. Specifically, it goes from 18.8mm thick to 15mm, a substantial drop. I imagine that’s a godsend for the collectors that have told me that it was the thickness putting them off.

The reason for that downsize is twofold. First, it has a single cylinder display rather than the M.A.D 1’s dual cylinders (one for seconds, one for minutes). The second reason ties into the more important reason for the S: the M.A.D 1’s first Swiss movement. For a brand like MB&F, that seems incredibly strange. This is one of the most intense haute horology workshops around, with some downright insane models on their books. Why weren’t they using Swiss all along?

The simple answer is because there wasn’t one that worked. The initial brief of the M.A.D 1 was to remain accessible, while offering an incredibly fast spin speed to create that movement on the dial. To get that spin, the rotor needed to be unidirectional; the bidirectionality of most rotors, designed for more efficient winding, actually slow that spin down. And 3 years ago, there was no Swiss movement in that price range that worked.

Now, the third party, microbrand favourites at La Joux Perret have stepped up to the plate with the G101, a twist on the famous G100 that beats at 28,800 bph (4hz) and offers a substantial 68-hour power reserve. LPJ consistently seem like they’re on the up and this is just more proof. The fact that it’s led to a slimmer, more wearable profile is just the icing on the cake.

To suit the slimmer profile, the MB&F M.A.D.1S lugs have been redesigned and the signature rotor has been revamped a little to offer a clearer view of the movement. Otherwise, it’s the watch we know and are mildly obsessed by, in two sleek variations.

The first is for friends of the brand – owners and suppliers – and will certainly stand out in what I now consider MB&F purple (a gorgeous royal colour). For the rest of us, there’s a slightly more subtle ice blue version. Either way, getting hold of one is going to be easier said than done – and to keep things fair, MB&F are running a raffle, opening at Geneva Watch Days. If you want one, that’s your best shot, so keep an eye on MB&F’s website. And if I see anyone flipping one for tens of thousands, I will find you.

More details at MB&F.

Louis Cartel Charlemagne II Titanium Black

Europe has one of the most diverse and competitive microbrand and independent watch design scenes in the world. Making a name for yourself is no easy feat. However, despite facing many challenges, Louis Cartel have risen as one of the fastest growing European watch brands in the last two years, founded in Paris in 2022. Following sell-out first and second collections they’re back with their latest offerings in updated colours and styles.

One of the stand-out watches from Louis Cartel’s early collections was the Charlemagne I, which became the brand’s signature model. So, it’s no surprise to see a follow-up in the form of the Charlemagne II. It’s a tonneau timepiece that measures 40mm in diameter with a thickness of 15mm, giving it the same bold and urban aesthetic favoured by hyper luxury brands like Bianchet and Richard Mille at a drastically more accessible price point.

Louis Cartel Charlemagne II Rose Gold

Its steel case is available in a handful of coloured coatings including rose gold and titanium black. Compared to the Charlemagne I, the biggest visual update comes on the dial. It’s still modern and openworked but the Charlemagne II has big Arabic numerals at 12, 3, 6 and 9 o’clock. As a result, the level of openworking is much more intricate and architectural, revealing the Miyota 8N24 with 42-hour power reserve housed inside.

Louis Cartel Suvari Forest Green/Navy

Second in the new collection is a new edition of the Suvari. It’s a quartz timepiece that pays tribute to the legendary works of designers like Gerald Genta. A broad octagonal bezel sits atop a 41mm steel case with integrated steel bracelet. The new selection introduces forest green and navy blue dials, which are much more intense and vibrant than the original ice blue, black, gold and olive green versions.

Louis Cartel Tinera De Louis Cartel Midnight

Last up is a quartet of new Tinera De Louis Cartel references. Similar to the Suvari, these are integrated bracelet sports watches with quartz movements. The shape though is a cushion case design instead of an octagon and it’s also much wider at a diameter of 43mm. As for colour, there’s a blue, red and black, called the CEO, Cherry and Midnight respectively. The fourth watch in the collection is called Royal Blue with a blue dial and rose gold PVD case.

With such confident style available for £196-£247 depending on the model, it’s little surprise that Louis Cartel rank in the top 10 fastest-growing watch brands in Europe. The Charlemagne II in particular shows great promise in terms of being an accessible mechanical timepiece with room to help Louis Cartel develop their individual style further, something which is important for all young brands finding their place in the industry.

More details at Louis Cartel.

What is the most influential watch model introduced in this decade? By which I mean a family or sub-family of watches that did not exist prior to 2020 but that has become an industry and collector staple. There are two that come to mind. First is the Rolex 1908 because how can it not be. Second is the Zenith Defy Skyline, a sub-collection of the Defy range that helped to define the integrated bracelet sports watch trend of 2020-2023. I got hands-on with the new Zenith Defy Skyline Skeleton White Ceramic learn more about where the series is heading.

Strapping on the white ceramic watch it’s impossible not to be drawn to talk about the material first. The irregular octagonal case, the dodecagon bezel and H-link bracelet are all made from ceramic with a brushed surface in pristine white – as bold and brash as they come. The watch body has some weight to it, the bracelet feels very light which leads to some complaints that the watch feels too much like a toy. However, as someone who owned a white plastic Swatch with a union jack dial when I was 11 because I thought it was cool (forgive me), I can tell you that this is a very different beast.

Measuring 41mm in diameter with a height of roughly 13mm, it’s large without being unwieldy. The flat, facetted surfaces make it feel broad, as does the oversize crown that hints at Zenith’s aviation roots. On the wrist it has undeniable presence but at the same time it’s not particularly difficult to slip under a cuff if needed. Plus, the ceramic and sapphire caseback is completely flat, making it smooth against the skin and very comfortable.

Focussing in on the dial, it’s as bold as the case its housed in. A blue open-worked number skeletonised into the shape of a four-point star. I’ve seen a lot of Skyline Skeletons online but this is my first time seeing one in the metal and I have to say, it’s a lot cooler in person. Online images really do not do justice to the depth and layering of the mechanisms on display. Plus, the blue colour really responds well to different lighting conditions, ranging from almost black to bright sapphire blue.

However, the highlight of the display is the small seconds subdial at 6 o’clock. It’s a 1/10^th of a second indicator, meaning that the hand rotates once every 10 seconds as opposed to once every 60, giving it a dynamic and energetic appearance. It’s powered by the calibre El Primero 3620 SK, which is the first movement in the world with a 1/10^th running seconds display. It also operates at a high 5 Hz frequency with a power reserve of 55-hours.

Is the Zenith Defy Skyline Skeleton White Ceramic a watch for everyone? Definitely not. The bold aesthetic is definitely an acquired taste and it will only suit people with the charisma and character to pull it off. Plus, the £15,800 price tag is quite a significant barrier to entry. However, I’d also say that this is not a watch to dismiss outright at first glance, spending time with it really reveals that it’s quite a stunner.

More details at Zenith.

The Audemars Piguet Royal Oak Double Balance Wheel Openworked was somewhat revolutionary when it was first released in 2016. It was the first openworked double balance wheel movement in the world, instantly earning it a place as a core member of the Royal Oak collection ever since. Now, AP are introducing three new Royal Oak Double Balance Wheel Openworked references for 2024, exploring new and contrasting materials.

First, and the simplest of the new references, is the 15407BA.OO.1220BA.01 (come on AP, give us nicer reference numbers to work with). It’s a yellow gold edition measuring 41mm in diameter with the classic octagonal shape. That’s paired with an anthracite grey openworked dial showcasing the double balance wheel movement, calibre 3132. It’s effectively a non-diamond bezel version of the existing rainbow bezel edition. Ultimately meaning it’s a little less flash and ostentatious (as far a full gold watch can be) putting the emphasis on the haute horological movement.

Second up is ref. 15407ST.OO.1220ST.02, which is arguably the most important release out of the three. It’s a 41mm stainless steel edition with an openworked movement presented in rose gold. It’s the first time that the double balance wheel has featured a golden skeleton dial and it looks spectacular. It reminds me of the recent Breguet Classique Double Tourbillon, another golden skeleton. I really like that this precious metal dial is presented in a steel case as it prevents it from becoming too ostentatious and is also the traditional material for the Genta designed integrated bracelet sports watch.

The last of the trio is reference 15416CE.OO.1225CE.02, which has the same rose gold dial as the steel model above. However, instead of steel the case is made from black ceramic giving it a more contemporary aesthetic. It also highlights the fact the visible screws are made from gold, which is also true of the steel model.

Zooming out from the specific Royal Oak Double Balance Wheel Openworked references for a moment, they are all stunning piece of haute horology. The calibre 3132 dates back to the original launch in 2016 and has a 45-hour power reserve. The highlight is undoubtedly the titular double balance wheel, which features two hairsprings on the same axis and that oscillate in synchrony in order to improve precision and stability.

The steel model is priced at CHF 66,500 while the gold and ceramic models are CHF 88,000 (approx. £58,200/£77,000). These are not exactly the most novel of Audemars Piguet releases, especially in a year that has seen timepieces like the [RE]Master02, but they’re solid additions to the range nonetheless. More colour and material choices are always welcome for consumers, even if those consumers are elite collectors.

More details at Audemars Piguet.

It’s everyone’s favourite piece of watchmaking trivia that the tourbillon was invented by Abraham Louis Breguet (today, June 26^th, is the anniversary of the original patent). So it makes sense that of any brand in the world, it is Breguet who are determined to continue innovating and exploring this incredibly visual and striking complication. For 2024 they’ve released a new edition of the Classique Double Tourbillon in rose gold, dubbed the Breguet Classique Double Tourbillon “Quai de l’Horloge” 5345.

Out of the starting blocks, since we’re talking about Breguet’s tourbillon heritage, let’s briefly discuss what a tourbillon is. In simple terms, a tourbillon is a rotating cage that houses a watch’s balance wheel, balance spring and escapement – the parts of a watch known as the regulating organ and that transmit energy from the power reserve through to the hands in order to make them move. Breguet found that in pocket watches that are held in the same orientation all day, rotating the regulating organ constantly reduces the negative effects of gravity on the movement, making for a more accurate timepiece.

What then is the purpose of a double tourbillon, such as the Classique Double Tourbillon “Quai de l’Horloge” 5345? Well, both of the tourbillons have completely independent gear trains and power barrels, meaning they are powered and operate separate from each other. However, they are connected by a central differential meaning they work in tandem to regulate the rate of the watch – averaging out any inconsistencies and potential errors between the two. The result of which is an even higher degree of accuracy.

While that’s cool and all, even more striking is the fact that the hour hand is fixed in place on the bridge. Which may seem like an odd decision – normally an hour hand must be free to rotate independent from the bridge and movement. After all, if it is fixed in place then what use is it in telling the time? Well, the solution lies in the fact that the twin tourbillons are also attached to a third gear train which uses their power to rotate the entire mainplate of the movement 360 degrees every 12-hours. So, the fixed hour hand does in fact rotate at the appropriate speed to tell the time, it’s just that the rest of the movement moves with it. It makes for a dancing ballet with the tourbillons spiralling around the display.

All this is true of the previous platinum edition of the Classique Double Tourbillon too. Where the new edition of the Classique Double Tourbillon “Quai de l’Horloge 5345 differs is that the 46mm x 16.8mm case, the guilloché rotating mainplate and B initials over the power barrels are presented in 18k rose gold. It makes for a lustrous and gloriously opulent aesthetic. A grand ballroom of a case in which the tourbillons’ ballet plays out.

In terms of specifications, the movement itself is the 588N2 and it is stunning. It’s comprised of 740 components, each immaculately finished, and has a power reserve of 60-hours despite the power intensive double tourbillon and carousel style display – thanks largely to the twin barrel system. It’s protected by a solid caseback featuring an engraving of Breguet’s original workshop at Quai de l’Horloge, with each caseback taking 100 hours to painstakingly engrave by hand.

As to the price, well, I can tell you off the bat that the Breguet Classique Double Tourbillon “Quai de l’Horloge” 5345 will not be making it onto any ‘top 10 accessible watches’ articles any time soon… or ever. It will set you back £689,300. Not a watch that many people will ever own then, but certainly one to admire from afar.

More details at Breguet.

The connection between is a strong one, bolstered by many collaborative wristwatches like last year’s Carrera Chronosprint x Porsche. Plus there’s the fact that both brands use the name “Carrera” in their products, a happy coincidence created by a joint interest in the Carrera Panamericana motor race. Their latest collaboration is the new Tag Heuer Carrera Chronograph x Porsche 963.

If you can’t conjure an image of the Porsche 963 to mind alongside the catalogue of 911 references you’ve memorised, that’s probably because it’s their cutting edge hybrid race car. It’s a vehicle designed to compete at Le Mans, another race that has an important place in the heritage of both Porsche and Tag Heuer.

In keeping with the high tech design of the car, the Tag Heuer Carrera Chronograph x Porsche 963 leans towards being a hyper modern design rather than something vintage like the Glassbox.

It measures 44mm in diameter and is made from steel with black DLC coated pushers and crown. The tachymeter bezel is made from carbon fibre, a material commonly used in high performance sports cars. The flanks of the case bear the inscription “Porsche” picked out against a black PVD surface. We’ve got all the different surface treatments going on with this watch.

The dial is a skeletonised, tricompax chronograph display with a 12-hour timer, 30-minute timer and small seconds in addition to central hours, minutes and chronograph seconds. The format of the subdials are designed to look like the instruments in a racer and the skeletonisation is evocative of the 963’s roll cage and internal structure. It feels dynamic, modern and sporty.

Glimpsed through the dial and visible though the exhibition caseback is the calibre TH20-00. An automatic column wheel chronograph movement with an 80-hour power reserve, which is enough to see it through the 24-hours of Le Mans almost three and a half times. For the Carrera Chronograph x Porsche 963 special edition it also has a custom red column wheel.

I must say I prefer my Carrera Chronographs on the retro side, but if sporty, modern aesthetics are more your speed, then the Tag Heuer Carrera Chronograph x Porsche 963 is ideal. It’s priced at £8,050, which makes sense for the advanced materials and skeletonised design. As well as the fact it’s a limited edition of 963 pieces.

More details at Tag Heuer.

Image credit: Gustavo Kuri

To my mind, Chopard are in the same category of watchmakers as brands like Laurent Ferrier – rarely the first brand to come up in conversation but always spoken of with fondness when they are. Talking about sports watches? The Alpine Eagle is robust and stylish. Talking about chronographs?

The Mille Miglia is up there. Talking about haute horology? The L.U.C Full Strike won the Aiguille d’Or at the 2017 Grand Prix d’Horlogerie de Genève for its innovative minute repeater mechanism. The Full Strike is back on our radars in 2024 because at Watches & Wonders Chopard released an updated version with a verdigris dial and ceramicised titanium case, fittingly called the Chopard L.U.C Full Strike Titanium.

There have been several editions of the Full Strike already in gold, platinum, steel and sapphire, but this is the first to be presented in ceramicised titanium. Ceramicised titanium is a type of titanium that has had its surface oxidised using electro-plasma technology, giving it ceramic-like properties. Specifically, it has a dark grey colouration and an increased hardness rating while retaining the useful traits of titanium such as being lightweight and strong.

Macro image credit: Gustavo Kuri

Its use in the Chopard L.U.C Full Strike Titanium, which measures 42.5mm in diameter, gives the case a relatively subtle appearance without the ostentation of some of the previous materials used. Chopard have used this relative subtlety to full effect by giving the watch a much more adventurous dial. It features a verdigris green colour with a frosted finish in the centre, very far from traditional dress watch aesthetic codes.

The result is almost sporty in its execution, especially because the Roman numerals have been replaced with pointed indexes which, along with the open-worked minute repeater hammers, central hands and power reserve indicator, have been given a PVD coating the same colour as the case.

Image credit: Gustavo Kuri

That brings us to the minute repeater complication itself, which is the true focus of the timepiece. It’s part of the calibre L.U.C 08.01-L, a movement with four patented mechanisms integrated into it. Those include elements such as the fact the chiming gongs and sapphire crystal are made from a monobloc piece of sapphire, meaning the entire top surface of the watch functions as the minute repeater’s resonator, creating an incredibly clear sound. Other innovations include a dedicated barrel powering the chiming complication and multiple safety features that protect the repeater when at low power and during activation.

Interestingly, the Chopard L.U.C Full Strike Titanium isn’t the only haute horological timepiece to receive a makeover in green this spring because Jaeger-LeCoultre just announced a green enamel edition of the Grande Tradition Calibre 948 World-Timer. Green was very popular in 2022, is it making a comeback? With the proliferation of sage green, mint and now verdigris… maybe.

More details at Chopard.