Loupe. Issue 38. Autumn 2025.

Every mechanical watch has a balance wheel, but not all balance wheels are created equal. The C12 Loco’s ‘free sprung’ balance wheel (and hairspring) isn’t merely a part of the watch. It’s the star. Placed below the time-telling dial, on the artfully coloured and stepped platine, its mesmeric oscillations are driven by a new in-house movement – Calibre CW-003, whose handwound, hand- nished architecture delivers a six-day power reserve and chronometric accuracy. And because we want to tell the story of how we got here – and because we’re a little loco ourselves – we’ve made a feature-length documentary about it. Just make sure you’re sitting down when the price is revealed. Scan the QR code for the full picture.

Do your research

Loupe.

The magazine of Christopher Ward.

The Twelve 660 embodies horological minimalism. So when we planned Loupe issue 38, minimalism was the core focus.

Aside from Matt Bielby’s feature on The Twelve 660, you’ll also nd an easy-on-theeye photo story about the juxtaposition between brutalist architecture and plant life.

Meanwhile, our arts and culture section, O-pinion, stays with the theme thanks to a love letter to London’s Isokon building – an icon of 1930s modernism.

Ken Kessler, perhaps the most opinionated man in watch journalism, looks at the quest to make the thinnest watch in the world, while Laura McCreddie-Doak asks some dicult questions about the pricing and value of watches in her regular column. A topic close to CW’s heart!

Enjoy the issue!

Editor: Anthony Teasdale

Art Director: Jamie Gallagher

Designer: Sam Burn

Photography: George Simms

Spread the Ward

The worlds of watches and sport were linked well before LVMH paid £1 billion to secure F1 rights for its TAG Heuer brand.

We know many of you love sport, which is why you may have seen the Christopher Ward name popping up at Everton F.C. games, Gallagher Rugby Premiership matches and at Wimbledon on the shirt-sleeves of players.

And as you’ll read on page seven, we’re about to partner with Red Bull and their athlete, Sam Sunderland, as he attempts to become the fastest person to circumnavigate the globe on a motorcycle!

With timing and sport having universality in common, it’s not di cult to understand why we like to ‘spread the Ward’ via elite sport.

For us, however, the challenger spirit feeds who we support: which is why we like to get involved with those who take on the big hitters. David is always more fun to support than Goliath – and we do like to have fun at CW Towers.

Mike & Peter

Latest news from Christopher Ward and the wider world of watches

Northern star!

Christopher Ward has begun a new chapter in its sponsorship of Everton Football Club with the opening of 53° North, a premium dining space and showroom at Hill Dickinson stadium on the banks of the River Mersey in north Liverpool.

Located in the ‘Dock on 1’ socialising area, 53° North will provide dining for 32 people on match days, with food by chef Adam Bateman. The menu will feature locally sourced ingredients from the northwest and north Wales, and CW will host four invite-only seats every game.

Away from matchdays, 53° North will be Christopher Ward’s rst showroom in the north of England. Inspired by the showrooms in Maidenhead and Dallas, the

aesthetic is described as ‘understated premium’ – with a non-formal, welcoming feel. There’ll also be artwork inspired by horology, Liverpool’s industrial and dock heritage, and the history of Everton.

Sarah Baumann, CW’s chief operating o cer, says: “This is a milestone for Christopher Ward and our long-term relationship with Everton. Aside from the luxury dining element on matchdays, the most exciting thing is being able to o er customers outside the south-east the chance to try on our watches in the metal.”

The new showroom will be open by September, and you’ll be able to book your spot via the website.

Show time!

Christopher Ward to open new showroom in North Virginia

Christopher Ward’s presence in the USA will be given a boost by the upcoming opening of a new showroom in Northern Virginia. Scheduled to launch in the autumn, the new showroom joins the rst in Frisco, North Dallas.

COO of Christopher Ward, Sarah Baumann, says: “As our community in North America grows, there’s a lot of demand to get hands-on with our watches.

While our team love meeting everyone at events, the new showroom means we can give people around the east coast the chance try our timepieces under the expert guidance of our sta .”

The Dallas showroom has been a huge success, acting not just as a place to buy watches, but also as a clubhouse of sorts for watch enthusiasts to meet and discuss their favourite pieces.

“We hope that Christopher Ward Virginia will follow in the footsteps of Dallas and make its mark in the local watch community,” says Sarah. “It won’t just be appointments – there will be all sorts of events taking place and special editions to buy, too. And of course, it wouldn’t be very Christopher Ward to stop there. Watch this space!”

CW’s Red Bull ride!

Christopher Ward partners with UK biker Sam Sunderland as he takes on the ride of a lifetime

This September, two-time Dakar Rally winner and Red Bull athlete Sam Sunderland will attempt to become the fastest person to circumnavigate the globe on a motorcycle – with Christopher Ward as the O cial Timing Partner.

Over 19 punishing days, Sam will ride through more than 15 countries across ve continents, covering at least 24,900 miles in total – and 18,000 miles on the same bike – all while averaging around 1,000 miles per day.

To break the world record, Sam, riding a Triumph 1200 GT Explorer, must complete the journey quicker than 19 days, 8 hours and 25 minutes, which was set in 2002 by Kevin and Julia Sanders.

“Our company has always supported underdogs through the Challenger programme,” says Christopher Ward co-founder Peter Ellis. “To provide timekeeping services for someone like Sam is an honour – and we can’t wait to see what he’ll achieve, especially as he’ll be wearing one of our watches!”

Sher genius!

Meet the man behind a new kids-only watch company

When watch-lover Darren Sher became worried that children were losing the ability to tell the time via an analogue dial, he decided to do something about it: start his own watch company aimed at kids. Here, he tells Loupe how Sher Watches came about.

Hi Darren! Where did the idea for the Sher Kids Watch come from?

As a child, I struggled to read analogue watches due to dyslexia, so stuck with digital. Years later, I developed a love of watches, but even now, it takes me longer to read an analogue dial. When I noticed my kids facing the same issue, I wanted to create a ‘proper’ watch that made time-telling easier.

What was your son Harrison’s role in the project?

He was central to it! I’d design a dial, show it to him and see if he could read it quickly. His honest feedback helped us iterate until we found a design that worked – and looked great. Once we nailed the dial design, the next step was building the structure of the watch. I wanted to create something that had the same quality I’d expect in an adult timepiece.

What makes the design di erent?

We focused on clarity – which isn’t easy with a 32mm case. There’s a large dial, skeletonised hands and full lume so it glows in the dark – plus we don’t have a bezel. The case is stainless steel, the crystal is sapphire, and water resistance is 100m. It’s built tough, just like an adult’s watch.

Why should children wear watches?

In a world of screens, a watch is a small piece of independence. Schools are banning phones, so kids need something reliable. Sher is designed to help them learn and feel grown-up while doing it.

How did you get it manufactured?

Through the watch community. I’d invested in a microbrand whose founder introduced me to a trusted factory. After 12 months and multiple prototypes, we had a watch that met our standards.

Has it been a success?

Absolutely. With no marketing, we hit over 100 orders in weeks. Parents are sharing photos, and we’ve shipped worldwide, mainly to the UK and US. It’s been so rewarding to see parents sharing videos and photos of their kids proudly wearing their Sher watch, and even better, telling the time with con dence for the rst time.

What’s next for Sher?

We’re expanding into adult watches, starting with a limited-edition collaboration via That Watch Podcast which I co-host.

sherwatch.com

The launch of The C12 Loco has been Christopher Ward’s most high-pro le since the C1 Bel Canto in 2022. And the reaction from from journalists, social media channels and YouTube vloggers has been every bit as positive.

GQ said: “If this sort of feature-laden watch is possible for under $5K, it begs the question as to what else Christopher Ward can concoct. But we don’t have to look into the future to consider that Christopher Ward might just be the best bang-for-yourbuck in watches in the world right now.”

UK watchmaking “up by 65%” Watch press goes loco for Loco!

A survey by the Alliance of British Watch and Clock Makers has revealed that the sector has grown by 65 percent since 2021: from £125mn to £206mn ($257mn) in revenue for the year ending April 2024.

“The aim of our rst Bellwether survey in 2021 was to establish a baseline that proved watch and clockmaking exists as a distinct sector of the UK economy,” says Alistair Audsley, CEO of the Alliance, the industry body for British horology.

The study identi ed over 140 existing companies across the British Isles with a proliferation of new entrants in the decade since 2015, accounting for 67 percent of currently operating businesses.

Christopher Ward CEO Mike France is a co-founder of the Alliance. He says: “While such huge percentage increases can be characteristic of businesses in early-stage growth, the British horological sector demonstrates a genuine ability to compete and expand.”

Alliance co-founder and master watchmaker, Roger W. Smith, says: “It’s incredible to see how many new British start-up brands are coming into the sector. However, it’s essential for British horology to attract enough skilled individuals to sustain this growth, which is why one of our aims is to collaborate with UK educators to nurture talent and open up opportunities.”

YouTuber Britt Pearce said she ”genuinely love(s) this watch. I’m so impressed by how audacious and risky this was, and they nailed it.” Meanwhile, Hodinkee said: “It’s hard to understate the appeal when you factor for a price point that actively undercuts much of the comparisons (competition or otherwise).”

Finally, another YouTuber, Mad Watch Collector, said: “Does this show the huge stature Christopher Ward now has in the watch market? You’ve gotta say yes. There aren’t many brands out there, where you can buy a three-hander eld watch for well under £1,000 and then buy something haute horlogerie for £3,700.”

Tailored for you

Interested in creating a watch for you and the most important people in your life? Meet Peter France, manager of Christopher Ward’s Bespoke department

Loupe: Hi Peter! For people who don’t know, what is Bespoke?

Peter France: Bespoke is Christopher Ward’s programme for groups and organisations to create a watch that’s entirely their own. We take one of our base models and help you tell your story through it –whether that’s an emblem, motto, date or design.

What base watches are available?

PF: All our platforms are available, though di erent models allow for di erent levels of customisation. Our most popular options are the Trident and Sealander (both Automatic and GMT). We’ve also designed Bespoke watches using our GPHG award-winning Bel Canto, and there’s a Bespoke C12 Loco already in the works, too!

What’s the minimum order?

PF: Twenty- ve pieces. This is because costs spiral when producing fewer than this number – and just like in our standard collections, we aim to deliver the best

value bespoke watches on the market. It’s why more and more military units, clubs of every type and even some of the world’s largest companies are beating a path to the CW Bespoke door.

I’m not a watch designer. Can you help?

PF: Absolutely! I’ll arrange a call, listen to your story and understand what makes your group special. From there, I’ll brief our design team and within 10 working days, we’ll provide visual renders. Typically, we go through around six design iterations before nal approval.

How long does the process take?

PF: Design usually takes two months. Once we’ve completed pre-orders and locked in the quantity, production takes around six to eight months, depending on complexity.

Do I need to come to your o ces?

PF: Not at all. The whole process can be done virtually, wherever you are in the world.

How much can I customise?

PF: Lots! Think custom dials, second-hand colours, lumed numerals, laser-etched casebacks, custom date wheels, bespoke engraving (with 25 characters free), personalised boxes, limited edition numbers, and a variety of straps – all designed to re ect both your organisation and the individuals in it.

Who have you worked with?

PF: Everyone from the military, government agencies (including some we can’t name), emergency services, and corporate teams at Google and Amazon. Our biggest single order? 410 watches. But I can’t tell you who it was – they ‘live in the shadows’!

And your favourite Bespoke project?

PF: The ones that really mean something. Some have been in memory of friends or fallen comrades – those watches always stay with me.

For more, visit: christopherward.com/bespoke-watches

Things to come

Over the last couple of years, Christopher Ward has produced what Bark & Jack founder, Adrian Barker has called “avant-garde horlogerie”, The C12 Loco and C1 Bel Canto.

But our designers love nothing more than a new challenge, so when the idea of creating an ultra-tough version of one of most popular everyday watches came up, they leapt at the chance.

“We were asked to design a rugged, highly legible watch that can be used in all scenarios – day or night,” says designer Matthew Sweatman. “The result is a watch that places visibility front and centre, so it’s on the larger side, which will make some people very happy. Especially when they see the amount of lume involved.”

Release: 2025

The watch has a distinctly militaristic edge, with an understated brushed nish and screw-down case back deep stamped with a yet-to-be-revealed design. The view is that the watch will appeal to armed service groups, who’ll also be able to put their own spin on it via our Bespoke department.

The nal surprise is the strap. “As this is a watch that’s built to withstand whatever the outdoors can throw at it, we decided to create a tough strap with a fastening that we’ve never used before,” says Matt. “We’re con dent our customers are going to love it!”

660

Meet The Twelve 660, a subtle remix of the Twelve that delivers a 6.6mm case, a slimmer integrated bracelet and a dial that’s the last word in understated sophistication

Words: Matt Bielby

There’s something irresistible about a super-thin watch. Something that demonstrates the uniquely human desire to improve, to re ne and to nesse. Not because it’s easy but because with hard work and perseverance, it might be possible. And because not doing so is the abandonment of the principles that guide you.

This philosophy is behind the new Twelve 660.

Is it a dress watch? A sports watch? Perhaps the 660 is both. Despite its diminutive vital statistics, and elegant, pared-back dial, it manages to look solid and substantial: thank the hewn-froma-single-piece e ect of the integrated bracelet, or the wide, at bezel, bringing just the right amount of visual heft.

The idea of a dress watch you can wear every day, or a sports watch that adores black tie, may not make sense to you. But if it sounds intriguing, and you share Christopher Ward’s desire for continuous improvement, then this watch is for you.

First, a bit of context. The watch industry enjoys periodic arms races, but the quest for ‘slim’ is one of the liveliest. In the ‘classic’ era of the mid 20th century, this was a way to show o your technical prowess. More recently, it’s become a bizarre charge towards nothingness, where the more money you’re willing to spend, the more remarkable (and occasionally ridiculous) the results.

Indeed, in recent years a number of high-end, low-production pieces have been chipping away at the 2mm (and $500,000+) barriers, though at a cost: case backs serve as baseplates, and traditional winding crowns are verboten

“Really thin watches are impressive,” says Mike France, Christopher Ward’s co-founder and CEO. “But there comes a time when you start to wonder, ‘What’s the point?’ Wearability is terrible and elegance is lost.”

The Twelve 660 – the name comes from its ultra-sleek pro le – is a very di erent beast. Its 6.6mm height, slim, but not enough to feel fragile, puts it in the same ballpark as gorgeous options from the likes of Patek Philippe. Sure, these are watches that cost more than most cars, but the re ned appeal they share is undeniable.

How slim is it? “It’s 3.35mm thinner than the regular Twelve 38mm,” says design director Adrian Buchmann. “This means it isn’t quite the skinniest Christopher Ward ever – that’s the C5 Malvern 595 of 2018, just 5.95mm thick. But it’s close, while being a more considered and visually intriguing piece all round.”

Yes, CW could have made the 660 sleeker by dumping the applied indices, and the glass-box crystals, and by opting for a single-piece case – but to do so would have meant abandoning the distinctive architecture of The Twelve. “Instead, we’ve created a slim watch that has a lot of depth to it,” says Adrian. “Wearability is maximised – and you gain a fascinating versatility, too.”

Hence the ongoing debate over whether this is a dress watch or a sports watch.

“For me, it’s a modern dress watch, as the increasing popularity of integrated bracelet pieces has broken down old barriers,” says Mike. “The classic 1950s dress watch doesn’t exist any more; and the idea that a rubber strap de nes something as a dive watch is also outdated. The Twelve 660 incorporates elements of both in a way that would have made no sense 40 years ago, but does so today – and becomes an important go-anywhere, do-anything piece for men and women alike. Understated and lightweight, it’s for daily life – but more than happy to dress up for Oscar night, too.”

“The more you remove, the clearer the shape becomes”

“It’s 3.35mm thinner than the 38mm Twelve”

We do

this, not because it’s easy, but because it might be possible

The Twelve is one of Christopher Ward’s fastest evolving lines. The mainstream steel versions launched a couple of years ago; followed by the titanium (Ti) iteration; and high-end pieces that share the architecture, like The C12 Loco. What else could be done with it?

A slimmer, minimalist version that stripped away anything that could be considered excessive: a watch that re ned proportions and rethought details; and that maximised comfort, too. (No easy task, since The Twelve is already ultra-wearable).

At rst glance, the dial is the de nition of simple. The subtly grained surface is ringed by brushed and polished applied indices, and printed minute markers; the only other detail is an applied twin- ags logo. But it wasn’t always like that.

“The design journey took us in a circle, particularly with the dial,” says senior designer Will Brack eld. “We started with something restrained, then began to experiment – what about embedding a pattern deep in the dial? Or adding this detail or that? But the further we went, the more we came back to the idea that timeless

and minimalist is best. It’s like carving a marble sculpture: the more you remove, the clearer the shape becomes.”

The hands are slimmer than on most Twelves, and the lume has gone – as have the date window and seconds hand. Colour choices are classic: silver, black, and subtle tones of green and blue.

A redesigned bracelet is in the established Twelve style, but much, much slimmer, so the metal ows seamlessly from case to link to clasp, where you’ll nd a new super-thin buckle with hidden pushers. “The new bracelet contributes hugely to how comfortable this watch is,” says product director Jörg Bader Jnr. “Had we used the original Twelve clasp, it would have been thicker than the watch head itself – so we knew that had to change!”

All this good work would be pointless, of course, without a thin movement, and thoughts soon settled on Sellita’s manual-wound SW210, which for this application has been extensively modi ed by Christopher Ward.

“The new bracelet contributes to how comfortable this watch is”

“Our version combines a unique highgrade nish to the wheels with a new, custom-designed, custom-made train bridge,” Jörg says. “These special pieces were designed in-house, machined at Paoluzzo and nished at APJ, making great use of key suppliers we brought in to work on the C1 Bel Canto. It would have been easier to just slap in the standard movement, give it a closed caseback and o you go, but ‘easier’ has never been the Christopher Ward way.”

Alongside three stainless steel models comes our cover star, the all-monochrome, blacker-than-black DLC-coated version: Darth Vader’s dress watch. “The watch head, bracelet and clasp are all covered in Diamond-Like Carbon coating, which coating, which is incredibly hard-wearing,” Mike says. “Everything’s the deepest, inkiest black – except for the silver dial furniture. We initially considered making this a limited edition, but it’s just too bloody brilliant for that.”

Super-slim watches traditionally sell at a premium – especially ones that break the 7mm barrier – so it’s pleasing that The Twelve 660 slots right into the middle of the Twelve range, almost equidistant in price between entry-level versions and the Titanium.

“Even if you don’t feel you need a dress watch, you owe it to yourself to consider The Twelve 660 as your regular, everyday wear,” Mike says. “It’s tough, it’s elegant, and there’s much to be said for the zen joy of having just the two hands; a reminder not to take life – and the passing of time –too seriously.”

Technical

Availability: Open Series

Movement: Sellita SW210-1b

Dial colours: Black, White, Blue, Teal

Case: Stainless Steel

Diameter: 38mm

Height: 6.6mm

Weight: 85g (bracelet)

Lug to lug: 43.3mm

Water resistance: 3 ATM / 30m

Winding: Manual

Power reserve: 45 hrs

Timing tolerance: -15/+15 seconds per day

Frequency: 4Hz / 28,800 vph

The

How Christopher Ward’s home county of Berkshire spearheaded the last great musical youth revolution of the 20th century – acid house

Berkshire, often pre xed with ‘Royal’, is perhaps the quintessential English county.

At Pangbourne, walks along the River Thames are punctuated by the sound of oar on water as rowers glide past, while Eton is so ‘chocolate-box’ English that it should come with a calorie warning. Then there’s Maidenhead, the pleasant town on the Thames that’s home to a certain watch company with the initials ‘CW’.

You might imagine nothing interesting has ever happened here, certainly nothing interesting around music and popular

culture. But you’d be mistaken. Because in the late ’80s/early ’90s, Berkshire was the centre of the British acid house movement, which fused the house sound of Chicago with the anything-goes musical philosophy of Ibiza – and sparked a creative explosion that led to today’s global rave scene.

So, how did it happen? The best place to start is Slough – an industrial town east of Maidenhead, which has long been sneered at for its drabness (it was the home of Wernham Hogg, the paper supplier in Ricky Gervais’s The O ce. It was here that the roots of Berkshire’s place in pop culture history began,

Cymon Eckel is one of the founders of Boy’s Own, an ultra-smart fanzine which began by documenting the London club scene, before launching an incredibly cool record label and putting on some of the most legendary club nights of the 1980s and ’90s.

“Because of its proximity to Heathrow Airport, Slough – particularly its huge trading estate – was a melting pot of di erent cultures,” he says. “It was also where most of the marijuana coming into the country ended up! Even in the 1960s, there’d been an alternative scene around west London with places like Eel Pie Island, where bands like the Yardbirds played, and the Crawdaddy in Richmond, which hosted the Rolling Stones.”

Another Boy’s Own founder is Terry Farley, one of the UK’s most in uential DJs and music producers, and who grew up in Slough. “The whole scene started in the mid-70’s with a DJ called Alan Sullivan who created a real buzz in and around the town,” he says. “Alan and his crew would do soul all-nighters at the Slough Centre and every Friday at a club called Skindles in Maidenhead. Kids in Slough and the surrounding areas grew up with music and dancing as a community ideal.”

By the late 1980s, the British music landscape had been transformed by rave, which saw illegal parties spring up everywhere from the warehouses of industrial Lancashire to the bucolic elds of rural Sussex. This youth revolution was documented in Mixmag, the magazine of DMC – the country’s leading DJ organisation – which was also located on the Slough trading estate.

Mixmag editor and DJ Dave Seaman was asked to work with Kylie Minogue on her new material, coming up with the lyrics to her Con de in Me single by writing a series of three-word phrases on Post-it notes and waiting for inspiration.

Nick Gordon Brown was Mixmag’s managing editor. “Kylie Minogue recorded at the DMC studio,” says Nick. “She impressed all by always making her own tea and o ering a cup to anyone she happened across at the water cooler! Though I was one of the sta ers who didn’t move

to the area, we all dipped in and out of the local scene, and it was thriving. The Slough Centre held legendary raves, and a club called Studio Valbonne in Maidenhead hosted many a leading light behind the decks.”

One thing that marked out the Berkshire scene was that the best events tended to be on Sundays. That has always been a feature of the area’s clubbing life, says Cymon Eckel. “People came down from London to places like The Belvedere soul club in Ascot on Sundays in the mid’80s. And that carried on as the acid house scene expanded into the 1990s.”

The most famous Sunday afternoon club was DJ Phil Perry’s Full Circle at Colnbrook near Slough, a shindig which started in 1990 and became the go-to come-down session for clubbers and industry faces who weren’t totally on board with the concept of going home. One of them was DJ and record promoter Alvin Collis.

“Full Circle was held at The Greyhound, which was a gay pub during the week,” he says. “It was full of people who’d been

to Ibiza and wanted to dance outside in the sunshine. Everyone was dressed up, particularly, the girls who wore platform shoes, maxi skirts and chokers. I remember seeing John Lydon from the Sex Pistols in the queue after recording Open Up with Left eld. Then there was the time DJ Brandon Block arrived wearing a huge helmet. He ran into the pub, and dived over the bar head- rst into the bottles. It was that sort of place.”

Any investigation into Berkshire’s clubbing scene is incomplete without a mention of Windsor’s musical visionary Andrew Weatherall – who tragically died in 2020. A friend of Cymon Eckel and part of the Boy’s Own crew, Weatherall went from clearing the dance oor at his rst gig – by playing the Dambusters theme – to become one of the most in-demand DJs and producers in the world. It was his genius that turned Primal Scream’s I’m Losing More Than I’ll Ever Have into the indie-dance anthem of Loaded, and made him perhaps the most in uential gure in

“Kids

in Slough grew up with music and dancing as a community ideal”

British music of the last 30 years.

“I lived with Andrew for years – and he was a sponge,” says Eckel. “He had a voracious appetite for books, lms, fashion and music, and would be able to rationalise something before anyone else.” It was this quality that enabled Weatherall to turn musical in uences as diverse as dub reggae and psychedelic rockabilly into a series of records and remixes that de ned the sound of a generation.

Today, Berkshire has settled back into its ancient role as a place of relaxation and contemplation away from the great city at its eastern border. The parties are no more, the speakers have been unplugged and many of the DJs and ravers are now in their 50s and 60s – or have departed the stage altogether. Yet the musical legacy they’ve left us is one we can still enjoy just by launching YouTube or Spotify.

As the sample that Andrew Weatherall placed at the beginning of Primal Scream’s Loaded says, “We wanna be free, we wanna be free to do what we wanna do. And we wanna get loaded. And we wanna have a good time. And that’s what we’re gonna do. We’re gonna have a good time. We’re gonna have a party!”

Could there be a better summing of the Berkshire scene?

Boy’s Own and me

by Loupe editor Anthony Teasdale

In 1992, aged 20, I got a summer job at an English language school near Maidenhead. As a DJ and Boy’s Own obsessive – I literally had bought the T-shirt – this was my chance to spend six weeks in the belly of the Balearic beast. Instead of saving my wages, I spent all my cash on obscure Italian disco imports at Vision Records in Maidenhead.

A few years later, I ended up working above Andy Weatherall’s studio in west London. We made contact – actually, I had to make him tea every day – and got to know each other. I’d started making records, and in 1997 he asked me and a mate to remix one of his Two Lone Swordsmen tracks. I’d nally joined the Boy’s Own gang.

Now, I’m back in Maidenhead, editing Loupe and writing most of the communications for Christopher Ward. And sometimes when I go for a walk at lunch, I swear I can hear the thud of the Balearic beat and the magical pull of a long-gone record shop.

Concrete jungle

When brutalism meets nature, something beautiful happens – as a new photo book demonstrates

While brutalism has had a revival over the last 15 years, it remains an architectural style rmly associated with some of the 20th century’s most alienating buildings.

Yet brutalism – which comes from the French béton brut, raw concrete – takes on a di erent character when it comes in contact with nature. There’s something about its straight lines and un nished surfaces that provide the perfect canvas for plants and trees.

This happy marriage of nature and humanity is celebrated with a new photo book, Brutalist Plants, by Olivia Broome, whose @BrutalistPlants Instagram account is the foundation of the book.

Its pages are lled with a mix of concrete apartment blocks, private houses and sculptures whose sharp angles are softened by climbing owers, tropical plants and beds of tufted grass.

Olivia, who grew up surrounded by 20th-century architecture in Switzerland, says:

“Throw in a gravity-defying shrub, a reaching evergreen, some fanned foliage, and the harshness of béton

brut is instantly softened. Plants o er a counterpoint, grounded in the silt and earth from which these forceful structures were built.”

The book’s images, which come from a variety of photographers, take in everything from the greenhouse-meets-rainforest above London’s Barbican Centre to the Legoland-like Shaughnessy Place in Vancouver.

You can also nd Eastern Bloc-era war memorials, ‘directional’ modernist sculptures, and Le Corbusier’s magni cent La Maison Radieuse in Rezé, France – each one enhanced by the presence of plant life.

While the reputation of brutalism has been reassessed in recent years, many of these buildings may not be around much longer.

“These powerful palaces are ever-oscillating between being listed and being demolished,” says Olivia. “This is even more reason to honour these debated ‘monstrosities’ before they’re reduced to rubble or, better yet, abandoned to the mercy of creeping vines through concrete cracks.”

Modell company

Meet Manuel Hug – CEO of Di-Modell, makers of Christopher Ward’s straps and a man who knows a lot about leather

Hi Manuel! How does Christopher Ward order a strap from you?

While the focus of Christopher Ward’s output is the company’s mechanical watches, CW puts as much thought into its straps as it does its timepieces. Its chosen supplier is Di-Modell, a German company based in Tauberbischofsheim, in Baden-Württemberg – an area famed for its leather workers.

Di-Modell uses leathers from all over the world, and every strap is handmade in the company’s factory, including their ‘rembordé’ straps which are sealed to deliver water-resistance to 100m.

Here, we talk to Di-Modell CEO Manuel Hug about working with Christopher Ward, his company’s mix of innovation and tradition, and why you should never sleep with your watch on.

They come to us with an idea. Then they give us the dimensions of the watch, how wide and how long the straps should be, plus how thick they’d like the stitching, and what kind of clasp or buckles should be with the strap. We send them samples so they can choose what they want for material – that might be a calf-leather strap in green – and then they make their choice. After that, we start production.

Tell us about the structure of a Di-Modell leather strap

Our straps come in three sections. The top part is the leather that you can see –and which Christopher Ward has chosen. In the middle is a fabric section which gives the strap stability and also takes in some of the sweat from the wearer’s wrist. Finally, the under-leather section that makes contact with the skin – this can be made from ‘nubuck’ [a super-soft leather] or amaretta, a synthetic ‘leather’. This is

“I’m a watch collector myself and love the ability to change the way my watches look with a quick strap swap”

How do you make a ‘rembordé’ Bel Canto strap?

We cut up the upper leather and lining and then split both, before punching up the upper leather, lining and welt. Then we ‘skive’ the edges of the upper leather, weld the upper and lining together, emboss the seam and add the stitching. Glue is applied to aps, weld aps, stamp and punch holes, before we install the buckle so the strap is ready for nal inspection.

What about those buckles and clasps?

Christopher Ward sometimes ships their buckles and clasps to us for us to put on the straps, but other times they’ll do that themselves. We put CW’s quickrelease system into the straps, which is a great way of swapping between your favourites. I’m a watch collector myself and love the ability to change the way my watches look with a quick strap swap.

How should we take care of our leather straps?

Ideally, with a ‘regular’ leather strap you don’t want to submerge it in water. So, don’t swim with it too often, wear it in the shower or sleep with it on – because of how sweat reacts with the leather. That’s why in terms of hygiene, you should clean your strap with a soft wet towel.

How’s the business in general?

There's a trend for metal straps at the moment, but trends come and go. We’re convinced that the classic leather strap is coming back into fashion. Leather is a timeless material with style and elegance, and it’s very comfortable to wear. When it comes to our people, we have a lot of long-term sta , some of them have been here for over 40 years, but as they retire we need young people, too – we hired ve people in the last month. They’ll learn to work leather in our way –and hopefully stay with us for another 40 years!

Everywatch™

The Sealander is our ‘GADA’ (go anywhere do-anything) range. With 36mm and 39mm sizes, it’s an anytime watch for everyone. Here, its Lightcatcher™ (another trademark) case protects a precision Swiss movement with a dual time ‘complication’. So you can ‘be’ in two time zones, at once. Every Sealander sports highly legible, highly luminous indices and hands, contrasted against dial colours including three di erent hues of blue. They’re available on leather, hybrid and canvas quick-release straps. And a choice of either our marine grade Bader Bracelet™ or the more glamorous ve-link Consort™ (yup, more trademarks) featured here. Thus revealing another complication: which Everywatch™?

Do your research.

Value judgement

With watch prices varying wildly across the industry, how do you know whether you’re getting value for money? Loupe investigates…

Words

Laura McCreddie-Doak

How things are priced is a bit of a dark art from the consumer side of the fence.

Are you paying for superior craftsmanship, high-quality materials or the fee attached to having an A-list actor front a campaign? The confusion becomes even greater with watches.

Ostensibly, as a customer, you’re looking at a selection of similar items with comparable case sizes, in the same metals, maybe with identical complications and yet the discrepancy can be huge. Take for example, one of the standout watches from this year’s Watches and Wonders – Frederique Constant’s Classic Perpetual Calendar.

As perpetual calendars go, it didn’t reinvent the balance wheel. As its name suggests, it’s a traditionally con gured calendar – three sub-dials at three, nine

and 12 with a moonphase at six –classic-looking with slim indices, sword-shaped hands and a leather strap.

What generated column inches and blog posts was that this was an in-house movement, with basic decoration, that will retail at under £10,000. By comparison, a perpetual calendar in steel at IWC will set you back £20,600.

The most obvious answer for why this is the case is nishing. It’s estimated that hand- nishing can add 40 percent to a watch’s value. However, if you’re a customer looking at the descriptions of these watches, side by side, the descriptors are the same – ‘perpetual calendar’, ‘steel case’ ‘Côtes de Genève nishing’: how are you supposed to know which is the better value watch?

“Research becomes incredibly important in watch buying and understanding where value lies,” says Lydia Winters, brand consultant, watch collector and host of This Watch Life podcast “For me, even though brand and storytelling are vital, I still don’t want a watch if it’s only a great story – it still needs to be of high quality and o er value. It’s one of the reasons I started buying Nomos Glashütte watches almost 10 years ago – I saw the care they put into their watchmaking (in-house movements) and designs while maintaining a ordability.”

Doing your research is something of which Christopher Ward CEO Mike France is a fan. After all, it’s the phrase that ends many of the company’s adverts. What might come across to some as

“Research is incredibly important in understanding where value lies”

most often similar costs for all brands, you can work out who’s charging a fair (or ridiculous) premium to their product.”

confrontational is actually a plea for customers to nd out where the value in a watch lies, because, as Mike has constantly maintained, some brands are experts at obfuscation.

“At the end of the day, if you’re happy with any purchase you make it can equate to ‘good value’,” he says. “However, if you’re like me and want to know whether the price of a watch represents ‘fair value’, focus on the cost of the movement. A little research will liberate the price of most well-known calibres – and don’t be fooled by brands attaching their own reference number, they’re most likely to be from a major movement maker. Also, because cases, hands, dials and straps are

Value, whether concrete or constructed, is a complex thing to argue when it comes to purchasing a luxury item. There are facts you can hang your decision-making process on: the metal it’s made from; how it’s assembled; what sort of nishing has been applied to the movement; is said movement properly in-house or is it a bought-in base calibre that’s been modi ed by the brand?

You can use those to try to explain why an open balance from Christopher Ward – The C12 Loco – costs under £4,000 while a three-hander in steel at another brand will set you back £30,000. However, unless there’s complete transparency from all brands at all levels of the industry, you will never have all the facts at your disposal; something that could explain why more and more customers are turning to inde-

pendent, or smaller brands, because in this space, people can actually see where their money is being spent.

“Many smaller brands are shifting the landscape of watchmaking by pushing themselves with more complex watchmaking while keeping their watches relative a ordability,” says Winters. “Look at Kurono Tokyo and Hajime Asaoka’s goal of making his watch designs more accessible through an o shoot brand of his high-end watchmaking atelier. At the end of the day, none of us really need to have a luxury watch so the value lies in what you most prioritise as a customer.”

The likes of Christopher Ward, with its ‘three times cost’ philosophy – meaning that it only ever marks up the retail price by three times the cost of production – or CODE41, the Kickstarter phenomenon that marketed itself on detailing exactly where every euro goes – are creating a buying environment where the customer is king, not patronised to, and is made to feel like a valued part of the business, not just a bank account to be mined.

Which goes some way to explaining the enthusiasm of their fanbase; one which doesn’t just buy a watch or three but actively encourages friends, neighbours and that bloke down the local who likes his watches to get in on the action. However, wherever you want to ascribe value, what matters most is how that watch makes you feel.

“The best way to nd out what you value as a watch enthusiast is to try on and spend time with as many watches as possible, to learn what speaks to you, and almost as important, what doesn’t,” says Winters. Because while we can debate value constantly, the real worth of a watch lies in whether we love it or not. After all, you look at it 144 times a day and life’s too short to spend that amount of time looking at something you don’t really like. Where’s the value in that?

Loupe editor Anthony Teasdale pays tribute to the Isokon building, one of the original modernist gems of London

Unlike Brussels or Madrid, London isn’t a city known for its beautiful 20th century housing. But there are gems hidden away, such as the Isokon ats on Lawn Road in the leafy urban village of Hampstead.

While its neighbouring block, Highpoint in nearby Highgate, boasts a stunning location that overlooks the capital, the ats at Lawn Road sit on a pleasant, but ordinary, street just south of Hampstead Heath. It’s only on further inspection that you realise just how remarkable this block is.

Built between 1932 and 1934 by the London architectural practice Isokon for ’20s yuppies and their Bakelite telephones, the ats were described by one resident, the novelist Agatha Christie, as looking “like an ocean liner”.

Its architect Wells Coates said: “My scheme provides a place which every actor in this drama can call his own place. This is where I sleep, this is where I work and this is where I eat. This is the garden where everyone goes. It’s like a park.”

Over the years, the ats started to deteriorate, but in 2001 the block underwent a restoration, and now look fantastic. However, much as I love the modernism the Lawn Road development represents, so many crimes were done in this movement’s name it will always be associated with asbestos- lled tower blocks, Soviet-style town halls and the destruction of some of our city centres (ie, Birmingham).

The problem is that on a rainy island like Great Britain, the steel that reinforces the concrete in even the best buildings soon

starts to rust, the once-pristine cladding goes grey and heroin addicts become magically attracted to the convenience of communal living/stealing. Maybe that’s why Le Corbusier’s vision of “a machine for living” works better in the Mediterranean – as his ‘Unité d'habitation’ (1945-52) in Marseilles shows.

Lawn Road ats are an example of how constant upkeep should be as much a part of modernist living as grand ideas about communal cohabitation.

A fresh coat of paint every year, a caretaker to make sure the residents are behaving themselves and as many good summers as it’s possible to hope for will keep our modernist gems looking as good now as they did 90 years ago. Lawn Road proves that maxim perfectly.

The album E2-E4 by Manuel Göttsching

With so many distractions around, it’s never been harder to concentrate. But music can help. Especially if it’s the sort of music that brings repetition, rhythm and melody together without lyrics to take you out of your zone.

Take E2-E4 by Manuel Göttsching for example. Released in 1984, E2-E4 is an hourlong journey into prog rock, ambient and electronic minimalism. The track – recorded in one take – begins with a repetitive acoustic guitar loop, which is joined by a shu ing rhythm, churning bass and freeform synthesizer and jazz guitar melodies.

On the face of it, it doesn’t do much, but the record’s timelessness comes from this subtlety. Each element adds to the constantly evolving whole, which is locked into place by its syncopated electronic beat.

Championed by pioneering DJs like Larry Levan at New York’s Paradise Garage disco in the mid-’80s, E2-E4 is still played in clubs and bars. And, no doubt, in the headphones of laptop workers the world over. You should join them.

You can listen to E2-E4 by Manuel Göttsching on streaming and video services

The sculpture

Untitled by Donald Judd

Concrete doesn’t have the most romantic of reputations – unless you like brutalist car parks – but from the mid-20th century onwards, it became the material of choice for many of the era’s most pioneering sculptors.

One of these was the American artist, Donald Judd, considered a leading exponent of the minimalism movement of the 1960s and ’70s. One of his most famous and extraordinary works, Untitled, located at the Art Gallery of South Australia (AGSA) in Adelaide, celebrates its half-century this year – and it remains as startling as ever.

Untitled is a large, triangular slab of concrete, placed in the courtyard of AGSA. Commissioned in 1974, when Judd was visiting AGSA for a MoMA exhibition.

According to AGSA, “Judd explored the relationship between two levels: the horizon line – an ideal – and one that traced the angle of the land on which the work (and viewer) were situated. The dynamic between these two levels forms the crux of the viewing experience.”

Want to know more? You can watch a fascinating AGSA lm about the work on YouTube.

agsa.sa.gov.au

The cafe Mount Zion Co ee, St Ives

A maxim for success is doing one thing –and doing it incredibly well. This explains the popularity of the Mount Zion co ee shop in the Cornish seaside town of St Ives. While other cafes put as much e ort into upselling you cakes as making you a ‘garden centre’ mega-latte, Mount Zion takes the minimalist ‘slow food’ approach to co ee.

The cafe sells “slow, pretentious, expensive co ee” and hot chocolate. But what co ee it is! Thanks to their precision-calculated brewing method, the cafe has a reputation for serving the best brews in the south-west of England. If you want to see the science behind their drinks you can look at their brewing calculations on their website (and look at the FAQs if you want a laugh).

This obsessiveness is what makes Mount Zion – perhaps the UK’s smallest co ee shop – a must-visit for ca eine-lovers of every stripe. And should you wish to emulate their methods, they o er a selection of courses for ambitious would-be baristas. Full steam ahead! mountzionco

The album Time Tourist by B12

It’s the year 2700. Yet again, you’re leaving the Earth for a vacation in one of the many ‘leisure stations’ that oat between your home planet and Venus.

On the stereo as your Uber Galactic departs the Earth is an album that’s over 700 years old, but which makes perfect sense as you settle down for the trip. That record is B12’s Time Tourist Released in 1996, Time Tourist walks the line between Brian Eno-style ambient and pure techno, with tracks like the opener, VOID/ Comm, fusing slo-mo, shrapnel-sharp electronic beats with soothing synth melodies.

Some of the other songs, such as Scriptures and The Silicon Garden are aimed at the dance oor, and provide the perfect foil to the more chilled ambient tunes. But the thread linking them all is the minimalist template set out by Detroit techno – a philosophy that has more to do with Bauhaus than Beethoven. And at just over 56 minutes long, it’s almost the same length as your journey from Earth to your chosen leisure station. Happy holidays!

Slim pickings

Ken Kessler questions the pursuit of making the world’s thinnest watches

Of all the challenges in horology – for example, which diving watch goes the deepest or which chronograph splits seconds into the smallest increments – the one that completely ba es me is the quest for ultimate thinness.

Far be it for me, a slob who’s been trying to lose weight since the 1960s, to denigrate the achievements of Vacheron Constantin, Jaeger-LeCoultre, Zenith and Bulgari in that regard, but ultimately this competition can be boiled down to only one challenge: reducing the thickness of watch components

As simplistic or dismissive as that may sound, especially when coming from a cynic, I will be the rst to acknowledge that the e ort required to produce watches no thicker than two credit cards borders on the heroic. But, like the more spurious exploits in the Guinness Book of World Records – longest ear hair? Fastest time to eat a bowl of pasta? – the question begged is: “Why?”

When I put this to manufacturers, they admit under duress that it’s simply to prove that they can do it. That’s it. It’s got to the point that the two main rivals – Bulgari and Piaget – need quali ers as the records they strive for seem to change hands from watch fair to watch fair. Sometime soon they will run out of categories and the honours will go beyond ‘thinnest automatic’ or ‘thinnest calendar’ to ‘thinnest watch made on a Tuesday’.

great makers prided themselves in reducing portable timepieces from the size and shape of a Granny Smith apple to something which actually t into a pocket. By the time pocket watches were superseded in popularity by wristwatches, between 1900 and 1930, the more elegant models were a mere 10mm thick, while Patek Philippe produced an ultra-thin pocket watch in the 1960s which tipped the calipers at 7.4mm. (Amusingly, it was only 47mm in diameter, which describes a number of today’s more macho diving watches.)

If you’re scratching your head about the drive for thinness because your iPhone has more processing power than NASA circa-1968, it should be pointed out that the accomplishments in watch thinness apply only to mechanical watches. Electronics are so advanced that a thin lm can display the time. But that doesn’t negate the miracle of the rst true milestone in anorexic wristwatches, even if it was quartzpowered.

Patek made a pocket watch that was 7.4mm thick

Make no mistake: producing a wristwatch under 2mm thick requires skills beyond that of programming a CNC machine to form the parts. But ultimately, the thinness fetishists also admit that devising the thinnest tourbillon or world timer or whatever is not the same as, say, creating a ‘lifetime’ lubricant or developing an absurdly extended power reserve.

This obsession with emaciated timepieces, however, is nothing new. During the era of pocket watches, the

In the mid-1970s, with quartz watches from Japan kicking the guano out of the Swiss watch industry, a contest emerged as to which country could produce the thinnest timepiece. The Swiss won with the ETA-developed Delirium, the rst version of which was a mere 1.98mm thick. Concord was the best-known producer, but Eterna and Longines also produced Deliriums, with prices circa $8,000 in 1979.

Ultimately, the fourth incarnation would halve that dimension to 0.98mm, before someone deemed that enough was enough, the Japanese having ceded the crown to the Swiss. And at $60,000 for a thin quartz watch, it’s believed that less than 60 Delirium IVs were manufactured. To put that into context, Ferrari prices started at $35,000 in 1980. (Don't be too shocked. Every one of you can name a dozen current timepieces that cost

more than a Ferrari circa-2025.)

If thin electronic watches are no challenge in the 21st century, hyper-thin mechanical timepieces remain the current willy-wagging arbiter of manufacture status. But I’m not the only one who’s ba ed about it. Over the years, I’ve discussed the raisons d’être of thin watches with collectors and enthusiasts, watchmakers and, yes, manufacturers. Aside from the fact that thinner watches slip under a cu more easily than thick ones, none could come up with any justi cation for chasing the ultimate in undernourished watches.

Most brands are realistic about reducing the thickness of watches, with both Tudor and Rolex shaving a fraction of a millimetre o recent releases unveiled at this year’s Watches and Wonders, while Christopher Ward’s exciting C12 Loco is on trend with its slimmer case. These are real-world watches with robust case integrity. They’re just not as bulky as their predecessors.

To provide a frame of reference a credit card is 0.7mm thick, while a compact disc is 1.0mm thick. Think about that when you consider Richard Mille’s collaboration with Ferrari, the Grade 5 titanium RM UP-01, is 1.75mm thick. Oh, and it costs US $1,750,000. Konstantin Chaykin’s recent prototype, the ThinKing (great name, by the way), is 1.65mm thick. Even more impressive is this: In 2010, when a gaggle of watch manufacturers unveiled a load of ‘slim watches’, they boasted just of movements under 2mm thick – not the whole watch. The new wave of ‘Ozempic’ watches all come under that gure from glass to caseback.

time, one watchmaker told me of his terror at having to deal with a Jaeger-LeCoultre Calibre 101, which measures only 14mm long by 4.8mm wide, and just 3.4mm thick. Servicing the actual watch owned by Queen Elizabeth II, he said there was absolutely no margin of tolerance, suggesting it was more akin to surgery. Having disassembled and reassembled a Piaget Altiplano, I can only describe working on a thin movement as ‘nervewracking’.

Richard Mille’s collaboration with Ferrari costs

$1,750mn

Another aspect of thin-vs-sensible is psychological, but it also applies to lightness. Whether we’re talking about watches which weigh very little simply because they’re thin or because they're made of carbon bre or titanium, there’s a certain matter of concern to many watch enthusiasts. I number among those who like to feel the reassuring heft of a substantial watch on the wrist, even an elegant and indeed slim dress model such as a Patek Calatrava. However svelte the watch, a gold or steel case adds mass to what would otherwise be a relatively light timekeeper.

As with the Delirium, which a watchmaker told me could easily be folded in half, there’s a price to pay in this quest for ultimate thinness, not least the integrity of the watch case itself. I’m not suggesting for a second that you can bend a titanium watch case of only 2mm thickness but it doesn’t exactly inspire the con dence of a Rolex Deep Sea.

Watchmakers point out that the necessary ultra-thin movements are harder to service and create pressures that watchmakers simply do not need. Regarding not the thinnest movement but certainly the smallest of all

Perhaps one day the watchmakers wandering down this cul-de-sac of metaphorical starvation will reach the same conclusion as an apocryphal Japanese electronics manufacturer. For decades, the running gag was that the Japanese would miniaturise anything and everything they could possibly reduce in size. Eventually, they came a cropper when they applied this logic to a vibrator.

Wealthy commodities broker, Louis Winthorpe III is having a bad day.

Not in the ‘I’ve left-my-phone-at-home’ type bad day, but more the ‘I’ve-lost-everything’ version.

Welcome to the 1984 lm Trading Places. In it, Winthorpe – played by Dan Aykroyd – is the victim of a bet between his bosses, the Duke brothers, on whether he can be replaced by a street hustler, Billy Ray Valentine, played by Eddie Murphy.

Thanks to their endish machinations, he’s been framed for theft and drug possession, lost his job and his place in the upper tiers of Philadelphia society. Which is why on a cold rainy morning just before Christmas, he’s in the dodgiest pawnbrokers in Philadelphia, trying to pawn his watch, a ‘Rochefoucauld World Complication’.

The shop’s owner, played by blues guitarist Bo Diddley, thinks it’s stolen. Winthorpe is indignant.

Winthorpe: “This is a Rochefoucauld. The thinnest water-resistant watch in the world. Singularly unique, sculptured in design, hand-crafted in Switzerland, and

water resistant to three atmospheres. This is the sports watch of the ’80s. Six-thousand, nine hundred and fty- ve dollars retail!”

Pawnbroker: “I’ll give you 50 bucks for it.”

Winthorpe: “Fifty bucks? No, no, no. Look, it tells time simultaneously in Monte Carlo, Beverly Hills, London, Paris, Rome – and Gstaad.”

Pawnbroker:“In Philadelphia, it’s worth 50 bucks.”

Winthorpe grudgingly accepts the o er, and Diddlyas-pawnbroker rolls out the dollars – before Aykroyd spies a gun. Things only get worse.

In the end, Winthorpe and Valentine join forces to exact revenge on the Dukes, and – with call-girl Jamie Lee Curtis in tow – win the day, ending the lm on sunloungers on a tropical beach somewhere.

The only mystery? Why didn’t Winthorpe go back for the Rochefoucauld?

Rochefoucauld is not actually a real watch company. But hopefully one day it will be. If only to tell the time in Gstaad

Another dull watch from Christopher Ward

This 42mm C60 Trident Pro 300 Bronze combines chronometric timekeeping with water resistance to 300m. It has diamond-polished indexes on a chocolate ‘ombre’ dial, that degrades from light to dark. But it is its Light-catcher™ case that makes each of these timepieces special. And unique. Over time, the 5N bronze’s golden gleam will fade, developing an organic patina. Derived from its wearer’s environment, usage and, ultimately, the oxygen and pH levels of his or her skin. Each watch’s greenish-browning is as individual as it wearer and its colour cannot be replicated, unless you restore its original burnish (with one of many kitchencupboard hacks). Surely, in anyone’s collection, their most personal timepiece?

Do your research.

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