Lou Gehrig is remembered as one of baseball’s greatest players, having played 2,130 consecutive games for the New York Yankees, a record that earned him the nickname “The Iron Horse” and defined his reputation for endurance and consistency. In 1939, following his diagnosis with amyotrophic lateral sclerosis (ALS), he delivered a farewell speech at Yankee Stadium that remains one of the most powerful moments in baseball history, marked by gratitude, humility, and composure in the face of adversity. His story continues to be closely associated with ALS awareness, and 2 June is now observed in the United States as “Lou Gehrig Day” in recognition of his legacy.

The Lou Gehrig Limited Edition translates this legacy into a series of thoughtful design details based on the Big Crown Pointer Date. The silver dial with its vertical brushed finish evokes the strength and endurance that defined Gehrig’s career as “The Iron Horse,” while subtle design cues reference the aesthetic language of the 1920s and 1930s. The dial combines a mix of numerals and indices, echoing vintage Oris design codes from the era. A blue “4” highlighted on the date ring pays tribute to his iconic jersey number, retired by the New York Yankees in 1940, while blue accents across the dial and the NATO strap reflect the team’s colours. The design is completed with a brown leather strap inspired by the stitching of a baseball glove, alongside an additional blue, white and grey NATO strap.

The story continues on the case back, where an engraving of Lou Gehrig’s farewell speech is paired with the individual limited-edition number. The watch is limited to 2,130 numbered pieces, a direct reference to his record-setting consecutive games and a lasting symbol of endurance. Through this edition, Oris supports The Lou and Eleanor Gehrig Family Foundation in its work to raise awareness of ALS and advance research into the disease.

The post Lou Gehrig Limited Edition appeared first on Arab Watch Guide.

Some anniversaries invite reflection on the path travelled. Others remind us of the enduring strength of an origin.

The thirtieth anniversary of Parmigiani Fleurier belongs to the latter. It does not merely celebrate the founding of an independent watchmaking Maison. It honours the work of a man who dedicated his life to understanding time, before seeking to create it.

Michel Parmigiani has never approached watchmaking as a realm of appearances. He approached it from within: through restoration, through listening to historic objects, through the patience of the hand, and through a profound respect for what previous generations had conceived, transmitted, and at times left unspoken.

From him, restoration has never meant looking at the past with nostalgia. Restoration meant learning. Deciphering. Understanding the intelligence of an architecture, the logic of a movement, the memory held within the hand. It meant discovering, within every object entrusted to his gaze, not only beauty, but thought.

Parmigiani Fleurier was born from this conviction.

For thirty years, the Maison has carried within it a rare form of purpose: to create from profound knowledge, to innovate without rupture, to bring contemporary expression into dialogue with memory. What Michel Parmigiani has built extends far beyond a collection of timepieces. It is a culture. A discipline of observation. A way of bringing together the hand, the mind, mechanics and time itself.

Created to mark its thirtieth anniversary, the Carillon Tourbillon, stands among the most personal expressions of this legacy. It gives voice to what has animated Parmigiani Fleurier since the beginning: restoration as a source of invention, complication as a language of culture, haute horlogerie as a work of transmission.

Within this timepiece resides the memory of historic watches, the intelligence of chiming mechanisms, the patience of the ateliers, the precision of the constructors, the knowledge of the artisans, and the endless pursuit of balance that has always guided Michel Parmigiani. Nothing here is gratuitous. Everything is considered, constructed, attuned.

Through the Carillon Tourbillon, we do more than unveil an exceptional creation. We pay tribute to a life’s work, to a fidelity to craft, to research and to transmission. We acknowledge what Michel Parmigiani has given this Maison: an exacting standard, a conscience.

Thirty years after its founding, Parmigiani Fleurier continues to move forward guided by this legacy. With gratitude, with respect, and with the responsibility to carry forward what has been entrusted to us.

For Michel Parmigiani’s legacy belongs not only to the Maison’s history. It continues to guide its future.

Guido Terreni

PARMIGIANI FLEURIER 30 YEARS OF HISTORY

THE MAISON’S SOUND SIGNATURE

For its 30th anniversary, Parmigiani Fleurier unveils a creation that does more than mark a milestone. It reveals an essential part of its history, its culture, and its singular way of conceiving haute horlogerie.

With the Carillon Tourbillon, the Maison opens one of its most intimate realms: that of sounding time. A place where restoration, mechanical memory, and attentive dialogue with materials and contemporary invention converge.

This atelier piece, limited to five examples, is born of a conviction that has accompanied Parmigiani Fleurier since its origins: before creating, one must understand. Understand historic objects, their architecture, their energy, their inner logic. Understand what time has deposited within them, then transform that knowledge into a contemporary expression.

Inspired by an early nineteenth-century Perrin Frères pocket watch, from the Sandoz Collection, restored in the ateliers of Parmigiani Fleurier in 2000, the Carillon Tourbillon does not reproduce a form from the past. It carries forward an intelligence: that of sound, gesture, balance and horological construction.

Entirely conceived, developed, constructed, assembled and finished within the Maison, it bears the vision of Michel Parmigiani and the savoir-faire of the watchmakers, constructors, artisans and finishers of the Manufacture.

The Carillon Tourbillon is more than an anniversary piece. It is a way for Parmigiani Fleurier to reveal to the world what lies at the founding of its haute horlogerie: a creation born of restoration, nourished by transmission, constructed from within, and guided by an intimate pursuit of mechanical and aesthetic harmony.

PERRIN FRÈRES : FROM RESTORATION TO RESONANCE

At the origin of the Carillon Tourbillon lies a seminal piece: a pocket watch signed Perrin Frères, made in Neuchâtel in the early nineteenth century, from the Sandoz Collection, and restored in the workshops of Parmigiani Fleurier in 2000.

This historic masterpiece was not approached as a model to reproduce, but as a living object to understand. It carried within it a knowledge of sound, energy, balance and mechanical architecture, extending even to the serpentine presence of its gongs, an immediately recognisable formal signature that the Carillon Tourbillon reinterprets within a contemporary construction.

This lineage illuminates one of Parmigiani Fleurier’s deepest convictions: history is never a static archive. It is a source of creation.

UNDERSTANDING AS THE FIRST ACT OF CREATION

The Maison’s Founding Discipline

Understanding before drawing. Restoring before inventing. Listening to the inner logic of objects before proposing a new expression.

A restorer before becoming a creator, Michel Parmigiani shaped his perspective through close contact with historic timepieces, automata, clocks and chiming mechanisms.

From this practice emerged a singular way of thinking about watchmaking from within: through the hand, through memory, through the mechanical intelligence of objects.

The Carillon Tourbillon emerges directly from this lineage: that of a Maison that learned to create by first learning to understand. It expresses a vision of haute horlogerie in which complexity is never an effect, but a necessary architecture.

Michel Parmigiani remained closely involved throughout its development, working alongside the watchmakers and constructors, guiding, refining and transmitting a vision of mechanics as an architecture that is legible, enduring and profoundly mastered.

This piece does not merely bear the signature of the Maison. It is the expression of its most intimate culture.

FROM TOWER TO WRIST: THE INTIMACY OF SOUNDING TIME

From medieval bell towers to the great chiming watches, the carillon belongs to a singular history: that of time made audible.

Once, it gave rhythm to the life of the city. Reimagined within the intimate space of a timepiece, it becomes a personal experience. The tradition of the carillon reminds us that sound is never a mere effect: it carries memory, gesture, continuity.

In the Carillon Tourbillon, this culture of sound leaves the public realm to inhabit the space of the wrist. Time no longer imposes itself. It reveals itself, on demand, through the vibration of a miniature architecture.

The Carillon Tourbillon is unmistakably a Parmigiani Fleurier creation of today. Its language neither looks to the past with nostalgia nor seeks demonstrative effect. It expresses its modernity through the clarity of its construction and through its relationship with volume, transparency and light.

The redesigned white gold case, the vertical gadroons inspired by the classical columns so dear to Michel Parmigiani, the glass box sapphire crystal, the visible hammers on the dial side and the hand-hammered Morning Blue dial; the aesthetic signature of the thirtieth anniversary places the piece firmly within a contemporary expression. One of its most recognisable gestures lies in its four serpentine gongs. Directly inspired by the Perrin Frères pocket watch restored by Parmigiani Fleurier, their long undulating curves embrace the architecture of the Carillon Tourbillon, giving it its visual identity, structuring space and marking the reading of the hours.

Here, acoustics become form.

Between silver and azure, the Morning Blue dial enters into dialogue with this architecture without ever dominating it. Its deliberately restrained proportions free the space required for the presence of the hammers and the unfolding of the gongs.

Here, mechanics do not add themselves to form: they structure it.

Yet within this contemporary presence remains a profound memory: that of gesture, of sound, of restored objects, and of the watchmakers who conceived of time as a living material.

The Carillon Tourbillon embodies a rare tension: a contemporary creation, shaped by the intelligence of the past

VIRTUOSITY HELD IN RESERVE

The piece also expresses a distinctly Parmigiani Fleurier philosophy of visibility.

The tourbillon and the power-reserve indicator are positioned on the reverse of the watch, where the movement opens fully to the eye. On the dial side, the reading remains clear, balanced, almost silent.

Virtuosity does not seek immediate effect. It reveals itself through depth, through observation, through use, through time spent with the object.

This restraint does not diminish the chiming complication. It stages it with precision.

On the dial side, the hammers are visible in both their function and in their mechanical choreography. They reveal the very instant in which time is about to become sound.

Around them, the serpentine gongs envelop the piece like memory turned into architecture. Their presence introduces an almost musical tension between silence and release, between anticipation and vibration.

A CALIBRE TUNED FOR RESONANCE

The calibre is a true demonstration of craftsmanship, composed of 456 components meticulously assembled by hand. Its construction is based on a highly sophisticated mechanical architecture built around two superimposed barrels, ensuring the transmission of power through the gear train and guaranteeing an exceptional 12-day power reserve, a rarity in a timepiece incorporating a chiming complication.

The third barrel, dedicated to the striking mechanism, is automatically rewound when the striking slide is activated, and only when the minute repeater is engaged.

The construction of the calibre has also been conceived to make the mechanics fully legible in motion. The components related to the striking mechanism are positioned on the case back side, offering the eye a view of the mechanism unfolding at the very moment when it transforms time into sound. The open architecture reveals the inner logic of the complication: the circulation of energy, the cadence of the hammers, the vibration of the gongs.

The mechanism incorporates a regulating flywheel, ensuring a constant flow of energy and a perfectly regular cadence. This essential component provides a fluid chime, without acceleration or slowing, for an acoustic experience mastered from the first strike to the last.

In the Carillon Tourbillon, the movement is therefore not only a motor. It becomes an instrument. It measures, it stores, it releases, it regulates, it gives sound to time.

A MELODY IN FOUR NOTES

The four gongs compose a complete and nuanced chime:

one low-pitched gong for the hours one high-pitched gong for the minutes two additional gongs, each with its own note, for the quarters

Together, they create a four-note melody – distinctive, harmonious and immediately recognisable.

The striking mechanism is equipped with an integrated regulating flywheel, ensuring a constant flow of energy and a perfectly regular cadence.

This essential component guarantees a fluid chime, free from acceleration or slowing, for an acoustic experience that remains controlled from the first strike to the last.

A CASE BUILT FOR RESONANCE

The white gold case extends the lineage of the Armoriale, with its vertical gadroons inspired by the classical columns so dear to Michel Parmigiani.

This choice continues an acoustic sensibility deeply rooted in his approach to haute horlogerie: in a chiming timepiece, the case does more than house the movement; it contributes to the transmission of sound — its density, clarity and resonance.

White gold offers here a controlled resonance, in harmony with the spirit of the Carillon Tourbillon.

Reimagining this architecture to accommodate a dial, a tourbillon and a carillon striking mechanism transforms the aesthetic language of the Armoriale into a complete horological construction.

Integrated into the case band, the striking slide calls for a gesture that is simple, direct and almost ceremonial.

MADE FOR TRANSMISSION

Produced in only five examples, the Carillon Tourbillon belongs to a different temporality from that of novelty.

Its rarity is not a launch statement. It is the natural consequence of a creation that demands time, hands, attentive listening and an almost confidential mastery.

This piece is conceived for transmission, for collections that look beyond the instant, for those who recognise in a horological creation not only an achievement but a culture.

With the Carillon Tourbillon, Parmigiani Fleurier does more than celebrate thirty years of existence. The Maison reveals one of the deeper sources of its creative philosophy: a vision of haute horlogerie born of restoration, nourished by transmission, constructed from within, and capable of transforming complication into culture.

Thirty years after its founding, Parmigiani Fleurier’s voice in time continues to resonate.

THE SERPENTINE SIGNATURE

The four serpentine gongs constitute one of the most recognisable signatures of the Carillon Tourbillon. Visible beneath the glass box sapphire crystal, they trace long undulating curves that envelop the piece and give the acoustic architecture its singular presence.

This form derives directly from an element observed on the Perrin Frères pocket watch restored by Parmigiani Fleurier. Reinterpreted within a contemporary creation, it becomes more than a historical recollection: it becomes a principle of construction, at once acoustic, aesthetic and spatial.

The serpentine curves accompany the reading of the hours and inscribe sound within the very form of the watch. They lend the chiming mechanism a fluid, almost organic presence, perceptible even in silence.

Here, the gong is not merely an acoustic component. It becomes sign, structure and memory.

MAKING RESONANCE VISIBLE

The movement, too, becomes a field of expression.

Its components are adorned with the mezzo vibrato decoration, a language previously explored by Parmigiani Fleurier on the dial of the Armoriale, the Maison’s emblematic Objet d’Art and now transposed into the very heart of the movement.

Executed entirely by hand by the engravers, surface after surface, this slow and demanding work brings the material to life.

Here, the gesture leaves the surface of the dial to enter the mechanical architecture itself. It acts as a visual resonance of the chiming mechanism: what the carillon makes heard, the mezzo vibrato makes visible.

MORNING BLUE, HAMMERED INTO LIGHT

The Morning Blue dial, crafted in hand-hammered white gold, extends this dialogue between material, light and vibration.

Between silver and azure, the Morning Blue tone engages with the metal without ever concealing it.

This hammered texture forms one of the defining aesthetic signatures of Parmigiani Fleurier’s thirtieth anniversary, in continuity with the Toric Anniversary creations.

It expresses a shared idea of the hand: a living gesture, never standardised, through which each surface carries its own subtle variation.

The post OBJETS D’ART COLLECTION CARILLON TOURBILLON THE SOUND OF THIRTY YEARS OF INDEPENDENT HIGH-HORLOGERIE appeared first on Arab Watch Guide.

The Endeavour Flyback Chronograph Dual Time Date model expresses a contemporary vision of travel: mobile, fluid and perfectly controlled. Its second time zone, subtly integrated at the centre of the dial, its tachometric scale inspired by measuring instruments, and its remarkably clean display come together in a watch designed for movement. A timepiece that crosses time zones with the same fluidity with which the eye moves across its dial. Sophisticated without ever being ostentatious, it is the ideal companion for the modern traveller.

THE CHRONOGRAPH IN ITS PUREST FORM
Reinventing the traditional codes of the chronograph with the accent on space, balance and legibility, H. Moser & Cie. has chosen minimalism and restraint. All the indications are centralised to preserve the harmony of the dial, in two parts. The chronograph hands replace traditional counters, with the red hand indicating the seconds while the rhodium-plated hand displays the elapsed minutes.

The result is an immediacy: intuitive reading, free of any visual clutter. The second time zone also appears at the centre of the dial, on a fumé disc adorned with a discreet white arrow that blends naturally into the composition. True to the brand’s philosophy, the complication never seeks to dominate the aesthetic, instead dissolving into an exquisite clarity.

STATE-OF-THE-ART MECHANICAL ARCHITECTURE
Developed with AGENHOR, partner of H. Moser & Cie., the HMC 730 calibre powering the Endeavour Flyback Chronograph Dual Time Date reinterprets the architecture of the HMC 902 movement in a hand-wound version. For this evolution, AGENHOR removed the entire automatic winding system as well as the oscillating weight. A decision that opens up a new arena for mechanical freedom and makes it possible to integrate the Dual Time display and the date within the available space.

The HMC 730 movement retains the fundamental qualities of the HMC 902, notably the column wheel and the micro-tooth system developed by AGENHOR, while adopting a more classic, more tactile character befitting a hand-wound watch. Using the retrograde principle to enable the elapsed minute hand to jump instantly using the energy accumulated and then released by a snail cam, it allows the values to be read with greater accuracy. It is equipped with a double barrel providing a 72-hour power reserve, displayed on the back of the movement to preserve the purity of the dial. The date can be adjusted both forwards and backwards without risk to the movement – a rare level of user convenience in such a sophisticated horological architecture.

A CONTEMPORARY INTERPRETATION OF THE MEASURING INSTRUMENT
The Endeavour Flyback Chronograph Dual Time Date features a 42-mm stainless steel case. Around the edge, the white minute track measures the seconds and minutes, structuring the dial, while the tachometric scale, designed to measure speed with precision, reinforces its technical and dynamic aesthetic. The hands are slender and elegant, offering excellent legibility. The alligator strap with nubuck finish underscores the discreet sophistication of this creation.
The Endeavour Flyback Chronograph Dual Time Date turns the instrument into an object of style; functionality becomes aesthetic.
H. Moser & Cie.’s own and unique take on Haute Horlogerie.

The post ENDEAVOUR FLYBACK CHRONOGRAPH DUAL TIME DATE: THREE COMPLICATIONS. A SINGULAR CLARITY. appeared first on Arab Watch Guide.

As Official Timekeeper, Baume & Mercier will be associated with the official timing for the entire race weekend, ensuring accuracy for every moment on the track. This partnership reinforces the Maison’s longstanding dedication to precision and its appreciation for the motorsport’s rich heritage.
Michael Guenoun, CEO of Baume & Mercier, stated, “Partnering with the Gran Premio Storico d’Italia is a celebration of our combined heritage. This event celebrates the same values we uphold: precision, heritage, and the constant dialogue between past and present. This collaboration embodies that bridge, honoring motorsport history while looking to the future with unwavering passion.”

The Gran Premio Storico d’Italia 2026 promises an unforgettable spectacle, uniting collectors, enthusiasts, and motorsport legends for a weekend of historic racing.
Laurent Vallery-Masson, CEO of HVM Racing and promoter of the Gran Premio Storico d’Italia, stated: “We are proud to welcome Baume & Mercier as Official Timekeeper of the Gran Premio Storico d’Italia. Motorsport and watchmaking share a common language: precision, craftsmanship and the pursuit of excellence. Baume & Mercier’s remarkable heritage and commitment to timeless elegance make this partnership a natural fit for an event dedicated to celebrating the most iconic eras of Formula 1 while inspiring future generations of enthusiasts.”

The post BAUME & MERCIER NAMED OFFICIAL TIMEKEEPER OF THE 2026 GRAN PREMIO STORICO D’ITALIA appeared first on Arab Watch Guide.

Just in time to bring some much-needed chromatic relief during the sizzling hot summer months in the northern hemisphere, Projekt 02 Variant “C” once again demonstrates that a shift in tones goes a long way in giving a watch a completely different vibe. The inaugural Projekt 02 FFF&F (Friends, Family, Fools & Flippers) edition from September 2025 set the tone with a warm metallic dial and off-white hand-painted elements, a wearable proof-of-concept for a dial made like no other. Variant B from March this year introduced the stacked gradient dial, or what horo-hipsters might refer to as the first vertical fumé dial.

While retaining the same overall design with an emphasis on volume as its predecessors, the third interpretation of Projekt 02’s topographical dial gets a bit more literal, with the color gradient of white to blue giving the impression of islands scattered in an archipelago, or even glaciers below mountain peaks.

Across nine layers consisting of sixty-seven individual dial plates (with pegs and all), Projekt 02 Variant C brings a different kind of panorama to the wrist. Within a case that’s actually more sapphire crystal than metal to truly take in the view, the bright rhodium plating and matte finish of the individually crafted, painted and assembled dial plates contrasts and catches the light against an azure backdrop that’s constantly shifting with the light and revealing its different hues of blue.

HYPSOMETRY OF TONES
Like all kollokium Projekts and Variants, a little cosmetic change goes a long way, but it also requires much more prep work than meets the eye. Projekt 02 FFF&F edition proved that it can be done. A flat, two-dimensional image transfigured into a true topographical dial, consisting of 67 stacked dial plates. Each is painted by hand with a lacquer infused with Super-LumiNova. Variant B went a step further by introducing a vertical color gradient that darkens from top to bottom. Variant C is the culmination of two years of testing and trying to find the best way of achieving the desired visual effect and level of execution.

Like a Hypsometric map, the idea was to highlight and dramaticize the three-dimensional nature of the topographical dial by having each level painted in a slightly different tone. The highest peaks os the dial, representing the twelve hour markers, are hand-painted in a bright, cool white tone, then each successive lower layer gets darker and bluer. Across sixty-seven dial plate and nine vertcial layers, the dial shifts from white to deep turquoise.

The process to perfect the gradient of luminescent paint was no easy feat. Besides the usual headache of finding the right grain sizes, opacity and consistency, creating a transitioning gradient that maintains a unifrom tone or hue took more trials than we’d like to remember. But the end result is totally worth the effort. And just like in Variant “B”, a compromise had to be found between achieving a near-perfect transitition of blue tones and a solid performance of the luminescent pigments. It won’t glow like a torch, but it definitely glows, especially the Lichtblock™ elements on the hour and minute hands.

BRUTALIST ARTISANSHIP
While kollokium’s designs are meant to evoke a sense of industrialism and rawness, behind the avant-garde object is a tremendous amount of manual, meticulous handwork. And because there’s no equivalent to base our work on, we end up having to find creative solutions to problems no one has encountered before. While we wouldn’t consider ourselves champions of traditional handcrafts, our watches require specialized hands and talent to materialize. We call it brutalist artisanship.

Projekt 02’s topographical dial is made in nine layers, composed of sixty-seven individual dial plates, which are individually hand-painted with a mix of lacquer and Super-LumiNova, carefully avoiding the metal contours. These plates are then vertically stacked and pegged on top of each other, one at a time. It takes around 8 hours to assemble a single dial, and the plates can be prone to bending when handling and pressed together during assembly, causing the entire dial to have to be discarded and the work starts all over again. The good news is, our partners in dial production have gotten better, relatively speaking. Compared to the first version of Projekt 02, the dial rejection rate of Variant “C” has gone down from nearly 80% to 50%. Still horrible by any measurable standard, but such is the raw beauty of kollokium’s take on contemporary craftsmanship.

It should be noted that given just how much of the dial work is done by hand, industrial-level perfection and super-tight tolerances are not the aim of the game for us. We rejoice in the fact that no two dials will be exactly identical, and that some discrepancies are only natural in this kind of work. In fact, we’re so proud of it that we offer a full panoramic view of the dial through the tall sapphire crystal with rounded edges.

MONOBLOC CASE (OR IS IT?)
One of the things that we believe makes kollokium stand out from the rest is our approach to making cases. Instead of the tried and tested methods of CNC milling or stamping (yuck), we use a method that isn’t commonly found in watchmaking: diecasting. By working with a mold, the molten 316L stainless steel can take on forms that would be difficult to achieve with other methods, while also exhibiting a unique matte texture that requires no finishing. It’s steel in all its raw glory.

In Projekt 02, the case serves as a structural platform, upon which the topographical dial is built. With no distinct bezel (from the outside anyways), no caseback and no detachable lugs, it’s a single integrated unit that’s indivisible. The design is such that a slightly arched barrel-shaped central element appears to be held in place by four triangular lugs, as if welded together. No sharp angles, no straight lines. It’s all in the curves and tension. With a rounded bottom and downward lugs, the case sits very close to the wrist and wears surprisingly slim. With no visible logo or branding, the watch bears only one mark of its makers: the project’s full internal dossier or project name, K,P–n02, in relief on the side of the case. On the opposite side, the signature kollokium triangular valve-shaped crown.

One of the elements that many of our customers adore about their kollokium watch is the strap. Light, elastic and breathable, the strap is inspired by outdoor gear (glamping trip, anyone?). The hook buckle, also in diecast steel to match the case, fastening system and stitched loops allow for easy size adjustment on the move. For the first time, kollokium is going full-on colorful with a turquoise blue strap that perfectly matches the dial.

kollokium ≠ WATCHMAKER
We’re not pretending to be something we’re not. kollokium may be a lot of things (at least we like to think so), but a watchmaker on a bench isn’t one of them. For Projekt 02, we’re continuing to use Swiss movement manufacturer La Joux-Perret’s G101 automatic movement. With a power reserve of 68 hours, you can take it off on Friday and wear it again on Monday (though why anyone would want to remove it at all is beyond us, but hey). Since kollokium had nothing to do with the movement, it was decided to leave it completely unbranded and unadorned. It’s not like you can see it anyways ¯\_(ツ)_/¯

The post Cooler Waters: kollokium Projekt 02 (K,P–n°02) Variant “C” tempers the heat with nine layers of turquoise blue appeared first on Arab Watch Guide.

Following the success of their first collaboration, Dennison and Collectability are proud to announce their second limited-edition release: a bold new expression of the now familiar Dennison form, imagined through the shared vision of Collectability founder John Reardon and celebrated Swiss designer Emmanuel Gueit.

The 2026 Edition Oblique Collection will be produced as a limited edition available to pre-order for one week only from May 27 until June 2. This model will be exclusively made for the Dennison + Collectability collaboration and offers two distinctive dial options, in two different colorways, each with its own personality.

Some partnerships are born out of a natural connection. The Dennison + Collectability partnership is one of them. The story of this new release began in Geneva last fall, with a meeting of minds and a single piece of paper. Inspired by their mutual love of 1960s asymmetric design, and by a shared desire to create something distinctive, emotional, and accessible, the idea took shape almost instantly. Gueit brought the sketch to life, and it was immediately clear that something special and something very different had been born.

This new 2026 Edition builds on the spirit of the first Dennison + Collectability collaboration while moving the design language forward in a daring and unexpected new direction. The familiar Dennison case shape is transformed through an unusual asymmetric form set within the case revealing a geometrically shaped dial. Each version of the watch features its own design language on the dial. More sculptural than the first edition, the watch is designed to engage the wearer to see time in a whole new way.

The renewed Dennison identity has been guided by Emmanuel Gueit, the creative force behind some of modern watchmaking’s most recognizable designs. For this Dennison + Collectability 2026 Edition, Gueit expands on Dennison’s distinctive case and dial architecture with a design that feels at once vintage-inspired and unmistakably contemporary.

Playful, mysterious, and delightfully offbeat. This two-tone dial features an inner blue sunburst finish, framed by a diamond-cut metallic border and set within a rich suburst green surround. Its asymmetrical layout and unexpected geometric composition give the watch a sense of movement, as if the dial is shifting between perspectives.

Oblique Vector Dial

An energetic expression of the Oblique design. Twelve lines radiate from the center, creating a dynamic sense of direction and dimension. In gold, the Vector dial has warm gilt-colored sunray finish with contrasting black lines. In steel, it has a silvered sunray finish with blue lines. This monochromatic design blends timeless elegance with a refined, futuristic edge.

With this second series release, Dennison and Collectability reaffirm their shared belief that great design should not be reserved only for the few. Inspired by vintage form, modern creativity, and the emotional pull of collecting, the Dennison + Collectability 2026 Edition brings a new shape and a new feeling to the wrist.

John Reardon quote: “This second collaboration with Dennison is about the joy of design and the emotion of collecting. It started with a conversation and a single piece of a paper, and a shared love of 1960s asymmetric watches. Emmanuel took that idea and made it real. The result is something bold, unexpected, and accessible. Exactly the kind of watch that reminds me why I fell in love with collecting in the first place.”

Emmanuel Gueit quote: “For this next collaboration with Collectability, I really wanted to focus on the architecture of the watch and especially the asymmetrical opening of the dial. My vision has always been to create something different and unexpected rather than follow convention. For me, asymmetry creates tension, balance, and a completely different emotion on the wrist.”

Toby Sutton quote: “When we first released this collaboration in 2025 it was unexpected, yet made perfect sense. This time round, we are even more excited to introduce the new 2026 Edition. A collaboration shaped by a shared passion and vision. The result is a watch that honors the past while possessing a distinctly original character and authenticity.”

The post Dennison + Collectability Unveil Their Second Collaboration appeared first on Arab Watch Guide.

The LM Perpetual Chromatic Editions

The first two editions are crafted in 18k white gold and feature bezels set with either blue or purple sapphires. The third edition is crafted in 18k red gold and features a bezel set with red rubies. Each bezel is traced by an elegant line of 48 baguette-cut gemstones, all set by hand by the skilled team at the brand’s long-term Friend STG Creation in Geneva — a perfect frame for the complex perpetual calendar calibre, achieved without increasing the diameter of the case.

The new pieces are also distinguished by PVD-treated hands matched to their gemstones or case colour; purple for the purple sapphires, blue for the blue sapphires and 5N PVD for the red ruby edition, echoing the tone of the red gold case.

Bringing together the horological complexity and craftsmanship of the innovative perpetual calendar mechanism created by Stephen McDonnell with the bold sophistication of colourful gemstones, these new editions are limited to just 8 pieces each – making them among the rarest LM Perpetuals ever crafted.

The LM Perpetual

Over ten years ago, MB&F and independent Irish watchmaker Stephen McDonnell began with a blank sheet of paper and completely reinvented that most traditional of horological complications; the perpetual calendar. This resulted in the creation of the Legacy Machine Perpetual, featuring a visually stunning in-house movement – developed from the ground up to eliminate the drawbacks of conventional perpetual calendars.

The fact that the complication looked sensational and could be fully appreciated dial-side was just one of the many benefits offered by the new movement, controlled by a mechanical processor.

The LM Perpetual features a fully integrated 581-component calibre − no module, no base movement − with a revolutionary new system for calculating the number of days in each month. And it holistically reinterprets the aesthetics of the perpetual calendar by placing the full complication on dial-free display underneath a spectacular suspended balance.

The perpetual calendar is one of the great traditional complications, calculating the apparently random complexity of the varying numbers of days in each month − including the 29 days in February during leap years. But traditional perpetual calendars do have a few drawbacks: dates can skip; they are relatively easy to damage if adjusted while the date is changing; and the complications are usually compromises of modules powered by base movements.

The fully integrated, purpose-built movement of Legacy Machine Perpetual has been designed from scratch for trouble-free use: no more skipping dates or jamming gears, and the adjuster pushers automatically deactivate when the calendar changes, so no problems there either!

Traditional perpetual calendar mechanisms use a 31-day month as the default and basically “delete” superfluous dates for the months with fewer days – by fast-forwarding through the redundant dates during changeover. A traditional perpetual calendar changing from February 28 to March 1 scrolls quickly through the 29th, 30th and 31st to arrive at the 1st.

LM Perpetual turns the traditional perpetual calendar system on its head by using a “mechanical processor” instead of the conventional space-consuming grand levier (big lever) system architecture. The mechanical processor utilises a default 28-day month and adds extra days as required. This means that each month always has the exact number of days required; there is no fast-forwarding or skipping redundant days. And while the leap year can only be set on traditional perpetual calendars by scrolling through up to 47 months, LM Perpetual has a dedicated quickset pusher to adjust the year.

With its open dial revealing the full complication and suspended balance, it’s the harmonious mechanical beauty of LM Perpetual that really steals the show. And in an interesting technical twist, that eye-catching balance hovering on high is connected to the escapement on the back of the movement by what is likely to be the world’s longest balance staff.

Using an innovative system developed especially for Legacy Machine Perpetual, the subdials appear to “float” above the movement with no visible attachments. The skeletonised subdials rest on hidden studs, which is technically impossible with traditional perpetual calendar mechanisms because they would block the movement of the grand levier.

Taking a clockwise tour of the dial, at 12 o’clock we see the hours and minutes nestled between the elegant arches of the balance; day of the week at 3 o’clock, power reserve indicator at 4 o’clock, month at 6 o’clock, retrograde leap year indicator at 7 o’clock, and date at 9 o’clock.

The Legacy Machine Perpetual won the Best Calendar Watch Prize at the GPHG (Grand Prix d’Horlogerie de Genève) in 2016.

LEGACY MACHINE PERPETUAL IN DETAIL

INSPIRATION AND REALISATION

The Legacy Machine collection was conceived when MB&F owner and creative director Maximilian Büsser started fantasising. “What would have happened if I had been born in 1867 instead of 1967? In the early 1900s the first wristwatches appear, and I would want to create three-dimensional machines for the wrist, but Grendizers, Star Wars, and fighter jets would not have been around for my inspiration. But I do have pocket watches, the Eiffel Tower, and Jules Verne, so what might my 1900s machine look like? It has to be round and it has to be three-dimensional.” The result of this was Legacy Machine No.1, first launched in 2011 – followed later by LM2 and LM101.

The LM Perpetual project began with a meeting between Maximilian Büsser and Northern Irish watchmaker Stephen McDonnell. McDonnell had been a long-time Friend of the brand and played an instrumental role in the realisation of MB&F’s very first timepiece, Horological Machine No.1. As Büsser was thinking of developing a perpetual calendar for the fourth watch in the Legacy Machine collection, McDonnell replied that he had an idea for a perpetual calendar that addresses many of the drawbacks associated with conventional examples.

Three years and a great many sleepless nights later, Legacy Machine Perpetual was born.

CONVENTIONAL PERPETUAL CALENDARS

Conventional perpetual calendars are generally modules comprising the complication, which is fitted on top of an existing movement. The calendar indications are synchronised by a long lever (in French: grand levier) running across the top of the complication and passing through the centre. As the date changes, this long lever transmits information to the appropriate components and mechanisms by moving backwards and forwards.
The existence of the grand levier means that there can be nothing in the centre of the complication that might impede it – like a suspended balance with its staff running right down through the centre of the movement to an escapement on the back.
This lever also means that perpetual calendars require a full dial, which may have cut-outs or windows, as it is impossible to support subdials with studs because they would block the motion of the big lever mechanism.

In the traditional grand levier system, perpetual calendars assume that, by default, all months have 31 days. At the end of months with less than 31 days, the mechanism quickly skips through the superfluous dates before arriving at the 1st of the new month. Any manipulation or adjustment of the date during changeover can result in damage to the mechanism, requiring expensive repairs by the manufacturer. The dates can also jump or skip during changeover, negating the whole point of the perpetual calendar in the first place, which is not requiring adjustment for years. Or decades.

“I call perpetual calendars boomerang watches because they come back for repair so often,” says Maximilian Büsser. “The mechanisms jam, block, break, or jump days when they shouldn’t.”

MECHANICAL PROCESSOR

Legacy Machine Perpetual uses a “mechanical processor” consisting of a series of superimposed disks. This revolutionary processor takes the default number of days in the month at 28 – because, logically, all months have at least 28 days – and then adds the extra days as required by each individual month. This ensures that each month has exactly the right number of days. There is no “skipping over” redundant days, so there is no possibility of the date jumping incorrectly.

Using a planetary cam, the mechanical processor also enables a quick setting of the year so that it displays correctly in the four-year leap year cycle, whereas traditional perpetual calendar mechanisms require the user to scroll through up to 47 months to arrive at the right month and year.

The mechanical processor also enables an inbuilt safety feature that disconnects the quickset pushers during the date changeover, eliminating any risk of damage while the date is changing.

While the conception and development of this mechanical processor-controlled perpetual calendar complication is a noteworthy achievement in itself, Stephen McDonnell went even further by managing to place all 581 components of the movement in virtually the same-sized case as LM1.

OPENING UP A NEW WORLD OF PERPETUAL CALENDAR AESTHETICS

Doing away with the calendar’s big lever has allowed for completely new aesthetics not possible when conventional systems are in use. MB&F’s mechanical processor enables the centre of the complication to be used, thereby saving space and allowing design freedom as the full dial is no longer necessary.

Legacy Machine Perpetual takes advantage of its fully integrated movement to place the perpetual calendar mechanism on top of the movement main plate so that it can be appreciated from above. Legibility is often an issue with perpetual calendars due to the sheer number of indications, and LM Perpetual addresses this by using skeletonised subdials (except for the time indication) that appear to float above the complication with no apparent support from below.

BALANCE ABOVE, ESCAPEMENT BELOW

In yet another innovation, Legacy Machine Perpetual uses what is likely to be the world’s longest balance wheel pinion to connect that elegantly suspended balance, hovering above the top of the movement, to the escapement on the back of the movement. Ensuring the practicality and reliability of this approach was essential before any other development work began.

While the view through the display back is animated by the escapement, it’s the spectacular hand-finishing of the bridges and plates that really captivates the eye.

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Where continuity defines form and tone defines character. In the interplay of light, gold expresses its most sophisticated nuances.

LIONEL FAVRE, PRODUCT CREATION & DESIGN DIRECTOR

PRISMATIC ALLURE
Reviving the bold aesthetics of the colourful, gem-set cocktail watches of the 1930s, these creations capture their expressive design through vibrant colours with rubies, blue sapphires and emeralds.

‘OR DECO’ MONOCHROMATIC ALLURE
A design defined by a monochrome aesthetic, elevated through a play of contrasting textures, balancing polished and grained finishes to create a composition that is both complex and cohesive.

VINTAGE ALLURE
With a distinctly vintage allure, it reflects the refined way timepieces were once worn, inspiring restrained dimensions and a Milanese bracelet for a timeless sense of elegance on every wrist.

TRADITIONAL CRAFTS
The ‘Or Deco’ series adapts time-honoured techniques, including intricate gem-setting and precise bracelet construction, for the modern era.

OVER 10 METRES OF GOLD THREADS
A Milanese link is a dense, flat metal mesh woven from two twisted metal threads into interlocking links, requiring over 10 metres of gold threads. Formed into a fabric-like pezza, it is stamped to size and soldered link by link by hand, creating a smooth, flexible mesh.

46 BAGUETTE-CUT PRECIOUS STONES
The Métiers Rares™ atelier used rail setting, a technique that involves forming gold rails into which stones are slid and secured by folding a fraction of the case’s gold over the edge of the 46 baguette-cut and coloured stones without compromising them. This edge-to-edge setting ensures a continuous flow of light.

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Anchored by a vivid red flying tourbillon and crafted in titanium, this limited edition reflects the collaboration’s shared outlook: purpose over excess, essence over noise, and a deliberate emphasis on focus and intent.

A FRESH PERSPECTIVE ON EXPLORATION

The Royal Oak Concept Flying Tourbillon created with Yoon and Verbal presents the collection’s architectural strength into a compact 38.5 mm titanium case, where sandblasted, satin‑brushed and polished surfaces highlight its sculptural geometry. A vivid red aluminium flying tourbillon stands out against a black aventurine dial, while openworked details and luminescent white‑gold hands bring depth and clarity. Through the sapphire and titanium caseback, the ultra‑modern movement is revealed with engravings affirming the collaboration.

AT THE CORE OF THE NEW CALIBRE 2982

Developed specifically for this collaborative limited edition, Calibre 2982 builds on the technical advancements of Calibre 2964 – the Manufacture’s hand-wound flying tourbillon movement that brings together tradition and modernity. Crafted to showcase the regulating organ in full view, the new variation conserves its predecessor’s high-tech architecture. Its aluminium tourbillon cage, framed by red bridges, adds a bold visual signature while enhancing precision.

Partly openworked and finished with refined hand‑decorations, Calibre 2982 brings clear, architectural and expressive refinement to the heart of this limited-edition Royal Oak Concept Flying Tourbillon.

A CONTEMPORARY TAKE ON THE ROYAL OAK CONCEPT

Equipped with the interchangeable strap system, the model shifts effortlessly between black and red rubber straps featuring a “micro‑mosaic” pattern and quilted inner lining.

Red has always been a powerful colour for us, while the tourbillon cage represents the heart of the watch – the force that keeps everything in motion. Red evokes the Earth’s core: the origin point, the source of energy and, ultimately, the beginning of how we measure time itself.

Verbal – Ambush Co-Founder and Music Producer

Creativity is always in motion. You keep evolving, regenerating, moving forward, so the design of this limited edition had to follow that energy. For me, it was about balance, about creating something truly universal that anyone could connect with.

Yoon Ahn – Ambush Co-Founder and Creative Director

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Audemars Piguet and Swatch unveil the Royal Pop, a groundbreaking watch collection that combines joyful boldness and positive provocation with fine watchmaking. This collection, titled Royal Pop, draws inspiration from Pop Art, an artistic movement  that transforms everyday pop culture imagery into vibrant, colorful and energetic works of art. Audemars Piguet and Swatch have decided to blend some of their hallmark features into a disruptive pocket watch available in eight models and designed to be worn in a multitude of different ways.

This partnership is more than a tribute, it is a disruptive collaboration between two icons of Swiss watchmaking.
The Royal Pop watches draw inspiration from Audemars Piguet’s legendary Royal Oak collection, launched in 1972, as well as the Swatch POP watches of the 1980s.

This collection will change the way we wear watches. The watches in the AP × Swatch collaboration break free from the wrist, featuring a high-quality calfskin lanyard with contrasting stitching, allowing you to wear the watch in unexpected, playful, and  dynamic ways. The choice is yours: around your neck, on your wrist, in your pocket, attached to a handbag, and more. There are no limits, with three lanyard lengths to choose from and a small removable stand that lets you turn it into a desk watch.

The collection of eight Swiss-made Bioceramic models is powered by Swatch’s signature, innovative SISTEM51 movement, now offered in a new hand-wound version with 15 active patents. SISTEM51 is a true industrial feat, as it is the only Swiss-made  mechanical movement in the world whose assembly is 100 % automated.

Among its features are over 90 hours of power reserve, the anti-magnetic Nivachron™ balance spring, and laserbased precision adjustment performed directly at the factory. It’s worth noting that the Nivachron™ balance spring was developed in  collaboration with Audemars Piguet and is therefore found in several of their models.

And that’s not all. This magnificent movement is partially visible thanks to the transparent caseback of the eight watches in the Royal Pop Collection, each with its own unique color scheme. In addition to the colors, customers will be spoiled for choice  with two different versions:

• a Lépine-style pocket watch, with the winding crown positioned at 12 o’clock. Time reading is simplified to two hands (hours and minutes). This version is available in six different models.
• a Savonnette-style pocket watch with the winding crown at 3 o’clock. This version, available in two models, features a dial with a small seconds subdial at 6 o’clock.

But why exactly eight models for Audemars Piguet × Swatch? It’s a nod to the eight sides of the case and the eight screws on the Royal Oak’s signature bezel. And since nothing is left to chance, the Royal Pop has 8 additional patents for the case  construction, as the original Royal Oak’s case is complex, combining the rounded octagon, the circle, and the barrel shape. All these features are found in the Royal Pop.

One of these patents is the design of the barrel drum (the watch’s power reserve), which is not merely decorative, but also indicates the watch’s power reserve. When the barrel chambers are gray, they reveal the coils of the mainspring. This means the  watch needs to be wound.

Conversely, when the color is gold, the mainspring is no longer visible through the barrel chambers. It is fully compressed, indicating that the watch is fully wound and running at full power.

The “Petite Tapisserie” dial pattern has also been one of the Royal Oak collection’s defining aesthetic features since 1972. All eight Royal Pop models thus feature this instantly recognizable Royal Oak design. For its part, the Royal Oak’s octagonal bezel is a signature in its own right, with its eight hexagonal screws, which are among the most disruptive elements of the Royal Oak. As for the Royal Oak’s bezel, while it is octagonal, it goes far beyond a simple eight‑sided shape. Accenting this octagonal bezel,  the eight hexagonal screws are perhaps the most groundbreaking element of the 1972 Royal Oak. The Royal Pop draws inspiration from this and, in the white model named HUIT BLANC, boldly features them in eight different hues. For all eight models, the eight screws on the eight-sided bezel and the caseback are welded to the case.

Among the Royal Pop’s other technical features, the vertical satin finish on the bezel and case back echoes the original decorative elements of the Royal Oak. In keeping with this identity, a “Tapisserie” effect has been applied to the dial. The movement’s  caseback is printed using digital printing. The crown, case, and lanyard attachment are made of Bioceramic. The hour and minute hands and hour markers are coated with Grade A Super-LumiNova® for optimal nighttime readability.

The entire collection features two sapphire crystals on the front and back of the case. The caseback is also pad-printed with the Royal Pop logo. Both the top and bottom crystals, which are sapphire crystals for enhanced scratch resistance, feature an anti-reflective coating. The unique composition of Bioceramic— two-thirds ceramic powder and one-third biosourced material derived from castor oil—gives it a strength and smoothness that must be experienced to be believed. The Audemars Piguet × Swatch collab logos can be found on the dial and the crown.

The watch head is attached by clipping the back onto the clip, which can be removed as desired. During this process, a clicking sound also becomes an acoustic signature of this collection.

Audemars Piguet × Swatch is available exclusively as of 16 May, 2026 at selected Swatch stores. Find your nearest point of sale using our store locator on swatch.com. As with other Swatch collaborations, only one watch per person, per day, and per  selected store may be purchased.

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