Falling within Zenith’s HORIZ-ON initiative to offset its impact on the environment by developing ecologically-conscious products and services without compromising on quality and desirability, Zenith began its collaboration with Nona Source at the start of the year with a collection of lavishly refined straps developed for the Defy Midnight women’s watch line. During Viva Tech 2022, Zenith and Nona Source are unveiling three new straps tailored for the award-winning Chronomaster Sport collection in surprising new colours and different technical fabrics.

Ready to take on the summer season with the right tones and technical properties, the first strap in the capsule collection is the “Deep Dive” strap for the boutique edition of the Chronomaster Sport, made of a water-repellent blue textile that recalls the signature blue of the Zenith tricolour dial.

The warmer seasons call for lighter, more breathable fabrics, and that’s where the second strap in the series comes in. Dubbed “Rifle Green”, this strap is made of a light cotton-linen blend fabric and adds an unexpected yet complementary colour to the traditional El Primero palette.

And finally, for a bold and decidedly urban look, a third “Pale Marigold” strap in shimmery gold cotton-blend adds an edgy look inspired by today’s convergence of streetwear and haute couture.

Measuring 20/16mm, these straps are compatible with all the references in the Chronomaster Sport and Chronomaster Open collections and are available exclusively at Zenith physical boutiques.

A subtle and unexpected aesthetic
For her third collaboration with Audemars Piguet, Carolina Bucci has left behind her hammering technique, known as Frosted Gold, to enrich an all-black ceramic piece with a surprising dial. Always looking to meet new challenges, she decided to focus on contrasts. At first glance, the dial appears black, but on closer inspection it reveals a multi-coloured spectrum that brings the Tapisserie effect to life in the ever-changing light. To reach this result, a sapphire plate adorned with little squares achieved through micro-structuring is added on top of the brass dial plate to create rich rainbow-coloured plays of light. A golden metallisation, specially developed for the occasion, is also applied onto the back of the sapphire plate to create a mirror effect and shine lights onto the dial. The pattern of iridescent colours varies from dial to dial, making each design unique. This limited edition comes in a presentation box that has also been designed by Carolina Bucci. For this special occasion, the jewellery designer wanted to use the Tapisserie pattern in relief, going into the finest details, to pay homage to the 1972 classic.

“I wanted to place a rainbow in the most unexpected of places, a little like when you see oil floating on a puddle in a city street… So here you have every colour of the spectrum on a canvas that is completely black, which is itself the absence of colour”, says Carolina Bucci, jewellery designer.

Materials full of contrasts
The black ceramic case and bracelet are highlighted by hexagonal pink gold screws that secure the bezel and create an elegant contrast of colours. All the components of the case and bracelet are finished with the Manufacture’s signature satin-finishing that is paired with polished chamfers for a maximum play on light.

The bracelet has been slightly revised to provide a better visual effect. The pins connecting the links to the studs are no longer visible from the side, but are directly integrated into the studs.

The titanium and sapphire caseback is engraved with the inscription “Limited Edition Carolina Bucci” and reveals the Calibre 5800 beneath, which indicates the hours, minutes, seconds and date. In keeping with the finish on the screws, hour-markers and hands, the 22-carat pink gold oscillating weight features elegant microbead-blasted, polished and satin finishes.

On the dial, the AP monogram has vanished to leave pride of place to the long-form signature which has been engraved on top of the sapphire plate and filled with white lacquer due to the singularity of the dial imagined by Carolina Bucci.

A collaboration in constant evolution
Carolina Bucci first started working with Audemars Piguet in 2016 for the 40^th anniversary of the women’s Royal Oak that was created by Jacqueline Dimier in 1976. It was for this special occasion that the Italian designer was invited to reinterpret the original design by Gérald Genta. Together with the Manufacture’s watchmakers, she brought the ancestral technique of Florentine hammering, or Frosted Gold, to the complex architecture of the Royal Oak.

This technique consists of creating tiny indentations in the gold with a diamond-tipped tool that results in a sparkle that looks like diamond dust. Two models were initially released – the 15454 in 37 mm and the 67652 in 33 mm in a choice of white or pink gold – during an international event with Jacqueline Dimier in attendance. This marked the beginning of Audemars Piguet’s collaboration with Carolina Bucci. Since 2016, the Frosted Gold finish has been applied to numerous watch collections, sizes and complications.

In 2018, the designer signed a limited edition of 300 pieces for Audemars Piguet, entirely crafted in frosted yellow gold with a unique dial. Instead of the model’s trademark Tapisserie design, Carolina Bucci chose a mirrored dial with a flat surface evoking the surface of a lake on a calm day, reflecting the surrounding landscape. Despite its apparent simplicity, the mirrored dial presented a number of technical challenges that the Manufacture’s artisans were able to overcome to perfection.

In 2020, she went on to design the K.I.S.S. collection of gold bracelets – available in two sizes and numerous tones with matching necklaces – that were inspired by her previous projects with the Manufacture. These creations reinterpret the aesthetic codes of a mechanical watch spring, creating a link between Haute Joaillerie and Haute Horlogerie.

Today, Carolina Bucci pays tribute to the Royal Oak’s 50th anniversary, with a design in black ceramic contrasted with multi-coloured reflections on the dial, providing the watch with unexpected plays of light. The Royal Oak Selfwinding 34 mm will not only surprise watch lovers with its iridescence, but will also seduce them with its sober and discreet refinement.

RICHARD LANGE MINUTE REPEATER – a homage to classic precision watchmaking
The tradition of historic pocket watches is an important point of reference for A. Lange & Söhne and is reflected in many details of today’s manufacture calibres, sometimes even in the overall concept of a watch. And this is the case with the RICHARD LANGE MINUTE REPEATER, a limited edition of 50, which is based on the classic construction principles of precision watchmaking. The pursuit of historical authenticity is expressed in the construction of the melodious and sophisticated striking mechanism as well as the enamel dial with its blued steel hands and slim Roman numerals, which are manufactured in-house. Contemporary developments include the patented hammer block and the pause elimination feature that prevents the usual pause between the hour and minute strikes in the first 14 minutes of an hour. This also reflects Lange’s ambition to never stand still and drive forward the art of watchmaking. The timepiece is limited to 50 pieces and water-resistant up to 2 bar (20 metres).

ODYSSEUS – sporty elegance in titanium
At A. Lange & Söhne, the name ODYSSEUS also represents the merging of uncompromising quality with the highest levels of functionality. With a case made from light, robust titanium that is water-resistant up to 12 bar (120 metres), and a matching strap, which guarantees the highest levels of comfort even when playing sport, the third member of the ODYSSEUS watch family lives up to this claim. The multilevel dial in the new colour ice-blue has a striking surface structure. The sporty-elegant character of the watch, which is a limited edition of 250, is complemented by the robust, perfectly handcrafted automatic calibre L155.1, which was developed exclusively for this model range and launched in 2019. The balance wheel ensures absolute precision by oscillating at 28,800 semi-oscillations per hour (4 hertz) underneath the balance wheel bridge which is adorned with a hand-engraved wave pattern.

GRAND LANGE 1 – further development of a design classic
The new GRAND LANGE 1 perfectly reflects the ambition to further develop a watch family that has been the face of the brand for more than 25 years and has set new standards in precision watchmaking. The challenge lies in making the proportions of the timepiece even more elegant but at the same time retaining its high degree of recognisability. The new model’s height has been reduced to 8.2 millimetres, giving the watch an even better fit on the wrist. This makes the GRAND LANGE 1 the ideal dress watch that combines genteel understatement with exciting design to form one organic unit. The 41 mm timepiece is available in white or pink gold.

A new ultra-thin flying tourbillon movement
At the heart of this new innovation is Calibre 2968, an ultra-thin selfwinding flying tourbillon movement that was developed over a five-year period. Audemars Piguet’s engineers and watchmakers took on numerous challenges in order to accommodate this complication – previously reserved for 41 mm diameters – into the smaller volume of a “Jumbo”: a first for the Manufacture and one of the rare examples in the watch industry as a whole. Given the extra-thin nature of the form language, this selfwinding flying tourbillon had to be creatively rethought to reduce the thickness required to house this complication by repositioning certain components. The tourbillon cage, which is crafted in titanium, is notably equipped for the first time with a peripheral drive¹. The combination of these two elements not only makes the distribution of energy to the tourbillon more fluid, but also served to lighten and refine this regulating organ.
In order to provide optimum visibility of the tourbillon and the movement, Audemars Piguet engineers completely redesigned the architecture of the mechanism. The Royal Oak Selfwinding Flying Tourbillon Extra-Thin features a new escapement to accentuate the aesthetic details while revealing part of the movement’s workings. The geometry and positioning of the balance wheel arms have notably been revised in such a way as to make the watch’s beating heart even more perceptible. The technical design of the movement results in the flying tourbillon being placed at the dial level, for a greater visual experience.
The hand decoration of the movement components, visible through the sapphire caseback, combines the dynamism and classicism of V-angles with the modernity of traits tirés – a finish that appears on the mainplate and bridges and replaces the traditional Côtes de Genève. The openworked, rhodium-toned bridges offer an unobstructed view, contrasting with the pink-gold-toned colour of certain mechanism elements.

¹ The tourbillon cage’s peripheral drive enables to reduce the tourbillon’s thickness and gain a level, thus making it possible to fit it into the extra-thin “Jumbo” case. This solution also improves energy transmission as the smaller angular pitch provides more constant energy distribution.

A refined and slender design
The new RD#3 remains true to the aesthetic codes of the iconic “Jumbo” models. The stainless steel case and bracelet feature the collection’s signature satin-brushed and polished hand finishes, while the timepiece is graced with a Bleu Nuit, Nuage 50 Petite Tapisserie dial which pays tribute to the original model. The colour is obtained using a PVD (Physical Vapor Deposition) process that guarantees a uniform and lasting tone across all the dials.
Just as on the 1972 model, this new “Jumbo” reference is distinguished by bathtub-shaped hour-markers and hands filled with luminescent material to ensure optimal readability in the dark. The Audemars Piguet signature, like the minute track, is printed in white on the Tapisserie motif. The titanium flying tourbillon cage rotating at 6 o’clock stands out against the blue Tapisserie backdrop to create an airy effect.
Contrary to the original model, the contemporary version is endowed with a sapphire caseback, which reveals the new ultra-thin movement and the dedicated oscillating weight.

A dedicated “50-years” oscillating weight
The Royal Oak Selfwinding Flying Tourbillon Extra-Thin features a central oscillating weight mounted on ball bearings and equipped with two reversers² that ensure bidirectional winding. The timepiece is fitted with the dedicated anniversary openworked oscillating weight in rhodium-toned 22-carat pink gold, which bears the “50-years” logo and the Audemars Piguet signature engraved on its surface. Matching the tones of the stainless steel case and bracelet, it is also adorned with the collection’s trademark polished and satin-brushed finishes.

² In a selfwinding movement, dedicated reversers (reverser wheels) convert the bidirectional movement of the oscillating weight into a unidirectional rotation to wind the spring.

A tradition of technical prowess
In 1986, Audemars Piguet introduced the world’s first selfwinding tourbillon wristwatch. Imagined by Jacqueline Dimier, the design placed the tourbillon escapement on the dial side for the very first time. Calibre 2870 is housed in an ultra-thin case measuring a mere 5.3 mm thick. Its titanium tourbillon cage remains one of the smallest in the world today with a diameter of 7.2 mm, as well as one of the lightest with a weight of only 0.123 grams. This model became known as the Tourbillon Selfwinding Ra (in reference to the Egyptian sun god) because Jacqueline Dimier’s design gave the tiny regulator the appearance of a sun, with its rays spreading across the dial. This complicated wristwatch, of which 401 were produced until 1992, opened up a new avenue for Haute Horlogerie, which began to see a comeback of prestigious mechanisms including tourbillon watches.
Thirty years after Jacqueline Dimier’s model, the Manufacture, known for its ability to innovate, launched a series of Research and Development models. In 2015, Audemars Piguet revealed its first RD#1 Royal Oak Concept Minute Repeater Supersonnerie prototype at SIHH, after eight years of research in partnership with EPFL, the Swiss Federal Institute of Technology Lausanne and a panel of experts composed of watchmakers, engineers, musicians and sound specialists. This watch marked a significant step forward in terms of acoustic performance, sound amplification and sonic beauty, with the launch of the Supersonnerie mechanism³. This system, for which three patents were filed, combines a novel chiming mechanism with an innovative case construction. The commercial Royal Oak Concept Minute Repeater Supersonnerie version, which followed one year later, won the “Mechanical Exception Watch Prize” at the 2016 Grand Prix d’Horlogerie de Genève.

³ The Supersonnerie, thus named by Audemars Piguet, confers a sound intensity usually associated with pocket watches. The acoustic power, sound quality and harmonic tones of the Supersonnerie are ensured by patented gongs and case architecture.

In 2019, Audemars Piguet unveiled a new innovation with its 41 mm Royal Oak Selfwinding Perpetual Calendar Ultra-Thin, whose prototype was presented a year earlier at SIHH under the name RD#2. This 6.3 mm-thick calendar watch houses a movement that is only 2.89 mm thick, making it the world’s thinnest automatic calendar wristwatch of its time. To achieve this feat, the calendar functions usually mounted on three levels were brought together on a single plane. The experts at the Manufacture also developed two patented innovations relating to the integration of the end-of-month cam with the date wheel and the association of the month cam with the month wheel. Marking a turning point in the history of complication watches, the Royal Oak Selfwinding Perpetual Calendar Ultra-Thin earned Audemars Piguet the “Aiguille d’Or” award at the Grand Prix d’Horlogerie de Genève in November 2019.
This year, the Manufacture’s latest technical advance, the Royal Oak Selfwinding Flying Tourbillon Extra-Thin, follows in the footsteps of previous innovations. This RD#3 timepiece, powered by the new Calibre 2968, combines technical innovation and aesthetic refinement to pay a fine tribute to the Royal Oak’s 50^th anniversary.

These evolutions align with the brand’s continuous improvement approach which has enabled the Manufacture to consistently push further the limits of design and mastery across generations. In addition to welcoming new calibres, most of the new models are equipped with the dedicated Royal Oak “50-years” oscillating weight. Blending tradition with cutting-edge technology, these novelties will continue to surprise the aficionados of the original model from 1972. Additional models in 41 and 34 mm will be available in the second half of 2022.

A case and bracelet offering optimum ergonomics
Paying tribute to the collection’s original aesthetics, while enhancing its ergonomics, the Manufacture has performed subtle changes on the Royal Oak case. The bevels adorning the top and the bottom of the case have been enlarged to enhance the play of light between the satin-finished and polished surfaces, while bestowing the watch with a slender aesthetic. For its part, the caseback has been slightly more integrated into the case middle to sit more comfortably on the wrist.

To accentuate the finesse of the new case design, the integrated bracelet’s first four links are now trapezoid in shape and no longer parallel. This more pronounced decrease in thickness brings forward the bracelet’s taper for more visual appeal. Furthermore, the links are thinner throughout the bracelet, and therefore lighter, offering added comfort and optimum ergonomics. First introduced on Royal Oak models in gold a few years back, this evolved aesthetic appears for the first time on stainless steel and titanium references.

A dial aesthetic harmonised across the different models
The luminescent facetted hour-markers are part of the Royal Oak’s recognisable codes. This year, the Le Brassus artisans have harmonised the size of the hour-markers and hands while retaining their aesthetics to reinforce the coherence between the different models across the collection, regardless of diameter and material. The proportions of the hour-markers of the new selfwinding chronographs and selfwinding hour, minute, second and date timepieces have been standardised according to the different diameters.

In addition, the logo has been reworked. A gold Audemars Piguet signature endowed with a unique topography now replaces the applied AP monogram and the printed “AUDEMARS PIGUET” at 12 o’clock. The embossed signature adorning the new Royal Oak “anniversary” models was originally conceived for the Code 11.59 by Audemars Piguet collection. Made of thin layers of 24-carat gold, the signature is achieved through a chemical process akin to 3D printing known as galvanic growth.

Each letter is connected with links approximately the size of a hair and placed on the dial by hand with tiny legs almost invisible to the naked eye. This method which required three years of development is difficult to achieve due to the signature’s length. For the new Royal Oak models, the challenge has been to develop a second signature size for the 34 and 37 mm novelties – the signature size of the new Royal Oak in 41 mm being the same as for the Code 11.59 by Audemars Piguet timepieces. The Manufacture’s engineers and artisans tested an array of variations once more before setting on final proportions.

Lastly, the minute track, which was previously printed on the flat external zone, now appears directly onto the Tapisserie of all Royal Oak selfwinding hour, minute, second and date models for more visual appeal – a challenging process due to the unique topography of the guilloché dial.

“To celebrate the Royal Oak’s 50^th anniversary, we wanted to pay tribute to its distinctive codes. These evolutions do not aim to revolutionise the collection, but to magnify its lines”, says Sofia Candeias, Head of Product and Design Management.

Bleu Nuit, Nuage 50, return to the roots
Faithful to the aesthetic of the original model from 1972, numerous references across the Royal Oak collection now welcome the iconic Bleu Nuit, Nuage 50 dial colour (“night blue, cloud 50”), combined with a Petite or Grande Tapisserie pattern.

The dial’s Bleu Nuit, Nuage 50 hue was originally developed by Geneva-based dial maker Stern Frères. The blue colour was obtained by immersing each dial in a galvanic bath. While the formulation of the mixture is important, the duration and temperature are both crucial. If the artisan removes the dial too early, it comes out purple, if removed too late it turns black. A thin layer of varnish mixed with a few drops of black colour (n° 50) was then applied onto the dial to protect it. The term “nuage” refers to the cloud effect the drop of black creates when it enters the protective liquid varnish. Today, the Bleu Nuit, Nuage 50 hue is achieved internally through PVD (Physical Vapor Deposition) to ensure a more homogeneous colour across the collection.

The new references also celebrate another recognisable aesthetic feature of the Royal Oak: the guilloché Tapisserie dial. Most of the 2022 Royal Oak novelties in 34, 37, 38 and 41 mm are endowed with a Grande Tapisserie pattern achieved through a complex manufacturing process based on a rare know-how no longer taught in horology school. Hundreds of small truncated pyramids with square bases are carved out on the dial’s thin metal plate by an old guilloché copying machine that reproduces the motif of a matrix. Tens of thousands of diamond shapes, whose four inner faces reflect the light, are simultaneously cut out in the thin grooves separating the squares in a seamless weave that creates a tapestry appearance. This process requires extreme dexterity and precision.

The decision to complement the original Petite Tapisserie motif with a more generous, legible and extensive Tapisserie was taken in 1998. While the manufacturing technique remained the same, the bases of the truncated pyramids became twice as big, thus considerably reducing the number of pyramids from approximately 700 to 380 on a 39 mm Royal Oak “Jumbo” dial. Three Royal Oak models adorning the new Grande Tapisserie dial were presented a year later. Their success was such that this motif appeared on most of the Royal Oak models in 2000 to the point of outshining the Petite Tapisserie which completely vanished from the catalogue before returning in 2012 on the occasion of the Royal Oak’s 40^th anniversary.

A new dedicated oscillating weight
The new Royal Oak “anniversary” timepieces are fitted with the dedicated oscillating weight in 22-carat gold that features the “50-years” logo and the engraved Audemars Piguet signature. For the occasion, the oscillating weight has been matched to the colour of each case and finished with an alternation of satin-finishing and polished chamfers.

The “50-years” oscillating weight will be fitted to the Royal Oak anniversary models endowed with the new design evolution throughout 2022, with the exception of the 38 mm chronographs.

New performant and refined calibres
The Royal Oak models endowed with the new design evolution are equipped with three different calibres, including a brand new one, Calibre 5900. This selfwinding hour, minute, second and date movement premiers this year on Royal Oak references in 37 mm, in replacement for Calibre 3120. This new mechanism is thinner (3.9 mm vs 4.26 mm) than its predecessor and offers a higher frequency (4 Hz vs 3 Hz). It is also endowed with 60 hours of power reserve when not on the wrist.

In addition, Calibre 4401, first introduced on gold Royal Oak models in 2021, makes its debut this year on the new 41 mm Royal Oak Selfwinding Chronographs in stainless steel. This in-house integrated chronograph endowed with flyback function encompasses enhanced chronometry as well as an instantaneous date-change mechanism. In addition, it features a column wheel and a vertical clutch system – a feat reserved to high-end chronographs due to the complexity of its components. The movement’s refined finishing, including Côtes de Genève, satin brushing, circular graining, circular satin and polished chamfers, can be admired through the sapphire caseback.

Lastly, Calibres 5900 and 4401, which power the 15550, 15551, 26240 and 26242 references, are both fitted with the dedicated anniversary oscillating weight.

50 years of reinvention
In constant dialogue with the world that inspires it, the Royal Oak has seen countless evolutions over the years and reached the status of icon. Launched in 1972, the Royal Oak designed by Gérald Genta, was available for the first four years in a unique stainless steel design, Model 5402. In 1976, the first women’s Royal Oak designed by Jacqueline Dimier saw the light of day, marking the beginning of a collection. The following year, the collection expanded with gold models, new diameters and new calibres. From then on and in barely five years (1977–1981), 27 new models were created.

In 1978, the introduction of gemset dials and cases enabled new creative and refined developments. In 1980, the Manufacture launched its first non-guilloché Royal Oak dials, notably on feminine creations, thus offering new decorative possibilities. In 1992, the introduction of the sapphire caseback allowed Audemars Piguet to reveal the minute handiwork adorning its movement components. This turning point for the collection set a new trend still found on numerous references today.

Since 1976, the Royal Oak’s evolving process has been continuous. Only the essential aesthetic codes of the collection, such as the tonneau-shaped case, the octagonal bezel and the eight visible hexagonal screws have remained unchanged. The evolution of the newly released models celebrating this anniversary year marks yet another milestone in the development of a collection that has crossed eras and trends. 50 years on, more than 500 versions have reinterpreted this iconoclast turned icon.

Drawn from vintage aviation aesthetic
The collection comes in five unique versions honoring four powerful and memorable aircraft, whose filigree silhouettes adorn the watches’ sapphire case backs.

The Super AVI P-51 Mustang pays homage to the best all-around fighter plane of its era in two distinct versions: a stainless-steel case with a black dial and gold-brown leather strap, and an 18 k red gold version with an anthracite dial and a black leather strap.

The Super AVI Tribute to Vought F4U Corsair features a blue dial, tone-on-tone chronograph counters, and a black leather strap that take their design cues from the characteristic livery of the record-breaking naval aircraft.

The Super AVI Curtiss Warhawk, with its military-green dial, white contrasting chronograph counters, and red accents, plays on its namesake’s famous shark-mouth nose art that gave the plane its unmistakable identity.

The Super AVI Mosquito features a combination polished and satin-brushed black ceramic bezel and a black dial with white contrasting chronograph counters. Its red and orange elements recall the roundels and markings found on the versatile plane, dubbed the “Wooden Wonder”.

“Our watchmaking DNA is what dominates here, while the interpretations of the four aircraft give the series its emotion and bold graphic appeal. Taken together, these elements evoke the spirit of early flight, says Breitling Creative Director Sylvain Berneron. We can’t forget that Breitling pioneered aviation tool watches like the Ref. 765 AVI. That heritage is so strong, we had to not only keep it intact, but rewrite it for the 21^st century.”

The Super AVI’s distinctive design includes large, highly legible Arabic numerals on the dial and bezel. Its sturdy case measures 46 mm, and the oversized crown sits at 3 o’clock. Knurled bezels provide optimal grip, and top-stitched calfskin straps give a nod to the seams found on leather flight gear of the era.
Pilots and other travelers will appreciate the ability to track a second time zone using the 24-hour marking on the inner bezel and the red-tipped GMT hand. The engine of the Super AVI is the COSC-certified Breitling Manufacture Caliber B04 movement, which provides approximately 70 hours of power reserve.
While the Super AVI reminds us of the days before digital timekeepers when pilots’ watches were their trusted flight instruments, its robust aesthetic and enduring precision are what make the Super AVI just as relevant today.

A Quartet of Aviation Game Changers:

When the P-51 Mustang was built in a mere 120 days, even its developer, North American Aviation, didn’t anticipate what a powerhouse it had on its hands. The P-51’s low-drag wings and engine-cooling system – considered experimental when the single-seat fighter first took off in 1940 – gave it unprecedented speed and range. The addition of a Merlin engine expanded the plane’s performance to high altitudes, making it the best all-purpose fighter of its time.

As a WWII naval aircraft, the Vought F4U Corsair had to make tricky takeoffs and landings from carriers and remote landing strips. Speed and lift were of the essence, and the Corsair came through with flying colors, becoming the first single-engine fighter to crack the 400 mph (640 km/h) mark, while also providing an exceptional rate of climb. Its “bent-wing” design, oversized propeller, and signature blue livery make it an emblem of aviation history.

Conceived as a pursuit aircraft, the Curtiss P-40 Warhawk first flew in 1938 and quickly proved itself as a master of agility. It wasn’t just the plane’s capacity for pulling jaw-dropping turns that gave it an in-flight edge, its robust structure meant it could tolerate harsh weather conditions and even severe combat damage. The Warhawk’s defiant shark-mouth nose art sealed its reputation as the rebel of the skies.

In an era when aluminum and steel shortages were common, the engineers behind the de Havilland Mosquito made use of a still plentiful material: wood. The “Wooden Wonder” caused shock waves when it outperformed its metal contemporaries to become one of the fastest planes built between 1940 and 1950. Its superior maneuverability allowed it to multitask in roles as far-ranging as light bomber, night fighter, transport and photographic reconnaissance aircraft.

Breitling CEO Georges Kern commented: “Forget all your notions of what a watch showroom looks like. With this boutique redesign, we’ve created a relaxed, uplifting, and inclusive environment that you’ll feel the moment you step through the door. By redefining the whole premise of the retail experience, we’re achieving our vision of being the undisputed leader of neo-luxury.”
Breitling opened its first flagship boutique in the world in New York City in 2011. In 2016, the boutique was relocated to 575 Madison Avenue. The redesigned space now features two stories, 90 feet of wrap-around sidewalk frontage, and 4300 square feet in which to showcase the latest Breitling watches. The location is also the world’s first outpost of Breitling Equipment, the brand’s new travel-and-lifestyle accessories collection.

The Madison Avenue redesign is based on the distinctive industrial-loft aesthetic that is already a defining part of Breitling’s top global retail locations. Each boutique offers its customers a casual, stylish, modern-retro ambience. The brand’s three “universes”, air, sea, and land (the environments for which Breitling’s watch families were developed), are reflected in the decor, which includes aircraft-inspired elements, surfboards, and vintage motorcycles. Relaxed watch bars and lounge areas invite visitors to explore the timepieces in comfort and at their own pace.
Breitling USA President Thierry Prissert added: “The new, inviting aesthetic and design will be the ultimate destination for any Manhattan-based watch aficionado and for those visiting from around the world. We are looking forward to the new boutique becoming a relaxing and inclusive environment to welcome our local clients, as well as new customers who enjoy watches with a tasteful yet approachable luxury style.”

Breitling Spotlight Squad members in attendance:
Originally from South Africa, Oscar-winning actor and producer Charlize Theron has proven her versatility across different roles and genres. In 2004, she won the Academy Award for Best Actress for portraying Aileen Wuornos in Monster. In 2019, she starred in and co-produced the drama Bombshell, for which she was nominated for numerous awards, including an Academy Award. Under her production company banner Denver & Delilah Films, Theron has produced several projects including Netflix’s The Old Guard. The film drew 78 million Netflix households worldwide in its first 28 days on the platform. Theron most recently reprised her role as Cipher in the 9th installment of the The Fast and the Furious franchise, and she lent her voice as Morticia Addams again for The Addams Family 2.

Misty Copeland is a Principal Dancer with American Ballet Theatre, the first African-American woman to be promoted to the position in the company’s 75-year history in 2015. That year, Time magazine named her one of the world’s 100 most influential people. She has performed some of the most iconic classical ballet roles, including Odette/Odile in Swan Lake; Juliet in Romeo and Juliet; Giselle; Manon; Coppelia; Kitri in Don Quixote; and Firebird. In addition to being an avid philanthropist, Misty is a bestselling author of several books and recently published Black Ballerinas: My Journey to Our Legacy.

Warm blend of pink gold and coloured gemstones
The case of the 18-carat pink gold model is paved with 124 brilliant-cut diamonds down to the bracelet connecting studs. The new beige hue of the “Grande Tapisserie” dial echoes the pink gold case and matching hour-markers and hands, while bestowing the watch with a contemporary flair. The two pink gold applied hour-markers at 12 o’clock are also set with brilliant-cut diamonds. For its part, the pink gold bezel is embellished with 40 yellow sapphires, red garnets and orange spessartite garnets. This vivid gradation – a first for the Royal Oak – adds a warm and bright touch.

Elegant combination of white gold and graded pink gemstones
The 18-carat white gold case and connecting studs of the second reference are also set with 124 brilliant-cut diamonds. The rhodium-toned dial is enhanced by a “Grand Tapisserie” pattern and applied 18-carat white gold hour-markers and hands. As for the pink gold version, the two hour-markers at 12 o’clock are set with brilliant-cut diamonds. To contrast with the watch’s monochromatic aesthetic, the white gold bezel is set with 40 brilliant-cut pink sapphires and rubies offering a refined and subtle gradation. Resolutely feminine, this unique combination will seamlessly sit on the slenderest wrists.

“Each gemstone was meticulously chosen to achieve these gradations, while privileging the purest and most vibrant colours. Finding the perfect gradation required months of research. The smooth and harmonious whole it creates pays tribute to the infinite palette of coloured gemstones”, says Nathalie Barzilay, GIA Graduate Gemologist.

New satin-finished straps
The Manufacture introduces two new matching satin-finished calfskin leather straps – beige for the pink gold version and light grey for the white gold reference. This calfskin strap is highly resistant while offering the same visual aesthetic as a satin strap. The pink or white gold AP folding clasp is also set with 28 brilliant-cut diamonds.

Calibre uniting user comfort and refined aesthetic
These two models are equipped with the selfwinding Calibre 3120 which encompasses refined finishing including circular graining, polished chamfers and “Côtes de Genève” on the bridges. The 22-carat gold oscillating weight, visible through the sapphire caseback, is adorned with the Audemars and Piguet coats of arms as well as with the engraved AP monogram and long-form signature. This three-hander will grant optimum user comfort with its 60 hours of power reserve and its instant jump date indication. Secured on either side of the main plate, the cross-through balance-bridge also ensures great shock resistance. Blending ancestral craftsmanship and contemporary design, these new timepieces radiate sophisticated elegance.