Spring and Summer 2012

A C C E N T ♦ T H E M A G A Z I N E O F L I F E ’ S C E L E B R AT I O N S ♦ S P R I N G / S U M M E R 2 0 1 2
CELEBRATE
SPRING!
Fashion Favorites
Watchmaking:
The Next
Generation
Last Bid for Love
Contents spring/summer 2012
INDIANAPOLIS
FASHION MALL COMMONS
(317) 255-4467
GREENWOOD
24
GREENDALE CENTRE
(317) 883-4467
WWW.REISNICHOLS.COM
P U B L I S H E D B Y T H E B J I FA S H I O N G R O U P
PUBLISHER
STU NIFOUSSI
EDITOR-IN-CHIEF
KAREN ALBERG GROSSMAN
C R E AT I V E D I R E C T O R
HANS GSCHLIESSER
MANAGING EDITOR
FEATURES
JILLIAN LAROCHELLE
PROJECT MANAGER
4 Events
LISA MONTEMORRA
6 Profile: John Hardy
DESIGNERS
8 From the Runways
CYNTHIA LUCERO
JEAN-NICOLE VENDITTI
16 Vintage Collections
PRODUCTION MANAGER
18 Hot Watches for Her
PEG EADIE
21 Brides So Beautiful
PRESIDENT AND CEO
24 Profile: Forevermark
BRITTON JONES
26 Accent Advisor
CHAIRMAN AND COO
32 Food: Making Magic
36 Community
Jewelry has been enlarged to show detail. Due to the fluctuating prices
of diamonds, gold and platinum, prices are subject to change. While we
have made every effort to ensure the accuracy of the information in this
38 Black & White
magazine,
40 Watch Complications: Passing Time
Copyright 2012. Accent® is published by Business Journals, Inc,
43 Hot Watches for Him
44 Watchmaking: Lititz Watch Technicum
46 Profile: Michele Watches
48 Essay: Last Bid for Love
we
are
not
responsible
for
errors
or
omissions.
P.O. Box 5550, Norwalk, CT 06856, 203-853-6015 • Fax: 203852-8175; Advertising Office: 1384 Broadway, 11th Floor, NY, NY
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The publishers accept no responsibilities for advertisers’ claims,
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part of this magazine may be reproduced without written permission of the publishers. Volume 10, Issue 1. Accent® is a trademark of Business Journals, Inc. registered in the U.S. Patent and
Trademark office. Printed In U.S.A.
FOREVERMARK DIAMOND NECKLACE. COVER ILLUSTRATION BY DARIA JABENKO.
MAC BRIGHTON
28 Red Carpet
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PROFILE
SCALING
BACK
JOHN HARDY REVISITS ITS NAGA
COLLECTION WITH FIERY NEW
DESIGNS TO USHER IN THE YEAR OF
THE DRAGON. BY JILLIAN LAROCHELLE
F
irst introduced in 2009, on the anniversary of John Hardy’s 20th year
in business, the Naga collection tells the Balinese myth of the dragon
and the pearl. As legend has it, the dragon would leave his volcano
each night and dive down to the bottom of the sea to visit his love, the pearl.
At sunrise, as he burst from the water and returned home to the volcano, the
water dripping from his scales fertilized rice fields across the land and
brought prosperity to the Balinese.
Now, for the Chinese Year of the Dragon, John Hardy head designer and
creative director Guy Bedarida has dramatically expanded the 2012 Naga
collection with more pieces featuring this mythical symbol of good fortune,
prosperity and success.
Like the dragon in the myth, one of John Hardy’s missions is to help
the Balinese land and people flourish. The company views itself as a
collaborative effort between designers and artisans, and believes that “a
business can prosper while respecting people and nature.” Their “Greener
Everyday” policy signifies an ongoing commitment to environmental
conservation, which includes the planting of bamboo, rice and even the
black palm wood used in some of its men’s designs. The brand’s Hong
Kong headquarters are completely green, and its Mambal, Bali compound
is a village unto itself, composed of traditional bamboo and mud
structures, rice paddies and an organic farm that provides lunch for the
entire workforce there.
The Naga collection, like all John Hardy collections, is handcrafted in Bali
by these talented native artisans, some of whom have previously served as
jewelers to Balinese kings. Some pieces feature full dragons or dragon
heads, while others showcase a more abstract dragon scale motif. Crafted
from sterling silver, yellow gold and an assortment of precious and semiprecious gems, the collection’s cuffs, bracelets, rings, necklaces and earrings
are rich with detail, inside and out.
“I LIKE TO THINK THAT THE WEARERS OF THE NAGA
COLLECTION WILL ENJOY LOVE, PROSPERITY AND LUCK.”
–GUY BEDARIDA, HEAD DESIGNER
6
Gold
GO FOR THE
IMAGES COURTESY OF ACCESSORIESDIRECTIONS.COM
FROM THE RUNWAYS
CLOCKWISE FROM TOP LEFT:
Marco Bicego 36” Siviglia necklace $3,920
Ippolita hammered chain necklace $6,995
Marco Bicego Africa earrings $2,070
Roberto Coin chandelier earrings $1,500
Marco Bicego Jaipur bracelet $4,660
John Hardy Palu cuff bracelet $2,595
Bold
BE
Bright
RAINBOW
CLOCKWISE FROM TOP LEFT:
Citrine ring $4,425
Carelle amethyst necklace $2,590
Stephen Webster black opal earrings $6,700
Mexican turquoise bead bracelet $75
Michele Deco chronograph watch $1,625
Color
WEAR
Dark
AND DANGEROUS
Night
DAY &
CLOCKWISE FROM TOP LEFT:
Black rhodium diamond hoop earrings $1,935
Penny Preville 36” diamond necklace $8,045
matching earrings $5,975
David Yurman 9-row Midnight bracelet $1,200
David Yurman Midnight Melange earrings $2,950
Chanel J12 ceramic and diamond watch $14,550
Stephen Webster Super Stud cuff bracelet $895
CLOCKWISE FROM TOP LEFT:
John Hardy Palu necklace $595
John Hardy Kali earrings $295
Ippolita Glamazon chain necklace $1,295
David Yurman Cable link bracelet $950
Stephen Webster Rapture earrings $425
David Yurman sculpted Cable cuff $775
Silver
SEDUCED BY
FOCUS: ESTATE BUYING
Jon Bennett (left) is Reis-Nichols Jewelers' estate jewelry expert. He has a keen eye and a rich knowledge of the value of pieces throughout
each era of design. Vladimir Dzeletovic (right) is Reis-Nichols Jewelers' estate watch expert. As an avid collector himself, Vladimir is
regarded as one of the most skilled watch curators in the industry.
SEARCHING FOR TREASURES
T
SOMETIMES, NEW-TO-YOU IS GOOD AS NEW.
here has recently been a surging interest in vintage or previously
owned jewelry and timepieces. For some, it’s about the history,
old-word craftsmanship or unique design of the piece, while for
others it may be the concept of recycling and finding new use and
enjoyment out of an existing item.
Having the largest selection of fine Swiss timepieces in the
Midwest also means that Reis-Nichols has a large following of watch
collectors. Many of our collectors often trade in different models as
new ones are introduced, so several timepieces found in our pre-
owned collection are like new, but offered at a significant savings.
Every watch is inspected and serviced by our staff of expert
watchmakers and comes with a written warrantee.
Reis-Nichols has many amazing, hard-to-find jewelry items and
watches, as well as popular favorites. Our expansive collection
changes and grows daily. Whether you have old, unwanted items that
you want to liquidate, or you’re on the hunt for a unique and beautiful
new-to-you piece, come check out Reis-Nichols’ vintage and preowned collections.
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WATCHES
Jaeger-LeCoultre
Master Compressor
Chronograph, $30,000
THESE ARE JUST A FEW OF OUR FABULOUS WATCH SELECTIONS
FOR HER. COME IN AND SEE WHAT’S TICKING.
Baume & Mercier
Hampton, $2,750
Chanel
J12, prices vary
based on
diamond dial
options
18
Cartier
Tank Anglaise
Small, $32,900
noemia collection
21
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TRADITIONAL
Reis-Nichols collection, from left: 14K round setting
$1,930, platinum baguette setting $3,500, platinum
cushion setting $5,175
Center diamonds sold separately.
DIAMOND BANDS
Reis-Nichols collection, from left: channel set band
with 2 ctw diamonds $5,995, braided band with 1.34
ctw $7,550, rolling ring with 1.50 ctw $5,665
All in 18K gold.
A POWERFUL
SCOTT KAY
Heaven’s Gate collection. 14K setting
$3,115, matching band $2,950
Center diamond sold separately.
PAVÉ
Reis-Nichols collection, from left: Halo setting $1,820,
Embrace setting $1,295, Crossover setting $1,250, band $895
Center diamonds sold separately.
CONTEMPORARY
Reis-Nichols collection, from left: $2,655, $795, $595, $995
Center diamonds sold separately.
RITANI
Brand new from the Masterwork collection $4670
Center diamond sold separately.
SYMBOL
VERRAGIO
Venetian collection, 18K setting $3,950
Center diamond sold separately.
MEN’S WEDDING BANDS
Reis-Nichols collection, shown from $260 to $1,770
PROFILE
THERE ARE DIAMONDS, AND
THERE ARE FOREVERMARK DIAMONDS.
BY KAREN ALBERG GROSSMAN
QUINTESSENTIAL
DIAMONDS
F
or those who demand perfection, there are few options. Forevermark,
part of the De Beers group (the foremost international diamond expert
for 120-plus years), offers only the finest carefully selected, responsibly
sourced diamonds, meticulously cut and inscribed by highly trained master
craftsmen. Less than one percent of the world’s diamonds are eligible to bear
the Forevermark inscription and only a select group of jewelers (we among
them) are authorized to sell these incredible gems.
Inscribed using highly advanced proprietary technology, these
superlative diamonds feature the Forevermark icon and a unique
identification number, both invisible to the naked eye. The actual size of the
inscription is one 20th of a micron deep (one 500th the size of a human hair)
and can be seen in our store using a special viewer.
Although the inscription in no way affects the exceptional internal quality
of the diamond, it does ensure beauty, rarity, responsible sourcing and added
security. Expert gemologists at The Forevermark Diamond Institute in
Antwerp assess each stone according to rigorous standards of integrity and
accuracy. The result is the Forevermark Diamond Grading Report, your
guarantee of excellence and authenticity.
Those of us who are socially conscious should know that Forevermark
diamonds are guaranteed conflict-free. But more than that, the company
goes above and beyond industry standards to ensure that their sourcing
actively benefits communities in their countries of origin, countries
committed to the highest business, social and environmental standards.
Beauty, rarity and integrity in one quintessential diamond: No wonder
Forevermark is the jewel of choice for Gwyneth Paltrow, Uma Thurman,
Nicole Kidman, Michelle Williams and fabulous women everywhere, on and
off the red carpet.
24
ACCENT(ADVISOR)
THERE SEEMS TO BE A TREND TOWARD
TIMELESS, CLASSIC JEWELRY; WHY?
In a tenuous economy, we see two trends: a return to timeless jewelry that can be worn now or 50 years from now, and a wardrobe approach to jewelry,
i.e. fashion basics that also make a style statement. While individual taste is still the primary factor when selecting jewelry, fewer people these days are
interested in spending big bucks on anything too trendy. Most realize they can accomplish modern style without sacrificing a “future” for the piece.
WHICH CLASSIC/TIMELESS PIECES ARE MOST LIKELY TO
BECOME KEEPSAKES OR HEIRLOOMS?
Those that hold their value, can be passed to the next generation, or the piece that becomes your
signature. We have a client who is never (ever!) seen without a beautiful strand of pearls that her
husband bought her many years ago; whether at the grocery store or at a gala, her pearls say it all.
And that’s the key: finding a statement piece of jewelry (“statement” need not mean “expensive”) and
letting it become your trademark. We’ve noticed that when times are tougher and discretionary
spending more limited, jewelry becomes even more personal and relationship-driven. If you buy only
one item this year, make it special and enduring.
WHAT’S THE
DIFFERENCE
BETWEEN
ANTIQUE
JEWELRY
AND ESTATE
JEWELRY?
“Estate” is a popular jewelry label,
but does not specify the period of
manufacture. “Estate” is primarily
used to describe jewelry that is
previously-owned.
The term “antique” generally
applies to jewelry items that are at
least 100 years old, the benchmark
used by government officials for
duty-free importing of antiques.
For spring 2012, everything old is
new again, so consider both of these
options, or try re-setting one of your
own family heirlooms.
WHICH ITEMS
SHOULD I
CONSIDER
BUYING THIS
SEASON?
For both ladies and gents, a good watch is an absolute must! If
you can invest in only one great piece of jewelry, let it be a
practical and stylish watch to enjoy for many years. It should
cross over into any activity, and should dress up or down.
When you have more to invest, consider buying both a
“dress” and a “sports” watch. But in the interim, one great
watch transcends numerous styles and ventures!
Three other ideas for ladies: 1) a beautiful strand of pearls,
either classic round or baroque (uneven) shaped; 2) diamond
stud earrings, a true go-with-everything item to wear with
denim or ball gowns; and 3) a necklace or pendant with
personal meaning, like your children’s names or initials, an
important date, a display of faith or spirituality. (If you’ve ever
noticed women constantly touching their necklaces, it’s likely
because they feel an emotional connection to the symbol.)
26
I KNOW WOMEN
WHO WEAR
FASHION JEWELRY
LIKE BANGLES OR
BOLD CUFFS, BUT
BUY THESE PIECES
AT CLOTHING
STORES AS
OPPOSED TO
JEWELERS (EVEN IF
THEY HAVE TO
REPURCHASE THE
PIECES WHEN THEY
TARNISH). WHAT
ARE YOUR
THOUGHTS ON
THIS?
I think many women
balance trendy fashion
jewelry that they don’t
expect to last forever with
items that they cherish,
wear often and want to last.
Since a great bangle is a
classic that will be in style
forever, it’s worth investing
in something both fabulous
and enduring.
RED CARPET
Blonde Bombshells
WITH LIGHT LOCKS AND HEAD-TO-TOE STYLE,
WE’D GIVE THESE STUNNING CELEBS AN AWARD ANY DAY.
BY JILLIAN LAROCHELLE
AMBER HEARD
T
ZAC EFRON & MICHELLE PFEIFFER
CLAIRE DANES
hough the Guess model-turned-actress is always striking, Amber Heard truly smoldered
at the SAG Awards. Her fitted black satin gown epitomized covered-up sexy, while sparkly
Zac Efron and Michelle Pfeiffer sure made a good looking pair at the New Years Eve premiere.
Yellow gold and pink tourmaline chandelier earrings lit up Pfeiffer’s face and helped prepetuate
that youthful glow. We don’t know how she does it.
For Showtime’s Emmy Nominee Reception at the Mondrian Los Angeles, Claire Danes chose
pavé diamond drop earrings that popped against the silvery threads of her dress. With a confident
28
HEARD AND PFEIFFER WEAR H. STERN. DANES WEARS MCL.
diamond studs and metallic smoky eyes added just the right amount of shimmer.
RED CARPET
smile, flushed cheeks and dewey décolletage, the nominee for Best Actress in a TV Drama looked
like a winner long before they called her name.
Stacy Keibler knows how to accessorize. Adorable arm-candy aside, the former Ravens
cheerleader still looks sensational in the old purple and black, topped off with teardrop earrings,
STACY KEIBLER & GEORGE CLOONEY
KATHERINE HEIGL
MARLEY SHELTON
stacked bangles and a notice-me cocktail ring. As if we wouldn’t have noticed her without it.
KEIBLER WEARS MCL. HEIGL WEARS SUTRA. SHELTON WEARS AMRAPALI.
All tassel, no hassle! Katherine Heigl’s blue sapphire and black rough-cut diamond earrings lent
an effortless glamour to her gown at the 39th Annual American Music Awards. Paired with a
sparkly strap and matte red lips, the look recalled old Hollywood at its best.
Nothing amps up a little black dress like a statement necklace. At the L.A. premiere of The
Mighty Macs, Marley Shelton chose this blackened beauty to elevate her outfit from ho-hum to
yum! Kelly Osbourne, Kate Mara and Kristin Cavallari have recently been spotted in identical
designs; you can bet that style-savvy ladies everywhere are following suit.
31
FOOD
MAKING MAGIC
IN THE FIRST INSTALLMENT OF OUR LEGENDARY CHEF SERIES, WE DISCOVER THAT
DAVID BURKE IS MUCH MORE THAN A WHIZ IN THE KITCHEN. BY SHIRA LEVINE
F
or those who dig classic conceptual cuisine outside of the traditional
restaurant box setup, David Burke has become
somewhat of a hero. In addition to his classic
surf and turf joints, Chef Burke holds court with his
fancy foods inside a Bloomingdale’s, a bowling alley
and an airport. If by chance you don’t recognize the
oft-showy culinologist (an expert who blends culinary
arts and food technology) with a penchant for
whimsically sculpting his dishes to dazzle
diners by name, there’s still a decent
chance you’ve eaten in one of his 10
restaurants, or purchased his gourmet
products. (“Burke in the Box” takeout meal at Las Vegas’ McCarran
Airport, anyone?) Or perhaps you’ll
recall his very near win against Bobby
Flay on Iron Chef, or his too-early kissoff from Top Chef Masters.
Chef Burke has been a longtime
pioneer in the biz of celebrity chefery,
cooking up a career that “blurs the lines
between chef, artist, entrepreneur and
inventor.” His factory of fabulous foodspots tantalizes taste buds through a
slew of dramatically different spaces, with entertaining concoctions
appearing on plates throughout New York, and in New Jersey, Chicago,
Connecticut and Las Vegas. Then there’s David Burke Townhouse, David
Burke’s Primehouse, Fromagerie, David Burke Prime, Fishtail by David
Burke and David Burke Kitchen. Burke is also the mastermind behind
Pastrami Salmon, GourmetPops, flavor-transfer spice sheets and various
flavor sprays and oils. He’s got two cookbooks and even DAVID BURKE
Magazine. We managed to catch this Renaissance man at his local
greenmarket, shopping for fresh, in-season finds.
32
You have so many titles! Chef, entrepreneur, artist,
inventor.... Which do you feel describes you best?
I’ve always felt at home in the kitchen. I was a dish washer
in high school. I’d work on the weekends, and that’s when I
fell in love with the idea of working in a kitchen. I get real
excitement from the energy and creative teamwork that
happens in there. So all of the other things I am today came
out of me working in the kitchen. I get a real satisfaction out
of putting together a good product for someone else to enjoy.
Above: The lively dining room at Fishtail by David Burke.
Left: David Burke, longtime pioneer of celebrity chefery.
Many of today’s entrepreneurial celebrity chefs don’t actually
do the cooking anymore, but shift their focus to the business
side of things.
I still do cook in my kitchens, but it’s been a natural progression for me to
be in and out of the kitchen when need be. I made an early decision that I
was going to conquer one level of this business at a time. After I reached
the level of what I truly felt was “me as a good chef,” then it was time to be
partner in a company. Then the next course was to start my own company.
I was one of the first chefs to do that. That road had not been paved yet. It
was the late ’70s and the beginning of modern American food and of chefs
as businessmen.
A lot of the David Burke dining experience is about setting the
scene, and your restaurants each have very specific, thoughtout designs. Would you describe yourself as fashion forward?
When you work in the kitchen it’s nearly impossible to be fashion forward!
But we do take a lot of pride in the ambiance and décor of the restaurants,
especially Townhouse and Kitchen. I was very involved in helping decorate
them, but I’m not a designer. Kitchen is supposed to feel dark and woodsy,
comfy—like a home. Bloomingdale’s has an intimate neighborhood feel. Our
steakhouses are more masculine.
there. In those cases we make exceptions—it’s what the customers want!
But when it comes to fruit and people wanting raspberries or blueberries
year round, we suggest maybe trying a dish with mango or pineapple.
Your menus run the deliciously garish gamut, from Bowlmor
Lanes’ badass burger replete with applewood-smoked bacon,
spicy tempura shrimp, cheddar cheese and blue cheese slaw, to
David Burke Kitchen’s pretzel crabcake with tomato, orange
and green peppercorn. What do you love to order when you eat
out, and what do you like to cook at home?
I love ordering Peking duck! For myself, I love to prepare pasta. I’ll make
gemelli with sweet sausage, tomatoes, olive oil and butter. When I cook for
friends and family, I love to prepare a whole roasted fish, chicken, squab or
turkey. My favorite is roasted squab foie gras, cabbage with corn bread and
pickled onions.
Is there anything you wish your guests would be a little more
adventurous about trying?
Game birds, sweet potatoes and kidneys!
What are some other ideas you’re currently excited about?
We have a moveable garden in a parking lot at the Rumsfield, New Jersey
restaurant. This summer we’re going to put each of the gardens in little red
wagons so they can move around easily. When guests walk into the
restaurant, they will be greeted with a bushel of tomatoes and basil plants
that they can cut themselves and bring to the hostess. Then we’ll prepare it
at the table as part of their appetizer. I just love the idea of that.
What’s your overall food philosophy?
I’m always looking to cut out the middleman as much as possible. It’s what
is most economically sound for us. I am always in a local produce market
myself. We’ve done it with our bread, our dairy and our produce. Fish and
seafood are next. We’re also currently building a dry beef company with my
patented salt treatment. Our beef comes from right here in New Jersey. I
bought a bull five years ago in Kentucky so I would know exactly where my
beef comes from and can ensure the quality of what we’re serving. We have
the product down to the genetics, for the perfect marbleization and grading.
It was superior planning on our part. We always want to know where our
stuff is coming from.
Do you think all the recent hype around “local” and “seasonal”
is silly? Haven’t good chefs been doing this all along?
The seasonal and local thing has been done forever, but it hasn’t been
touted. It’s being emphasized now because of the the state of the economy,
and high fuel prices. All the recent PR is good, especially since it helps
support American farmers, but it’s always been what we try to do. However,
you have to understand, it’s hard to do local in Chicago in the winter. It’s
absolutely what the mom and pop shops should be aiming for, but it’s hard
for big [national] chains to do it. It’s tough to be 100 percent local; you
might simply not have a good local person for something you need.
How do you please loyal customers who request something that
isn’t in season?
In New Jersey we have a lot of clientele who want calamari, but it’s not local
33
Maple Bacon Dates
Yields 20 stuffed dates
INGREDIENTS:
1
⁄4 pound peanuts
2 1⁄2 ounces honey
1 teaspoon cayenne pepper or 1⁄2 minced jalapeño
20 Medjool dates, cut in half
10 strips of par-baked smoked bacon
20 seedless grapes
1 egg
Flour
Breadcrumbs
METHOD:
1. Heat peanuts, honey and cayenne pepper until caramelized.
Cool and puree.
2. Stuff puree into Medjool date half, then wrap with a half piece
of par-baked smoked bacon.
3. Lightly beat egg. Dredge grapes in flour, dip in egg wash,
then breadcrumbs. Place into a deep fryer filled with hot oil and
fry until crispy.
4. Place grapes, and then bacon wrapped dates, on bamboo
skewers and serve.
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© 2012 Carelle
Clockwise from top left:
Teardrop Earrings $3,200
“Love” Necklace $895
Black Diamond Necklace $1,150
Multi-Diamond Necklace $4,160
Multi-Diamond Ring $3,420
Multi-Diamond Earrings $4,545
11.85 ct Black Diamond Ring $13,950
Black/White Diamond Hoops $2,800
BLACK
& WHITE
DIAMOND COLLECTION
FOCUS: COMPLICATIONS
by Laurie Kahle
IWC Ingenieur
Double Chronograph
PASSING TIME
CHRONOGRAPH AND CALENDAR COMPLICATIONS LET YOU TRACK
FLEETING TIME FROM SECONDS TO MONTHS.
O
nce watchmakers mastered the measurement of hours, minutes and
seconds, they naturally advanced beyond mere timetelling to create
ever more intricate and ingenious mechanisms. Referred to as
complications, these mechanisms perform a myriad of additional
functions from the simple to the sublime. The more complicated a watch
is, the more difficult and expensive it is to produce. Despite technology’s
advancement, complicated watches are still in demand—watches like
IWC’s made-to-order, seven-figure, astronomical Portuguese Sidérale
Scafusia. While some complications are fanciful and superfluous,
chronographs and calendars remain perennial favorites with practical uses
for modern lifestyles.
The chronograph, with a timing mechanism similar to a stopwatch,
FROM LEFT TO RIGHT: Jaeger-LeCoultre Master Date Tourbillon, Baume & Mercier Capeland, Rolex Oyster Perpetual
40
originated in France in 1821, when Nicolas Rieussec, watchmaker to King
Louis XVIII, demonstrated his novel device for timing horse races. Using a
clock movement, ink-filled markers and two rotating discs—a seconds disc
that completed a revolution every minute and a minutes disc that made a
complete rotation every hour—the contraption accurately measured the
horses’ times by pushing the markers onto the discs when each horse crossed
the finish line. The term chronograph translates to “time writer,” particularly
endearing the complication to Montblanc, which is most famous for its pens.
The brand acquired the rights to use Nicolas Rieussec’s name, and built a
collection of chronographs that shows elapsed time with two fixed hands
poised above two turning discs (the seconds and minutes counters), a unique
system reminiscent of Rieussec’s original invention.
Rather than using turning discs, sporty chronographs typically feature a
mechanism that controls a central chronograph hand, which is started,
stopped and returned to zero by using push buttons on the side of the case.
again, until the split hand is once again stopped for another time measurement.
Categorized as astronomical complications, calendar functions track
the passing days and months, with varying degrees of complexity. A
simple calendar displays the numeric date in a window with a single disc,
or with two discs to create what’s known as a big date. A full calendar
expands on the basic calendar display to show date, day of the week,
month and moon phases. Full and partial simple calendars cannot
automatically adjust for months with fewer than 31 days, so you have to
adjust them five times per year. An annual calendar, however,
automatically adjusts for months with 30 or 31 days, though it needs to be
reset each year on February 28 of non-leap years. Vacheron Constantin
recently put a contemporary twist on the annual calendar by adding a
retrograde annual calendar to its Quai de l’Ile collection.
The most complex calendar complication is a perpetual calendar,
which is mechanically programmed to account for leap years and requires
FROM LEFT TO RIGHT : Breitling Chronospace Automatic, Patek Philippe 5270, Raymond Weil Parsifal, Panerai Luminor GMT
As the chronograph hand completes a full turn of the dial each minute, subdial totalizers track the number of revolutions and show the elapsed time in
minutes and hours.
Variations on chronographs include a flyback function that can be reset to
zero and immediately start a new timing episode with a single push, instead of
using three to stop, reset and restart. A split-seconds chronograph allows you to
time separate events that begin but do not finish simultaneously, such as
tracking cars in a race. Also called a rattrapante, or double chronograph,
watches such as IWC’s Ingenieur Double Chronograph Titanium feature two
central stopwatch hands that are precisely superimposed so they appear as one
hand as they move, until you press a button, which stops the top chronograph
hand while the bottom one progresses, allowing the measurement of two
separate periods of time. After recording, another push synchronizes the hands
no manual correction until March 1, 2100. The watch’s mechanical
memory uses sequences that are repeated every 48 months, to correspond
to the cycle of leap years. Jaeger-LeCoultre’s Master Eight Days Perpetual
40, for example, boasts an impressive eight-day power reserve while
displaying the date, the day of the week, the month and the year in four
digits, along with the power reserve, the moon phase, a day/night
indicator, and even the security zone between 10 p.m. and 3 a.m. during
which changes must not be made.
This year, Patek Philippe offered the best of both timing and calendar
complications when it combined a perpetual calendar with its new in-house
chronograph movement for the Reference 5270. Sure to be on every
connoisseur’s hit list, this extremely rare, highly complicated timepiece will
land on only a precious few wrists with its price of $156,000.
42
HOT WATCHES FOR HIM
David Yurman
Chronograph, $4,800
IWC
Stainless Steel
Portofino, $10,800
TW Steel
Chronograph, $775
Panerai
Luminor 8-Day GMT,
$32,200
Rolex
YachtMaster GMT, $25,150
43
FOCUS: WATCHMAKING
by Karen Alberg Grossman
LITITZ WATCH TECHNICUM:
TEACHING WATCHTHINK
A REMARKABLE SCHOOL THAT INSTRUCTS THE ART, SCIENCE
AND SOUL OF SWISS WATCHMAKING.
T
he first thing one notices upon entering the stately stone building
nestled in the rolling hills of Lititz, Pennsylvania (a town with a
strong watchmaking tradition) is the magnificent brass clock in the
lobby. One soon learns it was crafted totally by hand by students in this
Rolex-sponsored watch school, under the direction of its esteemed
principal Herman Mayer.
Mayer is a certified watchmaker with tremendous pride in, and
respect for, the Swiss watchmaking tradition. His goal is to develop
independent retail watchmakers who are technically exceptional, of
course, but who are also business-savvy, service-oriented, personable,
well rounded and creative, a tall order to say the least. “The watchmaker
of today needs to be compatible and in sync with the spirit of the highend watch culture,” Mayer maintains.
His intense two-year program, established
in 2001, is fully funded by Rolex (but totally
separate from the Rolex Service Center
upstairs in the building). Mayer is personally
responsible for creating and updating the
curriculum, which is also used at watchmaking
schools in Seattle and Oklahoma. It features six
main areas of training: history/culture, micromechanics, mechanical movement diagnostics
and repair, electronic movement diagnostics and repair, customer service
and case/bracelet diagnostics and repair.
The school is small and selective, with a capacity for only 28 students
(there are currently 12 first year students and 13 in their second year). It’s
an intense eight-hour school day (7:30 to 4:00, with a 30 minute lunch
break) and requires much outside reading and research. According to
Mayer, most students are highly motivated and even talk watchmaking in
their free time. “We emphasize that whatever they don’t learn in these two
years, they pay for later on…”
Of utmost importance to Mayer, who interviews and tests 70 to 80
applicants each year looking for various skills, from strategic reasoning
to social competence, is abstract thinking. “Because often in a fine
watch,” he explains, “you can’t diagnose
problems just visually. You need to analyze
based on input and output of the mechanism:
it’s behaving a certain way so the problem
must be this or that. You can’t always see the
problem because many watches are built in
layers, so the movements might be covered,
or else just too small.”
Mayer admits that among his greatest
frustrations is a decline in abstract thinking
44
skills among young people over the past decade. “I’m sorry to say this,
but in many applicants, these skills have gone down the drain. It’s a very
visual world these days; we rely on computers to do everything so
young people don’t learn to think for themselves. But in a watchmaking
curriculum, abstract thinking skills are essential. It’s all about deductive
reasoning, which is no longer taught in school…”
Why are these skills so critical? “Because even
if the student has worked on hundreds of watches,
the next movement that comes along might be
totally different than anything he’s experienced. So
it’s not a matter of simply learning to piece the
puzzle together: students need to understand what
the parts do and how they interact and whether or
not the watch is worth repairing. Of course it’s rare
when you can’t fix it at all (e.g. serious salt water
damage where parts are caked together), because
even if spare parts are not available, we can always
make the parts. That’s what we teach them in the
‘micromechanics’ segment of the program.”
According to Mayer, his ideal applicant is midto late 20s (the actual age range is 17 to 45 and
mostly male; there are only one or two females per
class), in a second career but with some previous
exposure to watchmaking. “If they’ve had some
exposure, at least they know what the profession is
about: having to deal all day long with these tiny
parts, the responsibility of working on such
valuable pieces. Of course, there are always some
who drop out because it’s too stressful…” Recent
applicants have included bankers and real estate
brokers, some from major cities. “People have
more appreciation for job security when it’s a second career,” he explains.
“And watchmaking certainly offers job security: all of our graduates who
want jobs get them.”
Beyond technical expertise (which Mayer believes can be taught),
the most important trait is the desire—the passion—to repair and build
watches. Also necessary is the ability to communicate. Explains Mayer,
“It’s essential that we teach students how to network: with peers, with
mentors, with superiors, so they’re not left alone with important
decisions. In fact, I’m working on making this an active component of
the curriculum.”
On a personal note, Mayer grew up in
Würzburg, Germany; his university studies focused
on philology and teaching. But at some point, his
love of watches inspired him to study watchmaking,
which led him to servicing jobs in the States, and
ultimately to Lititz.
In addition to restoring watches, Mayer is a
collector: he wears a different watch every day and
favors those that combine technical precision with a
beautiful finish. So dedicated is Mayer to the Lititz
program that he even lets his students work on his
personal watches (excluding vintage handmade
pieces, of course!). His first expensive watch was in
fact a classic Rolex. Does he still have it? “Of course:
Rolex watches are forever…”
His most meaningful watch is one he inherited
from his father. “When my dad returned from WWII,
the economy was down so he drove a taxi on
weekends. An American soldier who couldn’t afford
the fare gave him his automatic Cyma. I wore it every
day for years but at some point, it was difficult to get
replacement parts because their factory had burned
down. Observing the watchmaker adapting spare
parts by hand was my first exposure to the craft and
its artistry, which triggered my lifelong passion.”
Mayer’s best advice to graduating students? “Remember to take the
loupe off on occasion and engage in meaningful, positive dialogue with
members of your professional environment. You need to actively live the
exciting and ever-evolving watchmaking culture you are part of.”
“Nobody buys
a fine watch just
to tell time…”
—Herman Mayer
45
FOCUS: PROFILE
by Randi Molofsky
SO HOT THEY’RE COOL
MICHELE OFFERS STYLES FOR EVERY SETTING.
A
walk through the historic district of downtown Miami encapsulates
much of Michele Watches’ telltale brand appeal: both share an Art
Deco design sensibility, vibrant color palette and bold sense of style.
It’s no wonder Michele is favored by a fashion-forward clientele with an
innate understanding of classic design.
From speedboats to soirees, everything is a little bigger in Miami.
The same is true for Michele, as oversized cases emphasize a bit of
flash and a signature red button logo creates instant cachet. Miami’s
seaside location also necessitates a certain day-to-nighttime glam.
Lounging poolside? Bold chronographs with rubber straps from the
Jelly Bean collection or a sporty white Tahitian Ceramic are chic
standouts. When the sun goes down, diamond-studded timepieces
make a big statement at affordable prices.
Spring 2012 brings a refined update on Michele’s instantly
recognizable style. Serein, inspired by the Cloette, features a modern take
on a timeless design. A silvery-white dial highlights a fine circular pattern
and oversized Roman numerals. The Caber Sport maintains the Caber’s
round case and T-bar design, now updated with a scalloped bezel and
chronograph dial (available with or without diamonds).
One of Michele’s most popular styles, Tahitian Jelly Beans, is also
reinvented this year in new brights and beach-inspired pastels. Look-atme neons like pink, blue and green are balanced by seaside neutrals in
mint, coral and steel.
Want to make a unique statement any time of year? The brand’s
commitment to practicality and fun led them to offer a stunning variety of
straps that are easily mixed and matched. From alligator to glittery leather,
cobalt blue to rainbow stripes, a sense of play makes punctuality a breeze,
whether or not you can make it down to North Beach.
46
SEREIN DIAMOND
BLOOMBERG VIA GETTY IMAGES
ESSAY
LAST BID FOR LOVE
AN ACTRESS, AN AUCTION, A YOUNG MAN’S DREAM… BY JOSEPH UNGOCO
M
y heart was pounding as I handed my passport to the smartly
dressed associate from Christie’s. Just a week before, I’d been
holding the “hottest ticket in town”—a prime 3 p.m. pass to
preview the world-renowned jewelry collection of Elizabeth Taylor. The entire
Christie’s block was lined with stately private limos dropping off elegantly
dressed “ladies who lunch,” no doubt fresh from nibbling on micro-vegetable
salads and savory soufflés at La Grenouille.
In addition to the magnificent jewels, what struck me as I perused the
various lots at the preview was how many lives Elizabeth Taylor had
touched. In every room of the seemingly endless exhibit, people
passionately discussed her movies, her personal style, her tremendous
influence. Women well past their fashion prime whispered about how this
1960s Pucci tunic or that 1970s Halston caftan had inspired their own
wardrobe choices. My personal connection with this incredible lady was
our shared astrological sign: Elizabeth Taylor was the archetype of Pisces’
“soulful eyes” and tendency to be “in love with love.”
The cheerful Christie’s associate wished me luck as she handed me my
paddle—number 5217. I tried to calm my nerves as I mounted the stairs to
the James Christie room. Working my way through the television cameras,
I settled into a fifth row seat right under the auctioneer. I took a cue from
the “serious” bidders in the rows ahead of me and stayed focused on the
bidding board and the auctioneer in his lavender silk tie.
I had carefully studied the catalogs, settling on two lots of Zodiac
pendants and a lot of two Aldo Cipullo for Cartier Love bracelets. I had been
considering a lot of aquamarines until I remembered that Liz was a
February Pisces, not a March one like me. Her vast amethyst collection—
including mineral specimens—suddenly had meaning beyond
complementing her violet eyes.
The night before, I’d witnessed the mounting frenzy at the sale of the
“Legendary Jewels,” but I was certain there’d be less insanity for the
“ordinary” jewels. In fact, I was quite confident that I’d be able to secure
a lot—perhaps even two. But such illusions evaporated by the time the
bidding closed on the fifth lot of the day, a pair of Van Cleef & Arpels
Pisces pendants on opera-length chains. I had researched the intrinsic
value of the items, estimated a premium for their venerable provenance
and set what I thought were reasonable bidding limits. I realized I was
sadly mistaken when I was outbid by $50,000!
As the auction progressed, prices skyrocketed and I was feeling increasingly
dejected. By the time the hammer went down on the Cartier Love bracelets, the
price was $75,000 over my top bid. I left the auction to wander Rockefeller
Center and reflect wistfully over my lost chance at Love (or at least the Love
bracelets) and the beauty, style and legend of a truly amazing woman.
48
PEACE OF MIND STARTS
WITH PROOF OF QUALITY.
Carat Weight
1.53
Color Grade
E
Clarity Grade
VS1
Cut Grade
Excellent
Laser Inscription
Registry Number
GIA 16354621
Natural Diamond
Not Synthetic
A GIA report is certainty from the source.
As creator of the 4Cs and the International Diamond Grading System,™
GIA sets the standards for diamond assessment, worldwide. Unbiased. Scientific.
A report from GIA gives you a clear understanding of your diamond’s quality.
Look for GIA Diamond Grading Reports and the jewelers who offer them. www.4cs.gia.edu
THE UNIVERSAL STANDARD BY WHICH GEMS ARE JUDGED.
REIS-NICHOLS JEWELERS ACCENT THE MAGAZINE OF LIFE’S CELEBRATIONS
SPRING/SUMMER 2012