Creating a Timepiece Worthy of the Tour de France

How a former Formula One champ turned cyclist helped Richard Mille design his latest ne plus ultra watch.


By James Jung

Formula One legend Alain Prost with British procyclist Mark Cavendish. (Photo: Antonin Vincent / DPPI)

Richard Mille may be one of the world’s most preeminent watchmakers, but he’s almost as famous for his obsession with race cars. Ever since bursting onto the scene in 2001 with his radical and highly technical take on the classic, barrel-shaped tonneau, the charismatic Frenchman has drawn inspiration from the high performance machines of Formula One. 

In the stone-and-timber garage of his 18th-century château in Brittany, you’ll find one of the world’s most coveted vintage-car collections (replete with iconic open-wheel McLarens and Ferraris), while his eponymous brand name can be spotted scrawled across racing grids the world over. But it’s in Mille’s unmistakable skeleton-dial watches that his obsession truly manifests itself. From aluminum-and-carbon fiber casings to shock-resistant movements as precise as a four-stroke turbocharged V6 engine, the similarities between Mille’s sleek, ultra-luxe watches and the world’s most bleeding-edge racing cars are striking.

And yet, for his latest limited edition timepiece, the bearded, rakishly stylish 66-year-old  turned to an unexpected inspiration: cycling. It’s a sport that Mille—like any self-respecting Frenchman—grew up with, and one that has recently joined his ever-growing list of passions. 

Worn on the right wrist, the new RM 70-01 is designed for ultimate legibility while cycling. (Photo: Antonin Vincent / DPPI)

“I am stunned by the power cyclists churn out,” says Mille, who can be found logging serious miles on his local country lanes when he’s not bombing around those same roads behind the wheel of his Lancia Stratos rally car. He has also been following the Tour de France in person, often in the backseat of a commissioner’s car embedded in the fast-moving peloton. In 2016, after Mille struck up a friendship with professional cyclist Mark Cavendish, he gifted the Welshman his personal Felipe Massa Flyback Chronograph. The decorated sprinter won his 29th Tour de France stage the following day, the timepiece strapped firmly on his wrist. 

Such are the fortunes of a man who has built a business based as much on spontaneity as on rigorous devotion to detail. But, as befitting any true gear head, it was the technical innovations of modern racing bikes that most intrigued Mille. “The introduction of composites, the lighter materials, the performance gains in gear assemblies, these were revolutionary,” Mille says. “As a tech fanatic, I appreciate the many subtleties involved.” 

To create a Tour de France–worthy timepiece, Mille knew he needed a collaborator. But rather than looking toward any number of world-class cycling companies for this venture, the watchmaker returned to his first love—Formula One. As it turned out, Mille’s longtime friend, four-time F1 champ Alain Prost, had been bitten by the biking bug as well.  

“Richard is the one who had the idea for this watch,” recalls Prost, who at the height of his career was known as “The Professor,” due to his cerebral approach to car racing. “He wanted to blend automobiles and bicycles.” Prost himself began cycling at the behest of his trainer more than two decades ago. (The idea was that the sport would help better condition him for the demands of F1 driving—a sport where heart rates consistently exceed 160 bpm.) Today, Prost rides upwards of 200 kilometers a week, and regularly competes in races like the vertiginous L’Étape du Tour and the prestigious Masters World Cycling Championships. 

The RM 70-01 Tourbillon Alain Prost—which is limited to 30 collectors’ pieces—is the result of Mille and Prost’s three-year collaboration. On it, you’ll find numerous nods to cycling. Take, for instance, aesthetic details such as a barrel ratchet resembling a spoked wheel and a dynamometric crown evoking a pedal. For those more concerned with engineering, there’s the Grade 5 titanium used for both the baseplate and the Allen screws, which provides a stiffness capable of withstanding the roughest of road conditions, whether the local tarmac or the cobblestones of Paris-Roubaix. 

Of course, this being a Richard Mille creation, form always follows function. So, much like he’s done before for athletes including tennis star Rafael Nadal, golfer Bubba Watson and Jamaican runner Yohan Blake, he’s created a watch perfectly optimized for the day-to-day demands of sport. Nowhere is this more apparent than in the tonneau’s rectangular and asymmetrical carbon cage, which molds to the wrist without ever digging into the skin no matter where you grip the drop bars on a road bike. 

The biggest innovation, however, belongs to the titanium odometer, a five-digit roller readout that allows riders to easily add the day’s distance to their ongoing tally. Cyclists live and die by their metrics. But while most will rattle off figures like their maximum heart rate or the average amount of watts they can generate in an hour, Prost found that few can recall the total mileage they’ve logged at the end of the season. The RM 70-01 solves that problem. By pressing the pusher at 2 o’clock, a cyclist can activate any of the odometer’s five rollers, while the pusher at 10 o’clock allows the rider to increase the number by increments of one. And there’s no danger of slipping up, thanks to a spring-lock neutral position that protects you from accidentally moving the wrong roller. 

(Photo: Didier-Gourdon)

Sure, most cycling computers offer an odometer—one that automatically calculates total miles—at ten-thousandths of the cost, but anyone who’s resorting to basic bean counting clearly isn’t in the Richard Mille demographic.

For those who are, the RM 70-01, which is priced at a cool $815,000, comes with an added bonus: a hand-built Colnago carbon racing bike with an electronic Campagnolo drive train and thoroughbred Italian pedigree that evokes the spirit of Formula One.

 

Ten Minutes With Alexandre Peraldi

An interview with Baume & Mercier’s brilliant Design Director.


Peraldi, who joined Baume & Mercier in 2001. (Photo by Magali Girardin)

Do you remember your first watch?

Yes, very well. It was square plastic Casio with a calculator and a lot of small push buttons.

Are you sentimental about any personal watches?

Yes, about nearly all of them. Each has a special story and sentimental value. For example, one of my first luxury watches came from my uncle. He had decided to leave it to me because of my love for watches and but also the engraving on the caseback: 1967—the year he purchased the watch and also my birth year. Another important watch for me is a Classima chronograph gifted to me by my previous boss. I received it one year after the launch of this model and commemorated the strong success of the design.

What makes a beautiful watch?

First, the pleasure you have to wear it! Second, the perfect quality of its finishes and the importance and time spent on all of its details.

What is your favorite complication or watch feature?

I like the moon phase. It is very simple and a bit poetic. I also like the minute repeater. It is so complex inside and really amazing to hear.

How did you become part of the watch world?

After finishing art school, I took the chance to join the Cartier design team for accessories. After two years, I began working on designing watches for Yves Saint Laurent (at the time, Cartier had the license for their jewelry, accessories, and watches). After some success with these collections, I started to design watches for Cartier…. The rest is history.

How does the watch industry attract the next generation?

That is difficult to answer today, as many young people do not wear watches. Yet, there are constantly new watch brands and designs created for this young clientele. They are very creative, very cheap, and certainly a good way for the next generation to discover the watch universe. As for traditional watches, we need to communicate differently to the younger consumer and even change our mindset in terms of design. We are working on it!

What is your favorite time of day?

Early morning. When the day is just beginning, and everything seems possible, yet nothing has been done. When you are alone at the office, and you have time for you. It is time for reflection and time for creation. I need this part of the day.

Baume & Mercier Capeland Cobra

What is your favorite Instagram account?

There are a lot…. A few of my favorites are @hirozzz (Hiroaki Fukuda), a great Japanese photographer. @sebmontazstudio (Sebastien Montaz), another cool photographer from our mountains. And @indianmotorcycle, with our new partnership.

What is your favorite place to visit?

Japan. Definitely! I love the kindness of Japanese people, the beauty of their arts, the vast tradition of craftsmanship, the spirit of nonstop learning, and the beauty of all the different landscapes.

Who is your favorite artist? Museum?

What a difficult question. There are a lot! If I had to choose, for example, to take a single book of artwork with me to an isolated island, Leonardo da Vinci would be the one. In a totally different field, Alexander McQueen is another genius. And for the museum, I love the Louvre in Paris and the British Museum in London.

If you could turn back time, where would you go?

Far, far, far away in the past. Perhaps before the presence of humans on the earth. Wild and pure!

What is your favorite design object?

The Chaise Longue of Le Corbusier and the Panton Chair of Verner Panton.

What do you collect?

When I was young, a lot of different things. Now, nothing. It is too time-consuming.

Which watch brand do you most admire?

Vacheron Constantin. And also François-Paul Journe.

Who is currently the most influential person in watches?

The younger generation: Millennials.

Is there a dream watch you would like to own someday?

Yes, a minute repeater, but perhaps this dream has to stay a dream.

How do you define style?

A mix of elegance and confidence without extravagance.

 

Breguet Opens New Boutique on Fifth Avenue in Manhattan

One of the world’s most storied watchmakers celebrates a grand opening just in time for the holidays.


There’s always a hint of magic inside a Breguet boutique. Even brand-new locations come steeped in history, tracing lineage back to the original Geneva shop, which opened in 1775, and introduced the world to the first tourbillon soon after. That heritage is on display at Breguet’s New York flagship store on Fifth Avenue, adjacent to the St. Regis Hotel.

During a cocktail party celebrating the grand opening, collectors and select customers sipped champagne while exploring the new 2580-square-foot space. They discovered a Breguet craftsman demonstrating the art of guilloche on watch dials, as well as two specialty timepieces. The first was a replica of “The Turnip,” Winston Churchill’s famed gold Breguet pocket watch, created for the movie Darkest Hour starring Gary Oldman.

From 1817, a tourbillon crafted by A.L. Breguet, on display at the new store.

The other? Also an incredible pocket watch, this one as original as they come, made by A.L. Breguet in 1817. The piece represents one of only 35 tourbillons that the company’s founder personally crafted during his lifetime. It provided a neat segue to the Marine Équation Marchante Ref. 5887, the brand’s latest Grand Complication wristwatch. In addition to a tourbillon and perpetual calendar, it features a running Equation of Time, displaying the difference between mean solar time and true solar time. This is achieved through a differential gear, powered by two rotation sources, operating entirely independently: the rotation of civil minutes, and the lever in contact with the equation of time cam, which makes one full turn per year.

Horology buffs will appreciate that complexity. To everybody else, it might as well be magic.

699 Fifth Avenue
New York, NY 10022
(646-692-6469)

Time, Accelerated

The fastest Ford ever built is commemorated with two new watch series.


By Jonathan Schultz

Bradley Price knows the Ford GT supercar in a way that only its builders—and the occasional “friend of the brand”—are allowed to. “I saw prototypes taken apart,” Price, 37, recalls of his visit to Ford’s performance skunk works in Dearborn, Michigan. “I got to see them on a lift. Those sights really stuck with me.”

Not long after the Ford GT blindsided the world’s pleasure receptors in 2015, its maker began scheming on a commemorative wristwatch. The GT nameplate evokes Le Mans, France, where, in 1966, Ford’s GT40 embarked on a historic run of Ferrari-stomping in the French countryside. The new GT, a 647-horsepower, $400,000, hand-built missile limited to just 1,000 examples, would seem commemoration enough, but Ford thought otherwise.

“They reached out to me,” Price says. Surveying his Autodromo brand from its home in Brooklyn, it’s not hard to see why. Autodromo chronographs are steeped in motorsport without stooping to boy-racer clichés like faux-carbon fiber or italicized, blocky type. It also helped that Chris Svensson, now Ford’s global head of design, was a fan.

“He actually wore the prototype of the red-and-white watch, the ’67 Heritage, last summer when they unveiled that colorway of the car,” Price says of his patron.

The LM 2016 Dial is inspired by the class-winning Ford GT that ran at the 2016 Le Mans 24 Hours. It’s even emblazoned with the winning car’s racing number: 68.

The Autodromo Ford GT Endurance series consists of five color and graphics treatments, each intended to evoke not only the GT40s of old, but also the hypermodern GTs. “It’s all about the continuation of the sixties through today,” Price says. “This watch is really about telling that story.” And at $695, it’s a relatively accessible yarn.

But another, more exclusive chapter is baking: a line of Owner’s Edition chronographs limited to buyers of the car. Price is not revealing numbers, though he demurs that they will cost “significantly more.”

“The hour and minute hands are sapphire crystal,” he says of the Owner’s Editions. “When I tell people in Switzerland, they’re like, ‘What?! That’s bold.’”

Purchasers of $400,000 supercars would have it no other way.

 

Linked In

Why the world’s most discerning wrists wear cuff links from Michael Kanners.


By Paul L. Underwood

The modern man has about as much need for cuff links as he does for, well, a watch. If you need the time, you can consult your phone. If you need to keep your sleeves together, consider the button. And yet….

Wearing cuff links, like wearing a watch, signifies not just a rich understanding of history on behalf of the wearer, but also an appreciation for craftsmanship, for taste, and for the eternal notion that what’s practical isn’t always what’s stylish, and what’s convenient isn’t always what’s right. It also demonstrates a more forward-looking kind of aspiration: Cuff links, like watches, are the kinds of things that get passed down from generation to generation. To wear either, or even both, is to connect yourself to both your past and your future.

Few men understand this better than Michael Kanners. A third-generation jeweler, he received his first pair of cuff links from his grandfather (a simple gold pair he still owns), and went on to create some of the most intricately crafted and exquisitely designed ones on the market. He learned his art collecting and selling vintage links, before he began making his own, 10 years ago. It was a decision born of necessity. “Customers were looking for vintage cuff links, but I could never find enough,” he says. “I had to make them because there aren’t enough around to keep everybody happy.”

The telltale sign of a Michael Kanners cuff link is a unique marriage of first-rate materials with first-class whimsy. Take his first pair: theatrical masks made from fine coral. (He still has them and, we regret to inform, intends to keep them.) Then there are his later designs: A polar bear with a paw backing. An incredibly detailed dog—wearing a fedora. A diamond crown atop a coral frog. Suffice it to say, few designers, if any—and certainly not those at the big-brand jewelers—are making such painstaking and original designs today, and certainly not to such exacting standards of quality.

Where does he get his ideas? Some are commissioned by his customers. Some are inspired by vintage links. And then some just come to him. “There are certain obvious ones that appeal to the collector’s mentality: vintage cars, boats, dogs—things where there’s a lot of variety,” he says. “There are some cars I’ve done that I think are just fantastic, because of the combinations of stones, where every detail is represented by a different stone.”

Once he has an idea, he sits with a stone cutter—some of whom he’s worked with for his entire 10-year run—in Italy or Germany and does some sketching. They’ll see what stones are available, with a particular eye for ones with a strong color variety. He’ll sketch his designs directly onto the stones, estimate the time and cost involved, and then cut them to his own very precise measurements. (His experience has given him a strong sense of what his customers will like—what he calls “the sweet spot” between too big and too small.) Because each pair is handcrafted, no two sets of cuff links are ever exactly alike.

Michael Kanners