MIAMI — Have the Swiss finally figured out Instagram? And the pre-owned market? What about watch trends (Deco: hot or not)?
These questions and more were discussed last month when The New York Times invited four watch industry professionals to exchange views. The Feb. 15 gathering was during the second annual staging of Watches and Wonders Miami, three days of watch-related activities organized by the Geneva-based Fondation de la Haute Horlogerie, in partnership with the Miami Design District Associates.
Three of the four participants were editors with a collective 80 years’ experience covering the watch trade: Roger Ruegger, editor in chief of WatchTime, a publication and website for enthusiasts, who splits his time between Zurich and New York; Nick Sullivan, the New York-based fashion director of Esquire; and the New Jersey-based freelance watch journalist Roberta Naas. The fourth participant was James Lamdin, founder of the vintage watch dealer Analog/Shift and founding partner of the RedBar Group, a watch collector community.
The timing of the discussion — after the Salon International de la Haute Horlogerie, best known as S.I.H.H., the upscale trade fair held in January in Geneva but before the Baselworld fair, held this week in Basel, Switzerland — allowed the group to analyze the ups, downs and greatest hits of the 30-year-old mechanical watchmaking renaissance.
“We’re midway through a rethink about how this entire industry operates,” Mr. Lamdin said. “There are more people interested in mechanical watches than at any point in history, which is unbelievable given that the industry almost died 40 years ago, and moreover, none of us need these things with the digital technology we all carry around in our pockets.
“But educating consumers — through mainstream media, through trade media, through tastemakers who have really made mechanical watchmaking cool — has resulted in huge numbers of new consumers for an industry that doesn’t really know how to operate in a modern way,” he said. “How many brands just started doing e-commerce? Just got an Instagram account?”
The discussion was edited and condensed.
You all attended S.I.H.H. in January. What was the mood? And what caught your attention?
ROBERTA NAAS Some people said the show was really optimistic and upbeat and others were very hesitant and reserved. Product-wise, it was exactly as I expected it to be: You either had, at the high end, really beautiful complications, and then we saw a lot of entry-level product.
JAMES LAMDIN There were some controversial product launches. The Code 11.59 from Audemars Piguet stole the show from a debating standpoint. It was a very bold move to launch an entirely new collection that had really no historical precedent. The responses were varied but loud. Also significant is that A.P. and Richard Mille are leaving S.I.H.H. in 2020. The entire trade industry dynamic is in flux right now.
ROGER RUEGGER This was my 20th S.I.H.H. and also the first where my role as journalist shifted because all the launches just happened. It moved from being a trade platform to a multichannel content platform. For the first time ever, I didn’t walk around the show with my camera looking at what’s new, and reporting “here’s what happened.” You had more experiences that were like, “Oh, there’s the 11.59, and now I see it in real life, and it turns out to be as bad.” [Laughter]
NICK SULLIVAN It’s sort of what’s been happening in fashion as well: The explosion in social media and multiple platforms for exposing your product have had a great democratizing effect, which has been great for small brands, but it also has a kind of “blandifying” effect because by the time something actually comes to market people have seen it 600 times.
Over the past few years, we’ve seen high-end brands try to reach a new consumer with steel models at relatively accessible prices. How are they doing?
MS. NAAS Look at Vacheron Constantin with the Fiftysix collection, which opens around ,000. Before, you couldn’t touch a Vacheron for less than tens of thousands of dollars. They brought on board a number of brand ambassadors and spokespersons who are artists, including a recording star, through their partnership with Abbey Road Studios last year. It was their way of connecting with today’s youth, and they’re doing a whole host of artistic and musical unveilings over the coming years.
MR. LAMDIN Vacheron is in a tough space. It’s steeped in incredible high-end watchmaking tradition but it was running at a very close line of becoming a stuffy old man’s brand. Injecting some youthfulness and fun into it — that got through to me as a jaded watch industry professional.
MR. SULLIVAN The ambassador who played at Abbey Road was a guy called Benjamin Clementine, who at one point was homeless on the streets of Paris, busking with no shoes. He’s a great, interesting guy and absolutely the antithesis of the normal stars you’d expect to be associated with a watch brand. Is it right, given the price of their watches?
Even so, I feel like all the watches now are much, much more expensive than merely inflation. I know a new Daytona was 0 in 1968; that was a lot of money back then. But what’s a new Daytona now?
MR. LAMDIN It’s about ,500 in steel but you can’t get one. I agree with everything you just said, Nick. However, brands are launching subsidiary brands — I’m thinking about Baume, for example — trying to target lower price points. So they’re finding clever ways to try for a different end of the spectrum. And I think everybody’s forgotten about this: A few years ago, Patek Philippe took 2 or 3 percent off the top of the entire line.
It was currency related, yes, and maybe I was optimistic in my appraisal of the situation, but I also think there was a cognizance there: You can’t sell luxury for the sake of luxury.
MR. RUEGGER The problem is if you lower today’s prices, you’re going to impact yesterday’s clients as well. Because the industry has moved from “just buy a watch” to “this is an investment.” And if it’s treated as an investment and you lower the prices today, you’re going to decrease the value of that investment made five years ago.
Brands do not always understand that what they do today is impacting the pre-owned, the vintage market, collectors.
Do you all think the Swiss have got a handle on the pre-owned market?
MR. LAMDIN I have yet to find any of the large watch groups that understand the value of the certified pre-owned model. I come from the car business. God help us, the Swiss need to learn from the car industry. You don’t make your money on a new car. You make your money on financing, on service and parts and on certified and pre-owned.
There is a huge supply of pre-owned contemporary wristwatches on the market and most of the time there is no secondary market supporting them; it’s just sort of willy-nilly. Re-commerce platforms are finding this opportunity.
But going to a jeweler or going to a re-commerce platform and getting a certified pre-owned watch is like going to a used car lot and buying something they say is certified. Who’s certifying it? We’re not talking about factory-backed, factory-certified programs. The question is, why are these brands doing this with partners? They should be doing it themselves.
MR. RUEGGER They have invested in marketing but they have never invested in after-sales service. So bringing back pre-owned and certified means they would have to invest a significant amount in after-sales service. We know that with all the watches floating around right now, we’re destined to face a huge problem a couple years from now when it comes to spare parts, and making these nine-month wait times for repairs shorter.
MS. NAAS It’s one of the biggest questions I get: Why do I have to wait six months for my watch to come back to me? Why do I have to pay so much money for my in-perfectly-good-shape watch to be serviced?
MR. LAMDIN Generally, luxury has been about what’s newest and greatest. And we’d probably all agree these brands are more interested in what happens tomorrow than what happened yesterday.
In terms of commerce, certainly. But in terms of design, we continue to see vintage styles influence contemporary collections. Is that still true?
MR. SULLIVAN We’ve been talking about Art Deco as a developing trend. I’m thinking of what Cartier has done for the last two seasons — first with the Santos, which is a much more immediate and accessible relaunch, but also the Tank Cintrée and the Tonneau from the Privé collection, which dates to 1906. I was struck by the Panerai Radiomir 1940 with the Art Deco dial, which was inspired by a clock in their store in Florence. Is Art Deco going to become a thing? What that means in watchmaking is obviously rectangular cases, certain types of numerals, certain dial decorations.
MR. RUEGGER Looking back at S.I.H.H., Richard Mille’s Bonbon Collection is maybe the first time the watch industry thought like the fashion industry: “This is a collection. We’re not going to bring the same thing next year.” I admired how brave they were to think in concepts and in fashion cycles.
MR. LAMDIN Women’s collections in general are a humongous opportunity that very few brands are doing right. Brands still think that ladies need these petite, mother-of-pearl, diamond-encrusted things — that couldn’t be further from the truth. A growing percentage of my business is ladies and they want mechanical watches in steel or precious metal that are well designed without all that floral frivolity.
What about the competition from smartwatches? We heard so much about the threat they posed to the mechanical watch industry — but have those predictions come to pass?
MR. SULLIVAN I think they’re selling to a different customer altogether. I think the key for brands is to somehow get the people who, if they weren’t wearing an Apple Watch, would probably not be wearing a watch at all. How you translate that into a mechanical taste I don’t know.
MR. LAMDIN I have actually seen this happen. People who had never worn a watch before were given or acquired a smartwatch and got accustomed to wearing something on their wrist, Googled the thing to learn about it and all of a sudden, they’re wearing mechanical watches. I don’t know how widespread it is, but smartwatches have actually been a gateway drug backwards.
MS. NAAS I’ve watched the trends come and go and it’s all cyclical like the fashion world. I’ve seen quartz to mechanical and back again. I’ve seen the move from yellow gold to white gold to rose gold and two tone, and now we’re going back to yellow gold again.
MR. SULLIVAN That’s why it’s very important to remember these cycles are very long. We’re consumed with what’s happening right now and five minutes later it’s gone. If you just sit back and wait, it’ll come. Whatever it is, it’ll come.B:
【这】【一】【日】，【陈】【诚】【正】【和】【几】【位】【长】【老】【练】【习】【诛】【仙】【剑】【阵】，【护】【法】【长】【老】【余】【元】【派】【人】【来】【报】，【山】【门】【外】【有】【信】【使】【求】【见】。 【陈】【诚】【一】【愣】，【自】【己】【这】【山】【门】【刚】【刚】【创】【立】，【就】【有】【人】【找】【了】【过】【来】？【但】【随】【即】【就】【恍】【然】【了】。 【这】【两】【个】【月】【内】，【他】【只】【顾】【着】【处】【理】【门】【派】【事】【务】，【整】【理】【听】【道】【收】【获】，【倒】【是】【忽】【略】【了】【外】【界】【的】【事】【情】，【恐】【怕】【是】【李】【信】【已】【经】【得】【到】【了】【自】【己】【回】【返】【的】【消】【息】，【但】【久】【不】【见】【人】，【有】【些】【着】【急】
【曲】【终】【人】【散】，【宴】【会】【在】【近】【亥】【时】【四】【刻】【才】【结】【束】。 【青】【龙】【城】【内】【依】【旧】【灯】【火】【通】【明】，【似】【在】【等】【待】【归】【家】【的】【人】。 【离】【歌】【回】【到】【客】【栈】，【并】【未】【见】【到】【花】【在】【宸】，【稍】【稍】【有】【些】【失】【落】。 【之】【前】【同】【行】【的】【向】【星】【宇】【等】【人】【都】【回】【到】【各】【自】【的】【住】【处】【收】【拾】【行】【装】，【准】【备】【前】【往】【神】【殿】【的】【事】【宜】，【离】【歌】【想】【到】【离】【开】【之】【后】【可】【能】【很】【久】【都】【不】【能】【回】【来】，【就】【赶】【紧】【找】【到】【周】【老】【说】【了】【接】【下】【来】【的】【安】【排】， 【难】【得】【周】
【欢】【迎】【大】【家】【点】【开】【这】【篇】【文】【章】，【茫】【茫】【人】【海】【中】，【和】【你】【相】【遇】【真】【是】【一】【种】【缘】【分】！【希】【望】【小】【编】【的】【文】【章】【您】【能】【感】【兴】【趣】，【记】【得】【关】【注】、【留】【言】【哦】，【有】【什】【么】【想】【法】，【一】【起】【讨】【论】！www.yykk8.com【突】【如】【其】【来】【的】【转】【账】，【让】【李】【研】【一】【很】【呆】，【再】【仔】【细】【看】，【这】【个】【转】【账】【的】【户】【主】【名】【字】，【似】【乎】【叫】【周】【彰】【居】。 “【李】【先】【生】【怎】【么】【了】？”**【贵】【看】【着】【呆】【如】【二】【哈】【的】【李】【研】【一】，【不】【由】【询】【问】。 “【呃】……【没】【事】。”【李】【研】【一】【面】【上】【如】【此】【回】【答】，【但】【在】【心】【头】【琢】【磨】【周】【彰】【居】【好】【像】【也】【没】【欠】【他】【钱】。 【就】【在】【李】【研】【一】【满】【头】【雾】【水】【时】，【手】【机】【又】【来】【了】【一】【条】【信】【息】。 [【飞】【机】【延】【误】【了】，【今】
【果】【然】，【不】【过】【才】【二】【十】【几】【个】【回】【合】，【芸】【司】【天】【就】【显】【得】【有】【些】【吃】【力】，【渐】【渐】【败】【下】【阵】【来】。 【贺】【承】【烨】【只】【是】【和】【芸】【司】【天】【开】【开】【玩】【笑】，【他】【是】【他】【未】【来】【的】【小】【舅】【子】，【他】【又】【怎】【么】【可】【能】【真】【的】【为】【难】【他】。 “【秋】【明】，【好】【了】，【你】【可】【以】【下】【去】【了】。” 【秋】【明】【躬】【身】【退】【下】，【却】【不】【敢】【直】【视】【芸】【璟】【姝】，【怕】【她】【认】【出】【他】【来】，【其】【实】【人】【家】【早】【看】【出】【来】【了】。 “【贤】【王】，【你】【这】【手】【下】【轻】【功】【好】，【武】【功】
【台】【上】【的】【陈】【牧】，【已】【经】【在】【做】【弹】【琴】【的】【准】【备】。 【而】【镜】【头】【仍】【在】【采】【访】【教】【练】【猿】，【这】【货】【侃】【侃】【而】【谈】，【独】【特】【的】【嗓】【音】【和】【说】【话】【风】【格】，【相】【当】【的】【有】【节】【目】【效】【果】。 “【您】【在】bp【上】【基】【本】【没】【有】【吃】【过】【亏】，【是】【怎】【样】【做】【到】【的】？”【主】【持】【问】【道】。 “【这】【个】【嘛】，【就】【是】【我】【能】【搞】【定】【的】【就】【自】【己】【来】，【要】【吃】【亏】【了】【呢】，【队】【员】【会】【自】【己】【用】【一】【个】【好】【的】【英】【雄】【来】【弥】【补】。”【教】【练】【猿】【说】【道】。 “【那】
【第】121【章】【沐】【家】【风】【云】 【南】【方】【城】【到】【了】。 【由】【青】【石】【铸】【造】【的】【巨】【大】【的】【城】【郭】【若】【隐】【若】【现】，【外】【还】【有】【一】【条】【护】【城】【河】【环】【绕】，【波】【光】【粼】【粼】，【越】【靠】【近】，【官】【道】【上】【的】【车】【人】【也】【多】【了】【起】【来】，【进】【城】【的】【车】【马】【川】【流】【不】【息】，【未】【到】【便】【可】【见】【南】【方】【城】【的】【繁】【荣】。 【而】【就】【在】【商】【队】【还】【没】【进】【入】【南】【充】【城】【的】【时】【候】，【就】【早】【有】【探】【子】【将】【沐】【家】【姐】【弟】【快】【进】【城】【的】【消】【息】【禀】【报】【回】【了】【沐】【家】。 【啪】！ 【沐】(来源：西村光明)