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With a simple twist, Audemars Piguet revolutionizes perpetual calendar watches

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Bloomberg

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February 25, 2025

Watch brands love an anniversary, big or small, and treat them as a way to showcase their technical skill. This year, Audemars Piguet celebrates its 150th, so it’s no surprise its research and development teams worked for five years to create something they believe might change watchmaking for the next 150.

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On Feb. 17, AP showcased the fruits of that labor at the Arc, the watchmaker’s nearly 194,000-square-foot new manufacture in Le Brassus, Switzerland. The futuristic building (which is still only partially open) curves around the existing Manufacture des Forges and brings much of AP’s production across the Vallée de Joux under one roof. Here, Chief Executive Officer Ilaria Resta and her team showed new watches and celebrated the brand’s history.

The star of the show was calibre 7138, the new perpetual calendar movement, called a quantième perpétuel, or QP, in French. Sebastian Vivas, the company’s heritage and museum director, said, “The QP is the game changer.”

A perpetual calendar is one of horology’s oldest and most esteemed complications. It will accurately show the day of the week, date, month, week number and moon phase, even across leap years (which it also indicates, usually on a small subdial with four segments). Keep it wound, and it will be accurate until the year 2100—when there’s a single-day deviation in the Gregorian calendar.

Audemars Piguet is a master of this format, which it first put in pocket watches in 1875, then in wristwatches in the 1920s. (In 1955, AP made the world’s first perpetual calendar wristwatch with a leap-year indication.)

However, perpetual calendars are notoriously tricky to set. Most calendar functions are adjusted with a series of discreet correctors on the side of the case, and the watch comes with a dedicated tool to change them. Of course, as research and development director Lucas Raggi notes, many people lose their tools and set their perpetual calendars with whatever fits, like an earring back or a pen tip, which can scratch the case.

Setting them requires precision; if you go one correction too far on some models, it takes dozens or even hundreds of pushes to correct it. Raggi says he commonly sees collectors with perpetual calendar watches that are incorrectly set just because they can’t be bothered to go through all the steps to fix it. To make matters worse, the complex array of gears and wheels can easily break while correcting the calendar, especially if the wearer changes it close to midnight when the date change happens automatically.

This is all set to change with the invention of calibre 7138, a movement (watchspeak for the engine of a watch) that relies on a single crown to set every function for the calendar. It was introduced that day at the Arc, to excited murmurs from assembled journalists.

Turning the crown clockwise in position one, flush to the case, winds the watch. Pull the crown into position two, and you have two functions: a clockwise turn sets the date, and a counterclockwise turn the month and leap year. Position three sets the time in both directions. Return to position two, and a new function is activated. This position is called “two prime,” a first in watchmaking. (When Raggi and Giulio Papi, director of watch conception, unveiled this, the room of watch journalists was filled with gasps.)

A clockwise turn sets the day and week, and counterclockwise sets the moon phase. In addition, watchmakers protected the movement, so it’s impossible to change the date between 9 p.m. and 3 a.m. and potentially break it. Vivas says these invisible technical improvements and achievements are setting the brand’s course for the next 150 years.

The calibre 7138 can be found in three new watches—one in AP’s Code 11.59 line, with an 18-karat white gold case that has an embossed blue dial with a guilloche motif. It retails for 109,300 Swiss francs ($121,796). The Royal Oak line has the new movement in two models: The first is in the brand’s proprietary “sand gold,” a unique hue that sits between rose and white gold thanks to an alloy of gold, palladium and copper. It goes for 130,000 francs. The second is in the brand’s classic stainless steel case with a blue PVD Grande Tapisserie dial, priced at 109,300 francs. These watches are in regular production, and there are also three limited editions of 150 pieces each, identified by the vintage-inspired Audemars Piguet logo at 6 o’clock.

In addition to the perpetual calendar, Audemars Piguet unveiled several other new watches. The Royal Oak Selfwinding Flying Tourbillon Extra-Thin makes its Code 11.59 debut in beige. It has a sand gold case with diamonds decorating the lugs, middle case and crown, and a matching beige alligator strap. The dial has an embossed, circular guilloche motif that seems to radiate from the flying tourbillon. It’s priced at 149,000 francs. 

Other releases are new colors of existing timepieces. The brand released five new Code 11.59 Grande Sonnerie Carillon Supersonnerie watches with wildly different designs, for example. Two have an opal dial with a beautiful play of color; the stone appears to shine with many colors depending on the light. These gorgeous watches are priced at 761,300 francs. In contrast, the three openworked models showcase the watch’s complex inner machinery, come in varying shades of gray, and are priced at 715,000 francs each.

The US market gets first dibs on an exclusive new color for the Code 11.59 Selfwinding Chronograph 41mm: a rich Tuscany-blue grained dial paired with a polished 18-karat white gold and blue ceramic case. The dial has discreet diamond hour markers that look almost like metal at first glance. It comes out in the US in March before its worldwide release in June. It’s limited to 100 pieces and priced at 85,600 francs.

The Royal Oak Perpetual Calendar Openworked 150th Anniversary watch is the last timepiece with the brand’s calibre 5135. It has a titanium and Bulk Metallic Glass (BMG) case and bracelet that are ultralight, an openworked dial that displays the movement, and brilliant blue accents. It retails for 175,000 francs.

Audemars Piguet will continue to unveil new watches throughout each year to celebrate its 150th anniversary.



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Multiply Group acquires 67% stake in Spanish fashion conglomerate Tendam

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Nazia BIBI KEENOO

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February 25, 2025

The Spanish fashion conglomerate Tendam has a new majority owner. Nine months after canceling its plans for an IPO in Spain, the investment vehicle of the Abu Dhabi royal family, Multiply Group, has acquired a 67% stake in the company from private equity firms CVC Capital Partners and PAI Partners. The deal values the company at over €1 billion, according to reports from the business daily Expansión.

Multiply Group acquires a 67% stake in Tendam, strengthening its presence in the global fashion market. – Tendam

The acquisition follows unsuccessful attempts to take Tendam public, as the market conditions failed to meet the expectations of CVC and PAI Partners. Both firms had been part of Tendam’s ownership since 2006, following a complex bidding war that also involved private equity firm Permira. In 2017, CVC and PAI Partners acquired Permira’s 33% stake, becoming the sole owners.

According to the same source, in addition to IPO attempts, CVC and PAI Partners had also explored other options for the company, including selling it to investors with an industrial profile or to the department store group El Corte Inglés.

Formerly known as Grupo Cortefiel, Tendam’s portfolio includes Women’secret, Springfield, Cortefiel, Pedro del Hierro, Hoss Intropia, Slowlove, High Spirits, Dash and Stars, OOTO, Milano, Fifty, and Hi&Bye. The group operates more than 1,760 points of sale across 80 countries, including standalone stores, department store corners, and franchises. It also maintains an online presence through over 33 websites.

Based on its latest financial data, Tendam recorded a 4.6% increase in sales in the first quarter of its fiscal year 2024, which ended on May 31. During the period, it reached a turnover of €253.8 million.

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Gucci opens Milan Fashion Week in Castleton Green

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February 25, 2025

What a difference a different colour and an Oscar-winning composer can make to a fashion show, as Gucci showed in its first post-Sabato De Sarno collection in Milan on Tuesday.
 
The debut show of the six-day Milan Fashion Week, the show and set were useful reminders of Gucci brand power, something far too many people have forgotten lately.
 
Gone was the deep purple that obsessed the banished creative director. Instead, the green room, invitations, curtains, and banquette seating inside the huge show space were hearty Castleton green. Even the catwalks were done in two massive interlocking green Gs.

A model walks the runway in Gucci’s Castleton green show space, reflecting a new direction for the house. – Photo Credits: Godfrey Deeny

 
Presented inside Superstudio Maxi, a giant party club in south Milan, the show was blessed with a fantastic original soundtrack by Justin Hurwitz, who won two Oscars for Best Original Song and Best Original Score for La La Land. He energetically conducted a live chamber orchestra before a front row, where Kering CEO and Gucci patron François-Henri Pinault sat beside Julia Garner, Jessica Chastain, Parker Posey, Jannik Sinner, Yara Shahidi, Dev Patel, Xiao Zhan, and Wen Qi—not bad going for a house without a designer.
 
A rousing performance that drove forward this show and collection, a cautious yet snappy array of Gucci hits over several decades created by the in-house design team. Ranging from ’60s fur and deep mohair peacoats; to knee-length skirts slit up the side, big-button tunics, or some perfectly cut Donegal tweed business suits. Dolce Vita damsels out for a stroll, certain to make heads turn.

Gucci’s runway featured rich textures and fluid silhouettes, blending heritage with modern elegance. – Photo Cresits: Godfrey Deeny

 
All the way to the 90s slip dresses, oversized coated blazers with peak collars, or bouclé wool mini cocktails. Best of all were the interlocking G-print velvet dresses and the semi-sheer skirts paired with velour leotards and worn with gold stirrup pendants, adding plenty of oomph. All this was worn with several new takes on the 1955 horse-bit bag that looked very commercial.
 
There was a time under Alessandro Michele, when the Gucci girl looked like she lived in Brooklyn. None of these girls looked like they ever took a subway. 
 
Halfway through, the chamber orchestra changed rhythms and out came the menswear collection, featuring a sharp new double-breasted suit with an elongated jacket and slim pants, slashed at the back at the ankle and worn with natty leather slippers. Noting too awe-inspiring, but decent merch as were some great scrawny mohair cardigans. Though quite why there were six versions of the same coat, albeit in different materials was hard to comprehend.

Gucci’s menswear collection featured sleek tailoring with modern proportions and effortless elegance. – Photo Credits: Godfrey Deeny

  
“We wanted to make a brand statement,” said Gucci CEO Stefano Cantino. And the house most certainly did with an excellently staged show that ended with a score of young designers taking a joint bow at the bandstand. All dressed in Castleton green sweatshirts.

Despite it being one of those foggy days when clouds descend like lumpy porridge from the Alps and Milan looks very mournful, several thousand fans swarmed around outside, cheering each star as they exited. Gucci may have suffered several tricky years and seen revenues fall 20% in the most recent quarter, but judging by these fans; the label is still a major cult marque.
 
The house was mum about the eventual successor to De Sarno, though an announcement is expected in the next several weeks – with Hedi Slimane the designer with the shortest odds.
 
Business may have been weak but there is plenty of life in the house of Gucci.
 

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Bill with tougher measures for retail crime reaches parliament

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February 25, 2025

Tougher laws on UK retail crime are taking their first steps through parliament today (Tuesday 25 February).

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The government’s Crime and Policing Bill, which will mostly apply in England and Wales, contains over 50 measures including stricter penalties for shoplifting of items under £200 and making it a new offence to assault a shop worker.

It also contains new ‘Respect Orders’, reminiscent of the Anti-social Behaviour Orders introduced by the last Labour government before being abolished in 2014.

Current laws don’t go far enough for shoplifting theft under £200 and such crimes can only be tried in a magistrates court.

Home secretary Yvette Cooper said: “The new Crime and Policing Bill is about taking back our streets and town centres, restoring respect for law and order, and giving the police and local communities the support and tools they need to tackle local crime.”

The British Retail Consortium warned in January that retail crime is “spiralling out of control”, hitting its highest level on record. Theft alone is now costing retailers £2.2 billion a year while violent and abusive incidents were up more than 50% last year. The crime prevention cost for stores is around £1.8 billion annually.

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