Chopard Alpine Eagle 33 mm

The story of Chopard’s sporty-chic Alpine Eagle watch continues with a new case size joining the collection. As with all models introduced since 2019, the 33 mm versions combine adventure and performance with technical and aesthetic excellence in a design which is rapidly becoming one of the most recognisable silhouettes in the luxury sports watch category. As with previous iterations, both the watch and the Chopard 09-01.C movement were developed and manufactured in-house. The new case size will be available in six references crafted in Chopard’s exclusive Lucent Steel A223 and ethical 18-carat rose gold – including bi-material options – and complemented by dials in colours inspired by Nature.

Chopard Alpine Eagle 41 mm

The Alpine Eagle collection of sporty-chic timepieces has been enriched by two 41 mm-diameter models adorned with a dial in an original “Pine Green” colour inspired by the Alpine biotope. Available in versions featuring either Chopard’s exclusive ultra-resistant and highly luminous Lucent Steel A223 or ethical 18-carat rose gold, this timepiece beats to the rhythm of the Chopard 01.01-C movement, whose high-precision timing is authenticated by chronometer certification. In keeping with the Maison’s commitment to the preservation of the Alpine environment and its biodiversity, part of the proceeds from sales of these models will be donated to the Alpine Eagle Foundation, whose programmes have already enabled the reintroduction of the white-tailed eagle in the Lake Geneva region.

Alongside the unveiling of two new Alpine Eagle timepieces whose aesthetics are inspired by the power of Nature, Karl-Friedrich Scheufele has pledged to dedicate a portion of the profits from their sale to fund the Foundation’s programmes. As the Co-President of Chopard and co-founder of the Alpine Eagle Foundation explains: “Given that I personally find refuge in the pleasures of hiking and skiing, I appreciate the calm of the mountains, which are conducive to inspiration, reflection and serenity. Preserving this environment is very important to us, and I am extremely proud that the beauty of our Alpine Eagle timepieces pays tribute to the Nature that inspired them and enables the funding of concrete actions to support the conservation of this fragile ecosystem.”

Maximilian Busser needs no introduction. As founder of MB&F, short for Maximilian Busser and Friends, in 2005 he singlehandedly changed the face of modern watchmaking. MB&F brought in much needed transparency to the world of horology and remains one of the most creative and exciting independent watch brands ever created. In addition to watchmaking, MB&F also owns four M.A.D. Galleries and several Co-Creations under their umbrella. It is a real privilege and honour to have the opportunity to interview Max Busser for Katsbling.

[Kunal Khemka] Hi Max, welcome to Katsbling. A huge thanks for this opportunity to interview you. I first learnt of you in the mid-2000’s, when I came across MB&F adverts and articles in the Robb Report -US Edition. But I only truly understood what ‘Max Busser’ and ‘MB&F’ were about when I lived in Singapore from October 2014 until June 2017. I remember attending a Franck Muller event at a major AD, where in walked this tall collector, wearing two MB&F Horological Machines (HM), one on each wrist. It was certainly a remarkable sight! And I remember attending one of my first ever GTG’s, where this well-known collector arrived carrying a special briefcase, which when he opened it, had the most amazing collection of mainstreams (quite a few A. Lange & Sohnes) and independents (several MB&F’s) I had ever seen. Both you and MB&F were always spoken about with much affection and respect during such encounters. I must day that my curiosity piqued and have since followed your journey with MB&F.

[Kunal Khemka] You are truly a Rock Star in the world of Horology, with MB&F as your Rock Band. So which Rock Band would MB&F be?
[Max Busser] Maybe Genesis, because in a certain way we at the beginning of a new artistic current in high-end watchmaking.

[KK] You singlehandedly changed the face of modern horology by bringing in transparency where there was little or almost none, with the inclusion of ‘Friends’ in MB&F. The brand gave public credit to the creators of the various aspects of a watch, such as the case, dial, hands, numerals, screws, movement components, balance springs etc. Even today, most large mainstreams (I understand only few are completely vertically integrated so all under one umbrella) do not give this level of credit to their suppliers. What inspired you to do so?
[MB] A simple phrase my parents told me all the time when I was growing up “treat people the way you want to be treated”. In a way it’s one of the fundamentals of karma. Many people have helped me during my life and it has been important for me to pay it forward.

[KK] You worked at Jaeger Le Coultre (JLC) and Harry Winston (HW) prior to starting MB&F. What was your greatest ever learning experience, either at JLC or HW? Also, you had the opportunity to work with the legendary Gunter Blumlein (of JLC-IWC-Lange) as your boss at JLC. It must have been interesting to say the least. Any memorable incidents that you can share?
[MB] That question deserves a long answer! At JLC, I learned how to actually work, I deepened my love for watchmaking and it engrained the culture of creating great products for incredible value. At HW, I learned that I was actually capable of saving a company from bankruptcy and growing it, and more importantly who I really was and what was crucial for me as a creator and human being. Little did I know that these two different seminal 7-year experiences were going to foster the birth of MB&F.
Mr. Blümlein was, alongside Henry-John Belmont, the most important mentor figure in my professional life. During my seven years at Jaeger-LeCoultre (1991 – 1998), I was constantly in awe. His super sharp strategic thinking, his unquenchable passion for high-end watchmaking, his capacity to reinvent himself and the companies he was heading as well as his aptitude to explain the most complicated ideas into simple words. I will always remember the day he told me in a meeting “Mr. Büsser, creativity is not a democratic process!”. And, of course, how he recreated the 20th and 21st century A. Lange & Soehne from scratch. Such a masterclass on reinvention never equalled in our industry since.
He could be very tough, especially on those who had not garnered his respect, but let me share an anecdote which happened 23 years ago. It is Baselworld 1999, and I have just taken over Harry Winston Timepieces, which was in a very dire situation. I’m 31 years old, feeling completely inadequate, battling to try to save the company against extreme headwinds. The only person who came to see me from my JLC days is Günter Blümlein. To my great surprise, he took a few minutes of his insane schedule to walk up to the first floor and say hello. I was a desperate train wreck, and his words, “I am sure you will do great. If someone can save this company, it’s you “, probably saved me from falling off the cliff. Blümlein had never given me any particular praise in my seven years at JLC – and he could not have chosen a better timing for his words. It was, very unfortunately, the last time I would see him. I still sorely miss him today, twenty years later, and I unfortunately never got to say thank you.

[KK] The Harry Winston Opus series was your creation, and the first Opus 1 was based on FP Journe’s Tourbillon, Resonance, and Reserve de Marche. Was the Opus series the precursor to founding MB&F? And given how far MB&F and FP Journe have reached in the pantheon of horology these past years, is there a possibility of an MB&F – FP Journe collab? I think it could be particularly exciting.
[MB] Opus was initially a small idea created to help a friend, François-Paul Journe. March 2000, he launched his brand during Baselworld and it was not that easy. Not only were independent creators not an interest to anyone, but he was not allowed to explain what he had created in his previous life due to many non disclosure agreements. One day during Baselworld while we are talking, I suggest that we should create a product together so that Harry Winston can tell the world what a brilliant mind he is and how incredible his pieces are. The next Baselworld 2001 we presented Opus One together.
Opus is a first step in the direction of MB&F in a way: it helped me meet for the first-time independent creators like François-Paul, Vianney (Halter) or Felix (Baumgartner) who never saw their company as a business. It was an emanation of them, it was a life decision because that is the only thing that fulfilled them and allowed them to create. They showed me a life I aspired to have.

MB&F is nevertheless very different from Opus in the creative process itself. In the case of Opus, I was scouring independent watchmakers looking for movements or ideas, and then we would finance and “Winstonize” them. At MB&F all the ideas are my creations and then I find the dozens of incredible specialists in all domains who will transform them into reality.
As for working with F.P. Journe again, of course I would love to. Let us hope that the opportunity will arise again!

[KK] I am aware that you have collaborated with some great independent watchmakers towards MB&F pieces. Names like Peter Speake-Marin, Kari Voutilainen, Stephen McDonnel, to name a few. Do you recall any memorable experience with any of these or other personalities towards the creation of an MB&F timepiece?
[MB] There are literally hundreds of stories and even more incredible moments. There were of course many very tough moments also. I thought when I started MB&F that our goal was to create great products, but 17 years later I realize the goal was the journey itself, and the products are actually just the consequence or even the medium necessary to write these stories.
At the end of the day, Peter, Kari and Stephen for example are extraordinary human beings on top of being incredibly talented in their respective fields. Together we wrote chapters which I do not think any one of us could have written alone.

[KK] If you had to pick one MB&F creation, either a Horological Machine (HM) or Legacy Machine (LM), which one would you be most proud of? I know this is a difficult question, because each MB&F creation must be ‘like one of your children,’ and it is hard to pick favorites.
[MB] The question has been asked many times and I finally set my decision on the… Hm4 Thunderbolt.
The piece which most terrified me in the first years of MB&F. We had barely escaped bankruptcy in 2007 and 2009, and in 2010 we unveil HM4, the craziest 3D piece of watchmaking art in history. I was wondering if anyone would actually buy one. We had put all our resources in it, so if it did not find an audience, it was “game over” for the company. A miracle happened! Customers started lining up and to my knowledge virtually no HM4 was virtually ever in a store over the 4 years it took us to deliver the 100 pieces.
This in turn liberated me: if watch-lovers were ready to follow us into the Thunderbolt, they could probably follow us into even wilder territory.

[KK] In addition to MB&F’s watchmaking, the four MB&F Galleries (Geneva, Dubai, Hong Kong, and Taipei) and MB&F Co-Creations are phenomenally impressive. I read once that with the Galleries, you aim to create an ‘orphanage’ for these artists, who would have a particularly tough time trying to exhibit and sell their works. Given that creating watches and selling them is difficult enough, what made you go down this path of the Galleries and Co-Creations? It is hard not to love your co-creations with L’Epee, Reuge, Caran Dache and Loupe System.
[MB] The first M.A.D. Gallery in Geneva was originally created as a decoding system for our brand: if you could understand and love the amazing kinetic and mechanical art we were curating, maybe you would understand our MB&F pieces. Over the years, it has evolved into, not only creating an incredibly interesting conversation with our clients but, more importantly a way to give back by helping passionate artists who usually struggle to find Galleries to represent them.
The Co-Creations were initially created to populate our first M.A.D. Gallery. They were also a new path of creativity for me. Creating an MB&F watch & movement is horrendously long, from 3 to 5 years, and expensive – millions of dollars! By creating for other brands and manufacturers, I could enjoy myself immensely and not take any resources from my MB&F team. Along the way, our Co-Creations were also a way to help these companies to profile themselves with new ideas and in some cases to actually survive.

[KK] There is immense Aviation, Space, and Automotive influences in all your creations, especially the Horological Machines and Co-Creations. Are these childhood interests of yours? Any other inspirations? And do they continue to inspire you?
[MB] The first decade of MB&F was indeed very influenced by my pretty lonely childhood. I wanted to be a car designer. I used to assemble model airplanes for hours and hours, and I often dreamt of myself as Han Solo or Captain Kirk.
Over the years I believe my “psychotherapy”, revisiting my childhood, has morphed into a more contemporary observation of my life and passions. You will for example see a completely new influence on next year’s HM1.

[KK] The ‘entry-level’ M.A.D. 1 has been a sensation and taken the world of horology by storm. Given its success, do you plan to expand this line?
[MB] M.A.D. 1 was initially created just for my friends and family. We finally decided to first give access to those who had helped me created MB&F: the Friends (suppliers), the Team and the Tribe (our MB&F customers). It was another way of giving back but then we frustrated the fans. Hence why we decided to do the lottery in March. We never anticipated that over 22’000 people would register to get one of the 450 pieces available.
Next year we will launch another raffle on the red M.A.D. 1 with higher numbers to be had – but still at the best a tenth of the demand.
We have many other ideas for M.A.D. Editions. Now that we know there is a real public for them, we will be happy to come out in the next few years with new ideas and products, but this part of our creativity is not intended to be a business. And they do not need to be watches by the way!

[KK] You are half-Indian. As an Indian myself, I am (and I am sure many others) quite proud that one of the greatest independent watch personalities and independent brands on the planet has ‘Desi Roots.’ Does anything about Indian culture or values helped in shaping MB&F into what is today? And while we are at this question, favorite Indian food?
[MB] By growing up in the 60’s and 70’s as a half-Indian half-Swiss allowed me to escape a pretty normal scenario in old Europe: expecting to end your life where you started it. From a very young age, I considered the world as much more accessible, and had a meta point-of-view on what was happening around me.
I believe my Indian side is the more emotional part while the Swiss one is the more rationale. But that is only maybe because my parents were very much on those different spectrums.
And if you want to see a big smile on my face, let’s share a vegetarian thali with a big masala dosa.

[KK] With MB&F watchmaking, Co-Creations, and the four Galleries, I wonder how you get any sleep. But you are a watch collector as well? What attracts you to a watch? And how much of ‘in-house’ is important to you when you appreciate a watch or collect for yourself?
[MB] I did not sleep much between 2013 and 2020 – mostly due to having had our two children and travelling around the world at the same time! Then “luckily” Covid struck, and I could not travel anymore which gave me a few more hours sleep.
I am a crazy watch collector. I buy way too many watches all the time. Mostly weird and eccentric pieces from all eras (luckily the watch industry has not always been as boring as people think), and of course pieces from the independents I love and respect.
“In house” is not a debate for me. The “Why” of the company is way more important. Most independents create because that is their calling. Money has never been an option or a goal. When you wear one of their pieces, you can feel their soul and realize all the incredibly difficult times they had to overcome to bring these pieces to life.

[KK] Which would be your favorite mainstream brands? And favorite independent watchmakers?
[MB] Rolex and Patek Philippe remain for me the two beacons of our world. Independent, great integrity and very long-term thinking.
As for smaller independents, all the people I have been fortunate to work with, such as Kari Voutilainen, F.P. Journe, Urwerk, Stepan Sarpaneva and Alain Silberstein (as you can see not all are watchmakers) but also those I have not (yet?) worked with like Ressence or the Grönefeld brothers.

[KK] What advice would you give a collector, either starting out today, or someone with a collection who wishes to enhance or expand it? The past few years have mostly been about ‘artificial scarcity,’ ‘having a purchase history,’ ‘long waiting lists,’ huge premiums,’ ‘impersonal brands,’ ‘unfriendly AD’s, and ‘Fear of Missing Out’ (FOMO). In this environment, how does the novice or amateur collector navigate and still be able to put together a collection he or she can be proud of?
[MB] You indeed just mentioned all the wrong reasons to consider a watch!
The first step is to understand our industry through a historical lens and as an ecosystem. There are dozens and dozens of great watches out there at all budgets. For the lower budget mostly in vintage. From a JLC, Futurematic as a classic or an Amida Digitrend for crazy, the choices are enormous.
As a collector, I believe it is crucial to understand what makes us tick (no pun intended) and to experiment based on that. Do not try to compete with your friends. Do not try to emulate what you see on social media. Make up your own taste, your own reasoning. Whatever is your collecting journey, it will be one of enlightenment. I sometimes look at pieces I bought 20 years ago and shake my head, but those were the pieces which were interesting or important to me then, and I must respect that. They are who I was. I have changed, my tastes have changed, and my knowledge has increased…

[KK] Thank you for your responses. I aspire to own an MB&F one day. For now, I am a proud owner of “MB&F: the First Fifteen Years, a Catalogue Raisonne of MB&F Watches” by Suzanne Wong and William Massena. The world of horology should be grateful that Max Busser and MB&F exist. You just make it better, more interesting and a great deal more exciting. Although we have never met, you have always come across as a very friendly and likable person, and, this permeates to the entire world of MB&F.
[MB] Thank you so much! As much for your kind words as for all the research and thoughtfulness you put into these questions!

When the Laureato was originally launched in 1975, it won the hearts and minds of design aficionados and watch collectors alike. While other contemporary watches have come and gone over the years, only a handful have endured and the Laureato is one of them. The Maison is pleased to unveil a new timeless addition to the Laureato family, the Girard-Perregaux Laureato 42mm, a timepiece housed in a pink gold case, paired with a handcrafted black onyx dial and equipped with an in-house mechanical movement.

Available in Girard-Perregaux retailers worldwide from September, the 42 mm case is presented in 18-carat pink golf and upholds the Laureato tradition of juxtaposing polished and satin finished surfaces throughout. A matching pink gold bracelet provides a fitting means of uniting the watch with its wearer while the noble hues of the case paired with the handcrafted black dial draws on the expertise of time-served craftspeople who shape and polish the material by hand. The self-winding movement  has a power reserve of 54 hours and encompasses a myriad of refined details such as bevelling, mirror polishing, and various engravings.

Following the success of the DIVER X SKELETON in blue released in 2021, Ulysse Nardin relaunches 175 new pieces in black Carbonium® with an audacious choice of a bright yellow rubber strap and a black R-STRAP made of upcycled fishing nets.

This cutting-edge evolution of the existing Diver X collection retains its sporty appeal while taking a radical step towards transparency. As the new hero watch of the Diver collection, the DIVER X SKELETON model is an explosive amalgamation of the design of a Diver and the technical prowess of the Blast collection. The DIVER X SKELETON BLACK is designed to withstand the potential pressures that exist at depths of 200 meters and is equipped with a black Carbonium® concave unidirectional rotating bezel and domed sapphire glass.

To bring the DIVER X SKELETON model to life, the engineering team has completely redesigned the UN-371 movement, which is visible through the 44 mm case. Originally designed for the Blast Skeleton collection, it has been improved with the addition of an oscillating weight in the shape of the iconic “X” – one of the most technical and complex developments ever undertaken by Ulysse Nardin. The hour indexes had to be secretly connected to the dial, so they appear to be floating. Different levels of finish were also employed to create a play of light, amplified by the transparency of the skeleton movement.