@panerai Panerai is celebrating 100 years at Piazza San Giovanni, one of the most important addresses in the brand’s history.

Opened in 1926 under the name Orologeria Svizzera, the Florence boutique was more than a shopfront. It was a working space where the Panerai family assembled and repaired watches, and where the brand’s horological knowledge continued to develop through its relationships with the Swiss maisons of the time.

To mark the centenary, Panerai has introduced two limited-edition watches: the Luminor Firenze 8 Giorni PAM01734 and Luminor Firenze 8 Giorni PAM01794.

Both are 44mm Luminor models powered by the hand-wound P.5000 calibre, giving them an eight-day power reserve. The PAM01794 is the stainless steel version, limited to 1,000 pieces and water resistant to 300 metres. The PAM01734 is the more exclusive Platinumtech version, limited to 100 pieces, with a green sandwich dial and 100 metres of water resistance.

Most interestingly, the Platinumtech model revives a detail from Panerai prototype history: grooves cut into the inner side of the crown-protection bridge, originally intended to make the crown easier to operate with gloved hands.

A centenary watch, then, but very much in Panerai language: Florentine history, military-derived function, and a design detail that is more useful than decorative.

#Panerai #Luminor #LuminorFirenze8Giorni #PAM01734 #PAM01794 #PaneraiFirenze #RevolutionWatch ...

At Geneva Watch Days 2026, telling the time often meant looking beyond the conventional pair of hands. Across the week, brands explored jumping hours, rotating rings, satellite indications and anti-clockwise seconds, using newly developed systems alongside fresh interpretations of familiar ideas.

@de_bethune revisited the mechanical-digital language of its earlier DBD with jumping hours, rotating minutes and a spherical moon phase. @mingwatches introduced one of the week’s more practical ideas: a worldtimer that advances only the cities observing daylight saving time with a single click. @altowatch, meanwhile, retained the ART collection’s anti-clockwise central seconds hand.

@trilobewatches’s Château Trente-Deux brought a burgundy setting to its rotating hour, minute and seconds rings, while @urwerkgeneve dressed the UR-150’s satellite hours and flyback minutes in yellow gold. @k_chaykin’s Wolf used its eyes to display the time and its fanged mouth to reveal the full-moon period. @bremontwatches completed the selection by bringing its jumping-hour display into a new 35mm Terra Nova case.

From immediately legible apertures to displays that reward a closer look, swipe through seven different approaches to reading time at Geneva Watch Days 2026. ...

Few complications ask as much from a wristwatch as a Grande Sonnerie. It must automatically sound the passing hours and quarters, manage a considerable appetite for energy and maintain accurate timekeeping throughout.

@jaegerlecoultre returns to that challenge with the Duometre Grande Complication à Grande Sonnerie, a new interpretation of Calibre 182, first introduced in 2009. The manually wound movement unites 15 complications and more than 1,300 components, requiring approximately a year and over 16,000 individual operations to assemble and regulate.

Four trébuchet hammers strike four gongs tuned to E, C, D and G, producing Westminster-style melodies. Grande Sonnerie mode marks every hour and quarter automatically, Petite Sonnerie sounds each full hour, and the minute repeater delivers the exact time on demand. The calibre also incorporates a retrograde perpetual calendar, flying tourbillon and two power-reserve displays.

For this new interpretation, longer metallic-glass gongs, refined fixing and tuning, and a titanium inner case are designed to improve the resonance, depth and clarity of the chimes. A new safeguard also prevents the minute repeater from being triggered again before the mechanism has fully reset.

The 45 mm × 16.16 mm case combines 18K pink gold with a titanium inner body, framing a more extensively openworked dark blue-grey dial. The diameter of the time-and-calendar display has increased by 30%, while the sapphire caseback reveals the flying tourbillon and the calibre’s extensive finishing. Only one example of the Duometre Grande Complication à Grande Sonnerie will be made. ...

For most of the past century, @audemarspiguet’s Grosse Pièce remained outside public view. This week, it is on display at the National Museum of Singapore.

Commissioned in 1914 and completed seven years later, the double-sided pocket watch contains 19 complications, including a one-minute tourbillon, chronograph, minute repeater, grande and petite sonnerie, perpetual calendar, equation of time and sidereal time. Its reverse dial places the latter around a blue enamel chart mapping the sky over London with 315 stars — the only known celestial chart found on an Audemars Piguet pocket watch.

The Grosse Pièce was also the work of a network of specialists from the Vallée de Joux. Archival research links Charles Piguet to its movement blank, Léon Aubert to its astronomical displays, the sons of Louis-Elisée Piguet to its grande sonnerie and Capt & Co. to its tourbillon. The First World War delayed its completion, but the watch was eventually shown at the Geneva Fair in 1920 before being delivered to London watchmaker S. Smith & Son in 1921.

A contemporary report claimed that it sold to an American collector for roughly the price of a London house. It subsequently slipped from public view and eventually entered Robert M. Olmsted’s collection, where it remained for decades.

On 8 December 2025, the Grosse Pièce reappeared at Sotheby’s New York. Audemars Piguet acquired it for US$7.736 million — more than seven times its US$1 million high estimate and the highest price Sotheby’s has achieved for an AP. It is now part of the manufacture’s Heritage Collection.

The Grosse Pièce can be seen at Audemars Piguet: Perspectives on Time, held at The Gallery Theatre, National Museum of Singapore, 93 Stamford Road, from 10 to 13 September 2026. ...

With Geneva Watch Days behind us, we’re continuing our look at some of the themes that emerged across the week’s releases. This time, the focus turns to materials and technique: how familiar metals, natural stones and more advanced materials were shaped, finished and placed at the centre of each watch.

@berneron exposed the gold architecture of its new mirrored Calibre 283, while @ferdinandberthoud paired black ceramised titanium with traditional hand-finishing. @corumwatches carried ceramic across the Admiral’s angular case and integrated bracelet, and @geraldcharles_official transformed Maillechort through hundreds of controlled hammer strikes.

@geraldgentaofficial turned to naturally patterned golden obsidian, while @louismoinet combined meteorite fragments with miniature painting and layers of luminescent material. @bellrosswatches cut its BR-X5 dial directly from Muonionalusta meteorite, and @artyawatch brought engraving, hammering, shot blasting, perlage and hand-bevelling to the Complexity Métiers d’Art. ...

There was plenty to take in at this year’s @geneva_watch_days. As we revisit the releases, we’re starting with the collaborations and tributes that brought watchmakers, designers and cultural icons into the conversation.

@bvlgari invited @vianney_halter_official to reinterpret the Octo Finissimo, while @atelierwenwatches and @massenalab explored hand-tremblage engraving and Chinese calligraphy with the Inflection Shuò. At @m.a.d.editions, Vincent Calabrese’s Baladin concept found a new expression in the M.A.D.3.

@oris welcomed Gonzo into its Muppets series, and @czapekgeneve continued its work with @lederertimepieces through the Complicité Glacier Blue. @maisonalcee and @mbandf took the collaboration off the wrist with Nostromo, a mechanical clock its owner assembles, while @breitling paid tribute to Miles Davis with a Navitimer inspired by the reference he wore.

Unveiled in the lead-up to and during the fair, these releases offered plenty to discuss about the people, ideas and cultural connections behind the watches. Which one caught your eye? ...

Across three sessions at @geneva_watch_days 2026, Revolution’s Horological Symposiums brought together watchmakers, executives, journalists and collectors to examine some of the most important questions facing the industry today.

The opening discussion, Watchmakers vs Movement Constructors, considered how traditional watchmaking and movement construction overlap, and whether modern watchmaking is increasingly defined by calibre architecture. Moderated by Constant Kwong (@constant.kw), the panel featured Mathieu Cleguer (@cleguer.mathieu), Bernhard Lederer (@lederertimepieces) and Jack Forster (@jackjforster).

For Beyond Gender — Do Watchmakers Still Need to Design for Women?, moderator Tracey Llewellyn (@tellewellyn) was joined by Jean-Christophe Babin (@jc.babin), Marie Lehnherr, Ash Longet (@ash.longet), Alexandre Beauregard (@alexbeauregard.ch) and Suzanne Wong (@suzannewongxx). The discussion examined the difference between gendering a watch and properly considering women during the design process.

The final symposium, The Great Polarisation — Is There Still Space Between Giants and Independents?, explored the pressures facing mid-sized brands in a market increasingly shaped by global luxury groups and small independents. Moderated by Constant Kwong, the panel brought together Davide Cerrato (@davidecerrato), Naoya Hida (@naoya_hida_co.official) and Roy Davidoff (@roydavidoff).

Thank you to all our moderators, panellists and everyone who joined us at the Geneva Watch Days Pavilion. ...

@louisvuitton is giving the Tambour Spin Time another turn. Following last year’s six limited-edition Tambour Taiko Spin Time references, the maison has introduced five new executions to its permanent collection, bringing richer colours and materials to the redesigned cases and fully in-house movements unveiled in 2025.

First introduced in 2009 by Michel Navas and Enrico Barbasini, the Spin Time complication was inspired by the mechanical departure boards found in airports and railway stations. Twelve rotating cubes transform the jumping-hour display into something three-dimensional, with a central hand indicating the minutes. The Spin Time Air later pushed the concept further by suspending the cubes around the dial so that they appear to float.

The new collection begins with a 39.5mm white-gold model in muted olive green, joined by a rose-gold execution featuring an Australian opal dial centre, baguette-cut blue sapphires and diamond-set indexes. The larger 42.5mm Spin Time Air arrives in blue and white gold, while the Spin Time Air Antipode uses its 12 cubes to display 24 time zones, pairing cities located 12 hours apart and distinguishing day from night through contrasting cube faces.

Completing the collection is the Tambour Spin Time Air Flying Tourbillon, combining a salmon-coloured dial with a platinum case and a central flying tourbillon shaped like Louis Vuitton’s Monogram flower.

All five watches are powered by manufacture movements developed at La Fabrique du Temps Louis Vuitton and displayed through sapphire casebacks.

Read the full story on RevolutionWatch.com (link in bio). ...