• About
  • Brand Content
  • Brand Features
  • Fashion, Arts & Lifestyle Articles
  • Film & Drama
  • Interviews
  • Travel Memoirs

sitanshi talati-parikh

sitanshi talati-parikh

Tag Archives: Interview

Payal Khandwala: Out of the Closet

08 Saturday Jul 2017

Posted by sitanshi talati-parikh in Fashion & Style, Interviews (All), Interviews: Lifestyle, Publication: Mint Lounge

≈ Leave a comment

Tags

Designers, Interview, Out of the Closet, Payal Khandwala

Published in Mint Lounge July 8, 2017
(Text edited from original). Photograph by Abhijit Bhatlekar

Payal-k6vG--621x414@LiveMint

Her brand-new cat interjects his way playfully into many parts of our conversation, and artist-turned-designer Payal Khandwala deals with the situation with the same composure that she would any other area of her life. Khandwala draws from her vivacious artist’s palette for the eponymous clothing line she first showcased in March 2012, 10 years after she moved back from New York to Mumbai.

Khandwala went to New York to study fine arts at the Parsons School of Design in 1995 and then worked with menswear designer Sandy Dalal in the US.

Unable to find clothes that she liked, and sensing the potential market for a prêt line, she decided to move from canvas to fabric. The line has taken on a life of its own: She started by retailing at Good Earth and now has two stores in Mumbai, and is stocked in multiple stores in four metros.

Khandwala, 43, has repeatedly made it to best-dressed lists for her individual sense of style, which is bold-hued, sleek and non-fussy. Her eyes are always made up dramatically, her petite frame is enveloped in colourful drapes, trousers and antique silver accessories. But what she wears best is her grounded attitude to life and style. After all, she is the one who popularized lehngas with pockets for women.

payal1-k6vG--621x414@LiveMintColour-coordinated brocade saris.

The saris in her wardrobe are grouped and hung in order of colour shades and sometimes, she says, she will just “undo it to avoid becoming a slave to that kind of discipline”. Edited excerpts from an interview:

Should we be surprised that your living spaces are minimalist and muted?
I am very practical; I don’t like fuss and clutter. Not only is it the way I design, it’s also the way I live. While I like accents of colour, I want the environment to be neutral. Besides, I can’t wear and be around colour simultaneously!

How different is your look now from your New York avatar?
As a student I didn’t have any money, but New York is full of flea markets and vintage stores. I was more bohemian: pairing jeans with a top, shawl or kaftan. I became more minimalistic when I began making clothes for myself, and with age, perhaps. I don’t want too much of either sophistication or free-spiritedness.

cat-k6vG--621x414@LiveMintDistressed jeans from Hong Kong.

You’ve struggled to find lowers that worked for you, how did you figure them out?
I love jeans because they stand the test of time (she’s “obsessed” with a pale pair from a mall in Hong Kong that is loose-fitting, distressed and bootleg). I always found everything else more formal, while high-street options are largely trend-based. So now if I want to wear a particular kind of pant (she counts the palazzo as a staple), I just make it.

Anything from “back then” that makes you cringe?
You won’t see me wearing colourful patent leather wedges or fluorescent colours. I disliked the 1980s and 1990s. It was the worst time for fashion. I did it then and it was a disaster. I have learnt my lesson.

Didn’t you have a love affair with saris?
I took two Abraham & Thakore cotton saris with me to New York, but it became a lot easier when I moved back to Mumbai, because of the weather. Being a part of the art circle, or maybe as a reaction to having been away so long, I began wearing saris more frequently, pairing them with tank tops or jackets that I procured from Vietnam, Cambodia or Istanbul. I easily have more than 80 saris (none of which are from my mother), including 50- to 70-year-old vintage brocade saris, and lehngas woven with pure gold thread, and an early Sabyasachi.

silver-k6vG--414x621@LiveMint

Silver necklace from Istanbul.

Tell us about your eclectic jewellery collection.
I have a lot of silver jewellery: I wore it with saris for my wedding. I’ve not bought anything in ages, because there is very little of the genuine kind in circulation—they just make pieces that look antique. I’ve picked up stuff from Rajasthan (Jaipur and Udaipur), Istanbul and, earlier, from Amrapali. I am also fond of necklaces that are like thin discs made out of coconut or vinyl put together and tribal, Maasai-style pieces. I’m currently in love with flower-shaped leather rings that I picked out in multiple shades from a little Spanish store, Tierra (now shut down), in New York.

shoes-k6vG--621x414@LiveMintA pair of indigo brogues from Miz Mooz, New York

Do you believe in a “look”?
If you have a distinct sense of style, it will automatically come with a “look”. Any decision you make—if it comes from a place that is not external or trend-driven—is based on your personality. For instance, I’m an informal person. I will go to a restaurant and cross my legs and sit; so you will very rarely see me wearing anything that is short and tight.

Which is more important, fashion or style?
Style, of course! And that makes you question the male gaze. In much the way that Coco Chanel was trying to do by questioning the need for women to wear corsets—because there were men designing for women, with their idea of what a girl should look like. I feel now there is finally some conversation about this.

purple-k6vg-414x621livemint.jpgReversible handwoven jacket from Payal Khandwala.

What do you believe is key to making, wearing and choosing clothes?
It is simply a matter of taste that will connect all three. And while I know colour is what everyone responds to, the bedrock of a good outfit (for anybody of any size and shape) is proportion. It’s like assuming that a long skinny rectangle can be equal to a square. As you “cover up” with clothes, you are cheating: Perhaps three people in the world have a body that looks perfectly proportionate. The rest of us are stuck with bits and bobs and the lines we’ve earned and stretch marks we have fought for.

Payal’s colour wheel
Khandwala gives us her markers for special occasions

Brunch: Think beyond white. It works, but it’s predictable. I recommend citrine or coral.

Cocktail: Don’t feel compelled to pick black, go with a deeper bold colour. I’m partial to jewel colours, so sapphire blue, emerald green, perhaps with a hint of metallic.

Romantic date: Pick a colour that is an extension of your personality. This is probably the best time to be at your most comfortable. If you’re bold, I would recommend crimson; free spirits can try chartreuse; if you lean towards shyness, then powder blue, silver, or blush rose.

When in doubt: Neutrals like charcoal, black, navy, indigo and white work in most situations, so when unsure, turn to one of these shades. Whichever colour you pick, the key is to wear it with confidence.

Discovering Design: Alexandre Peraldi for Baume and Mercier Watches

03 Monday Jul 2017

Posted by sitanshi talati-parikh in Brand Watch, Interviews (All), Interviews: Luxury Brands, Publication: Verve Magazine

≈ Leave a comment

Tags

Alexandre Peraldi, Baume and Mercier, Interview, Interviews: Luxury Brands, SIHH, Verve Magazine, Watches

Published Vervemagazine.in July 3, 2017

Alexandre Peraldi has a fluid sense of fashion. He is passionate about ‘balance’ and is inspired by ‘everything and absolutely anything.’ Perhaps it is suggestive of the creativity that helps him keep the clock ticking at Swiss watchmaker Baume & Mercier (B&M), a brand that was founded in 1830. He’s been with the Richemont Group (a Switzerland-based company that owns some of the best luxury brands in jewellery, watches and writing instruments) since 1988, which incidentally is also when B&M joined the group. B&M are known for their sporty, classical watches in the ‘affordable’ mid-range luxury watch segment. Popular B&M lines include the Clifton Club – vintage watches based on the brand’s offerings from the mid 20th century, the minimalistic Classima, and Linea for women with interchangeable straps.

Screen Shot 2017-07-24 at 2.17.43 PM

Excerpts from an interview with the Baume & Mercier design director:

12 years at Cartier, 16 years at B&M. What has the journey been like?
“Patient. I’d like to use the line of the musician who said that, to be a good one, you have to learn classical music for 10 years and after that, you will be able to play jazz. I learnt ‘classical’ design at Cartier and I moved to Baume et Mercier to ‘play jazz’. It has been a very exciting journey.”

You believe in a fine balance with the tension of imbalance – how do you bring those two elements together to get that perfect jazz note?
“It’s difficult. First of all, it’s teamwork. At B&M, we try to design with the marketing, industry and design teams together. Being affordable is a very important constraint while being a great opportunity. You are obliged to go further in your design, to improve upon it and to be able at the end to find the best solution, with the best quality, with the best price. At Cartier, we designed directly and it reaches production without price constraint.

The other constraint is the aesthetics –  we try to stay classic with no extravagance. And yet, we have to find that touch of originality. Elements in design give this kind of balance between elegance, affordability and timelessness.”

Do you still sketch by hand?
“Yes. Less and less. I just engaged with two new designers, and it was very important that they are able to design by hand. When you have an idea in mind and when you work in a team, to explain something, you take a pen and like that… (sketches for Verve). If you don’t practice a lot, you lose your ability to design. We just spoke about inspiration – in the past, when I saw something, I always had a notebook to sketch in. Now, I have a phone to take a picture. While, now I can take a lot of pictures, later I may look at the picture and wonder why I took it – which wouldn’t happen if I were sketching what caught my eye.”

Does one design for the brand or for the market?
“The brand is nothing without the market. At the end, we have to be successful. We have to fit the needs of different markets, which is difficult. We are an old international brand and we have our own DNA. But, we have to adapt this design to the reality. So, we have to be aware of the competitors – not to follow them but to try to understand this market. The nightmare for us is that we don’t have our own boutique, so we can’t get direct feedback from the customer. Now, with social media, it will be a little bit easier because when the people don’t like something, they say it. (But when they like something, they don’t say it!)”

Screen Shot 2017-07-24 at 3.01.02 PM
Screen Shot 2017-07-24 at 3.01.15 PM
Screen Shot 2017-07-24 at 3.01.28 PM

What is the future of the wristwatch?
“I don’t know! I am not really pessimistic. It’s an old story in watchmaking, that we (watchmakers) continue to exist, albeit, differently. Let’s take a parallel of the car. In the past, cars were all the same. The only change we had for years was the front-wheel drive and automatic transmission, and now you have electric or driverless cars. But a car with the motor, engine, wheels and doors will continue to exist; and I think it will be the same for the watch.
Perhaps we would change some details within the watch: the movement, connection or connectivity. The first step is the Apple Watch, but it’s not the final step. We didn’t imagine it in science fiction, but now everything is possible. When you see Star Wars, it is not the future. It is now. It will not be the role of the designer to change the watch, but of the innovator, who may come up with new materials, perhaps.”

What should an Indian buyer know about a B&M watch before buying it?
“They should know that it’s a very comfortable watch.
1. It fits the wrist well. It’s a sports watch, but you can wear it with anything. If someone says to me, ‘I forget the time while wearing your watch’, then my work is done.
2. The second comfort is that of aesthetic appeal. We are a classic, elegant brand. We are not aggressive or extravagant. We pay attention to details that would make a difference to the wearer.
3. And the third comfort is that of the wallet. We have to be affordable.”

 

Past Forward: Abha Narain Lambah

12 Friday May 2017

Posted by sitanshi talati-parikh in Interviews (All), Interviews: Lifestyle, Interviews: The Arts, Publication: Verve Magazine

≈ Leave a comment

Tags

Design, Interview, Verve Magazine

Published in Verve Magazine, Design edition, May 2017
Photograph (Abha Narain Lambah) by Shubham Lodha

You’ve looked wistfully, over the years, at India’s only surviving opera house, wishing for the beautiful baroque structure with a blend of local and international architectural styles to be restored to its former glory. Abha Narain Lambah popped out a wand and breathed new life into it, like she has done with numerous buildings in the country. Magic can’t reckon with bureaucracy, but this soft-spoken lady with nerves of steel has managed to pull off many a coup.

Screen Shot 2017-06-05 at 1.39.29 PM

Armed with a master’s degree in architectural conservation from the School of Planning and Architecture, New Delhi, she’s clocked in over two decades of experience in the field. Her diligence in research, respectfulness of history, and faithfulness to detail in restoration has led to her being awarded the Sanskriti Award, Eisenhower Fellowship, and the Attingham Trust and Charles Wallace fellowship and being nominated by ArcVision among the top 20 women architects globally in 2016.

Perhaps the 46-year old’s nomadic journey has led to a practical, inclusive attitude to her work. “I am a bit of a gypsy because I don’t think I’ve stayed in any city for more than five years — my father was in a transferable government job. I grew up in many towns, including Kolkata and Delhi. The longest I have been anywhere — now 22 years — is Mumbai, which I consider home. People say the city is crowded and congested, messy and chaotic; but I think there’s a very intrinsic system that works here and at the core of it is a very warm magical world. Every place in the country has a different sensibility, vibe and history. My grandfather in Srinagar lived in an ancient beautiful timber-framed house, and I remember taking a boat down the Jhelum and looking at all the lovely palaces of the Dogra rulers, so this sense of history, of old building ageing with grace, just grew with me as a child and I think that’s what has continued in my work as well.”

Excerpts from a conversation with Narain Lambah….

How did architectural conservation become important to you?
I was studying architecture and was drawn to urban issues that had to do with an interface between the old and the new. I was very keen to learn from American architect Joseph Allen Stein, who designed all the iconic buildings in Delhi like the India International Centre, Ford Foundation and India Habitat Centre. Working in his studio for two years, I began understanding that a lot of design and good architecture has to respond to the context — often historical context. That led me to explore conservation. I believe contextual design is something that is very important, which we haven’t yet mastered in India.

What’s your take on (the lack of) maintaining this architectural balance in Mumbai?
The sad part is that we have beautiful buildings and historical legacy in Mumbai, but our planners (and especially our politicians) haven’t been very sensitive, so there is unplanned growth in pockets. For example, when the mills were demolished, Charles Correa had a great idea for pooling in all the open spaces — we could have had one the size of Central Park in Parel; and because of a really narrow vision, they chopped it off into parcels, so we lost an unbelievable opportunity for the city. And I hope it doesn’t happen again with the eastern waterfront development. We need to look at everything holistically, which somehow gets sacrificed at the altar of political requirements or short- term goals.

We tend to bask in the end result, what’s the process of getting to it?
A lot of time goes in! I started working on the Royal Opera House in 2008 and we opened the building in 2016. Money was an issue, because there are no government funds or incentives for heritage buildings that are privately owned. It was listed among the 100 endangered monuments in the world by the World Monuments Fund, and then when it came to funding it, there was absolutely zero support. It is not economically feasible today to run a theatre or a cinema hall so it was a leap of faith. The whole team and my clients (the owners) took a huge risk, but with a conviction that it’s too precious a building to let go! Then there was red tape and it took numerous years to get permissions. The challenges should have been structural repairs, interior restoration and things like getting the sound and acoustics right or putting in air conditioning in a building that didn’t even have fans to begin with…. But it’s richly rewarding once it’s done.

Screen Shot 2017-06-05 at 1.47.42 PM
Screen Shot 2017-06-05 at 1.47.52 PM
Bikaner House in New Delhi

 

What about Bikaner House, Delhi? What was the story there?
Bikaner (House) was amazing, thanks to a chief minister with a sense of clarity and crystal-clear decision-making! Vasundhara Raje said, ‘I want Bikaner House to be the calling card for Rajasthan in Delhi’. She gave us nine months to get our act together, to get the building in shape. We were working with the government, and the same kind of engineers and contractors that are typical, but since she was so clear of the final vision for the project, everything just fell into place. Now we are working on the first floor of the same building, it’s going to get expanded and there will be a little cafe and a bookshop.

Which project is closest to your heart?
I think one of my favourite projects of all time has been the 15th-century Maitreya Buddha temple that I worked on in Basgo, Ladakh (which earned her firm an award of excellence from the UNESCO Asia-Pacific Awards for conservation). It was a hard project, lasting three years, with repeated trips while my daughter was very young. It was in a small remote village, without electricity, running water, or lavatories…. A current project I am excited about is working on the Teen Murti House — the Nehru Memorial Museum and Library, in Delhi, because it is such a beautiful stately building.

How relevant is heritage today?
“We are losing it too fast! My mother took me to Kanchipuram when I was 10, because she loved buying sarees from the loom, direct from the weaver. I remember it as a magical town with streets of verandahs, timber columns and sloping tiled roofs. Last year I was appointed by the government of India as the city anchor for Kanchipuram, and when I went back I was devastated, because the temple survived, but all those streets and those beautiful rows of houses are replaced by Alucobond and concrete and horrible new buildings. We already lost such a valuable part of our heritage and if now we—this generation—doesn’t do something about it, we won’t have anything left to save in the next few decades.”

What do you consider ‘Indianness’?
‘Indianness’ is not homogenous, it is not a single being, it is like a multi-layered curry with 20 different spices and wafting flavours; you get a note of cinnamon, a hint of clove; you discover later on your palate an aftertaste of asafoetida…and for me that is India. It’s multi-cultured, intense, layered, sometimes conflicting, sometimes contradictory but it is not one single unified whole. For all the chaos, there is still a system in it, there’s a meaning to it.

What does design mean to you?
It is something that is intrinsic — a distillation of a whole lot of feelings and moods. When you try and confuse it with too many things it gets lost. It balances form, functions, aesthetics and yet remains intuitive, because it can’t be put on, acquired or faked.

How do you focus and filter out the noise?
Filtering is as important as listening. When I am approaching a conservation project it’s very important to first establish what the design intent of the original architect was. To keep a certain modesty in your own work and also be true to the spirit of place, while maintaining  context — whether it is the geographical, design or material context of that particular site — in a harmonious balance with your own judgement as a designer.

Screen Shot 2017-06-05 at 1.46.59 PM
Screen Shot 2017-06-05 at 1.47.25 PM
Interiors of Mumbai’s Royal Opera House

 

Is some of it based on investigation?
Conservation is forensic in its techniques. We have to rely on paint scraps to figure out the oldest layer and original colour, for instance. You have to keep yourself open to looking for clues. In the Royal Opera House, we had no idea balconies existed when we began the project. Research uncovered old photographs which had those balconies, so we removed the art deco panelling and behind it we found skeletal structural members. Rifling through things in the basement, we found the little cherub and a little plaster cast that originally belonged to that balcony, and from that we were able to just piece things together.

You’ve been invited to deliver the Geoffrey Bawa memorial lecture in Sri Lanka….
I feel overwhelmed and humbled. He (Bawa), Joseph Stein and Charles Correa were the most iconic South Asian architects. Woman architects don’t get acknowledged, and even otherwise it’s such an honour. That’s my latest high, so I am going to just soak it in, and promise myself a week in Sri Lanka, living in Geoffrey Bawa’s house and meditating!

Do you feel a sense of achievement?
I just feel a sense of responsibility. I’ve never had a large vision or a master plan — one project led to another, and frustration about a project not moving along led me to something else while waiting; so that’s how my career has found its trajectory.

When will you rest on your laurels?
I don’t want to. I think architects should die with their boots on — or at least at the drafting table! It’s a career where the rewards are very slow; by the time others have retired, you peak as an architect. I worked with Stein in his studio when he was in his eighties, I have seen Correa working till he turned 80 and I don’t want to retire, I want to just work on the projects that will feed my soul.

Father of the Child: Imran Khan & Tusshar Kapoor

28 Wednesday Dec 2016

Posted by sitanshi talati-parikh in Features & Trends, Interviews (All), Interviews: Cinema, Publication: Verve Magazine

≈ Leave a comment

Tags

Bollywood, Imran Khan, Interview, Parenting, Tusshar Kapoor, Verve Magazine

Published: Verve Magazine, December 2016
Image credit: Ryan Martis

These two young dads from the Indian film industry exemplify the changing attitude towards child-rearing

Screen Shot 2017-04-12 at 4.36.44 PM

The gentleman of today is exactly that. Ready to accept that raising a family is a joint responsibility, a far cry from the Indian men of a previous generation who believed in the division of responsibilities: earning was a male domain, while taking care of the home and kids was restricted to women. Taking this a step further, what happens when a man decides to become a father without a woman? Two young dads from an industry that celebrates showbiz show us that they are as real as they come and all about changing the name of the parenting game, albeit in two diametrically different ways.

We’ve watched Imran Khan take a leap into parenting in much the same way that he made a foray into cinema — suddenly, without warning, and quickly reaching superstardom. His focused and balanced nature held him in good stead, and we see that in his role as a parent. During his first ever photoshoot with his daughter, we discover that Imran has Imara’s baby footprint tattooed on his chest — a sign of an endearing and permanent love. He may be a man besotted, but he is also hands-on about life, not one to watch as things happen around him.

Tusshar Kapoor has bitten the parenting bullet with single-minded predetermination, and six months into it (before which, he preferred to avoid Laksshya facing the camera), he’s finding his ground. It has made him an example for a generation that strives to juggle choices — whether in a partner, career or life. Perhaps Jane Austen hadn’t prepared for this eventuality. Can a single man in possession of good fortune, be in want of a wife? Or would he prefer IVF-led-surrogacy into single parenthood instead?

Let the men do the talking, we say.

What made you decide to take the plunge?
Imran: It was completely accidental. It was one of those extremely hectic nights. I won’t go into any further detail, but next thing you know, three weeks later, Avantika (Malik, married since 2011) is in the bathroom throwing up and I’m making jokes like, ‘Haha, what if you’re pregnant?’ Two hours later, I wasn’t laughing anymore.

Tusshar: The best things in life just happen. I was considering becoming a father; marriage didn’t seem to be on the cards and I was nearing 40. I had a faint idea of becoming a single parent through surrogacy — maybe through IVF. It just didn’t seem very possible in India. Then I happened to have a chat with director Prakash Jha, and he introduced me to a family that had done it. Things fell into place, and it was wonderful that a year later, I had a child in my arms.

You’re likely to go in with a romantic notion of being a dad — was it all that you imagined?
Tusshar: I was a bit anxious at times, especially on the day of the delivery. The entire family stayed up all night. All the ‘Still a few days more’ just went out the window. But thereafter, I was quite prepared, with the nursery, with help. My biggest concern was losing out on life while wanting to be a hands-on dad. I asked my friends, ‘Can I go out? Will I be able to…?’ And nothing changes. You just have to manage your time well.

Imran: I didn’t know what to expect because, as I said, we had stumbled into it. Suddenly, she was pregnant. Suddenly, the baby has come. And I felt like it snowballed really quickly, and those first couple of months, we were both at a complete loss; we had a really rough time. Even though Imara from, like, day two or three would tend to sleep through the night, we’d be up in the night wondering, ‘Is she breathing? Is she suffocating?’ Both of us were nervous wrecks. It took us five or six months to really settle down and stop being so panicky. That was when I first started to really feel that, ‘Oh my god, I’ve lost my heart to this girl.’ And now I know what that mad parental love is.

Screen Shot 2017-04-12 at 4.36.34 PM

Imran Khan with daughter, Imara

 

What is that one moment in their lives that you’re waiting for?
Tusshar: I don’t want to miss watching him go to school and picking him up. My parents (actor Jeetendra and Shobha Kapoor) were never there to do that. I mean, they came for PTA meetings and my mom used to drop me off, watch me go to my class, crying. I don’t know if my dad remembered my birth date at that point in time, even though he remembered to wish me. The parents of the ’70s and ’80s (at least in my case) had their own issues. Working, trying to make a life for us. I want to be there for my child. I’ll dot the i’s and cross the t’s.

Imran: It’s a nightmare, haan. Every time I drop Imara to playschool, it’s ‘Papa, don’t go’. You’ll die on the spot because your baby is weeping and you have to leave her. I sit on the steps outside, listening to her cry, thinking, ‘Oh god, I’m a bad father. What am I doing?’

To answer your question, what I am looking forward to the most is the point when she will come and tell me things and make me laugh with her words, with wit — I think that’ll be something that will really make me proud.

Will you change anything in your parenting style from the way you’ve been brought up?
Imran: I love my mother (producer, director and screenwriter, Nasir Hussain’s daughter, Nuzhat Khan) and my mother loves me perhaps a little bit too much — so, I think throughout my life, she was a little over indulgent. That is why I have these notions that I want everything to be exactly the way I want it. This is not an ideal situation, so I would try to love my child a little bit less than my mother loved me.

Is there anxiety about missing key milestones with the nature of your work?
Imran: I was shooting a film from the time Imara was four to eight months old. I was a little nervous about not being there for big moments like if she were to say a word…. I would see her in the morning before I left, for a few minutes. And then the second I returned, I would spend time with her till she went to sleep. Avantika would come on set all the time with her. Luckily, I was there when she took her first steps. I consciously made an effort to not take on work when I knew that that was ‘baby Imara time’. For the past year, I have not shot for any movie. I have been home, with the baby. I’ve been travelling with her and I’ve been there for every major moment.

Tusshar: I’m a little anxious about what’s going to happen next month, when I start shooting. I hope it doesn’t really change things from what I’m doing now and what I’ll have to do then. The shoot, fortunately, is in Mumbai, so I will not be disconnected from my child completely. I’ll try to meet him before I leave home. If he’s sleeping after I’m back home, I’ll miss spending the evening with him; unfortunately there will be some moments that I’ll have to sacrifice. If you are worried you’re not going to be with your child, I think the child also senses that. If a parent is away, but trying their best to make it work, the child understands that and connects with that. And that’s love.

What’s the one thing you enjoy the most about being a father?
Imran: It’s the first time I’ve had the experience of wanting to spend time with someone — and not caring about other things. If the phone is ringing, you let it ring. If you’re late for something, you’re late — it doesn’t matter. If you’re hungry, you eat later. It just doesn’t matter. I also had that fear of my life coming to a standstill because I like to go places and do things. You’ll have a choice between spending time with your child or going somewhere else. And you’ll feel like you’d rather be with her because it’s more fun. It’s not a difficult choice. You’re not giving up anything.

Tusshar: It makes you very selfless. It calms you down, it’s very therapeutic. In a city like Mumbai, we’re clouded with issues and career ups and downs. I haven’t shot for a film at all this year. But, thank god. Since the baby’s come, I feel like I want to be at home with him, I want to spend time with him. And that’s the best part of being a parent — the maturity that comes with it. You rise above petty things that make you anxious. I think my child has taught me what fun it is to be on a playmat! I see his expression change and stop worrying about my work or about who’s inviting and not inviting me to some function or even about who’s calling or not calling back.

Tusshar, if your child asks, ‘Where is mom?’ what would your answer be?
Tusshar: I’m going to have to be very honest with Laksshya about him not having a mom. I’ll have to tell him exactly how and why he came into this world, so that he knows that he is a child born out of love and that I wouldn’t have been happy without him in my life — that he’s my everything. I will try and compensate and be what two parents can be to a child. It is just love that will make things work out.

So who fills the gap of a female figure?
Tusshar: The female energy at home comes from my sister (television and film producer Ekta Kapoor) and mother. I won’t be lying to Laksshya, telling him that his grandmother is like his mom. I don’t want to confuse him with that ideology. My mother has waited a long time for a grandchild. She gets to do so many things all over again, 40 years later. A large part of why I had this child is because my parents were going through a phase of depression; any parent would want to become a grandparent someday, so this is their dream come true. We feel like a very normal — and, I hope, happy — family, one where there’s enough attention from me as a father and enough female energy from my mother and sister even though there is no mother.

Imran, Imara’s obviously got you wrapped around her finger. Who’s the disciplinarian?
Imran: Avantika’s always on my case about not being a good disciplinarian. I can’t say no to Imara for anything. Whatever she wants, I feel like I have no choice but to give it to her. It’s not ideal, but I’m working on it.

Tusshar: That’s something I feel strongly about — I would hate to have a brat as a child. I’m going to be careful about not spoiling Laksshya, but my parents, bua, my sister and the nanny are always going to spoil him. Which is why it’s important that we (the parents) be the balancing factors. And the sooner, the better.

Imran: Yes, I will start today. Today, I am going to start disciplining!

Screen Shot 2017-04-12 at 2.34.08 PM

Who do you guys go to for parenting advice?
Imran: I’ve never asked anyone for parenting advice — not my mom, dad, or Avantika’s mom. I’ve never read any of those parenting books. Maybe I’m missing out on something, I don’t know, but I feel like Avantika and I just kind of figured it out between the two of us. You find your own rhythm.

Tusshar: I didn’t read any books or take any advice from anybody. But the people who’ve done surrogacy before — the family who took me to Dr Firuza Parikh — they helped me set up the nursery before the baby arrived and to deal with things like finding day and night nurses for Laksshya. For day-to-day questions, I got help from my mom and friends.

Who’s the one reading stories at bedtime?
Imran: Anything that is play-related, I’m the one. Building things with Lego, reading books, telling stories — that’s where I’m always first to jump in, saying, ‘Haan, don’t worry, baby, I’ll take care of it.’

Tusshar: Bedtime stories haven’t started for me. I sing loris to put him to sleep. I have some old Hindi songs that I just hum — and he loves it. If I stop humming, he starts crying.

How many diapers have you two changed? Of course, Imran, you’ve had more years to change them.
Imran: Yes. That being said, I’ve probably changed fewer diapers than Avantika has. My trick is this — you change diapers when people come over to visit. Then everyone thinks, ‘Look, this guy’s an amazing hands-on father.’ After that, I can hand it over to Avantika or the nanny.

Tusshar: I don’t know why everyone thinks that diaper-changing is it and why it stands for being a hands-on father. It’s the easiest thing to do. There are tons of other things. Do you know how to poop your baby on a flight? Do you know how to feed your baby? Do you know how to put your baby to sleep? These are my fears.

Imran: I’ve noticed you’re not answering how many diapers you’ve changed.

Tusshar: I’ve changed — to prove to myself — three or four diapers.

Dads today are breaking the stereotype of the Indian father. What do you think has led to this change?
Imran: Part of it just has to do with globalisation. We are now more exposed to international culture, with the way that it is in the US, UK, and Europe.

Tusshar: It’s not like somebody wrote a book about good parenting which everyone read and, therefore, the next generation turned out to be much cooler, better parents! I think my son is going to have some issues with my parenting, even though I’m doing my best. It’s a learning process: what you go through as a child, what you’ve seen your parents do for you and what you feel was left out. Then you make those changes; it’s a natural progression. Society changes, parents change, family settings change, and that’s what evolution is all about.

 

Founder’s Tales: Fawaz Gruosi, De Grisogono

31 Monday Oct 2016

Posted by sitanshi talati-parikh in Brand Watch, Interviews (All), Interviews: Luxury Brands, Publication: Verve Magazine

≈ Leave a comment

Tags

Baselworld, De Grisogono, Fawaz Gruosi, Interview, Interviews: Luxury Brands, Jewellery, Verve Magazine, Watches

Published, Verve Magazine, October 2016

‘I think in volumes, I imagine in colours, I design in lights.’

Screen Shot 2017-07-24 at 2.25.55 PM

Fawaz Gruosi, the founder of the de Grisogono (1993) brand of jewellery and watches, is a garrulous personality, known for his ‘disruptive creations’. In a market filled with traditional jewellery, he took risks with bold designs, different materials and radical stones, like black diamonds. An exceptionally active man, he’s probably taken a total of three months off in 21 years! He explains why India wasn’t primed for conceptual jewellery and his love affair with the country….

What’s the India chapter all about in the De Grisogono tale?
I have had a bad experience with India. We opened an amazing shop six or seven years ago at Emporio in New Delhi. We were number 3 or 4 after Cartier and Chanel, the shop cost us a fortune. We did not have a problem selling watches; the jewellery was another story. The women wanted to know how much gold there was in each piece. The problem was that they didn’t understand the price of creativity, design and uniqueness!

After two years, our costs of maintaining the storefront was so high that we withdrew. But now, the brand is more known, there is likely to be a better attitude.

What defines the De Grisogono woman?
She is not defined by where she is from, physical attributes, or if she has an angelic face…. I think the beauty in the woman comes from her character. When a woman is sure of wearing something unusual, she wears it like she does not even remember that she has it on.

Screen Shot 2017-07-24 at 2.26.27 PM

How do you dream up these unconventional designs?
I am not someone who sits at a desk waiting for inspiration. I could design sitting here talking to you; it might just click in my head. And, I can imagine immediately a pair of earrings. Normally, my pocket is full of papers.

When I buy stones or I decide to do something very complicated, I never think about how much it will cost or how it will be priced. My creativity is linked to my heart. I just want the piece to be beautiful. Perfection doesn’t exist, but we try hard to find it…and to do what other people cannot do!

What does it take to create a luxury brand today?
Let your creativity flow and don’t be scared. If you have an idea, and you believe in it, go for it. Sometimes it will happen, sometimes it won’t. Success without a bit of risk is not realistic, unless you are part of a big group.

Have you been to India?
Several times. I have been to Mumbai and Delhi. I love India very much. I attended an amazing wedding about a year ago. I was also in love with an Indian girl and the long-distance relationship between New York and Geneva lasted a couple of years.

Founder’s Tales: Christophe Claret

31 Monday Oct 2016

Posted by sitanshi talati-parikh in Brand Watch, Interviews (All), Interviews: Luxury Brands, Publication: Verve Magazine

≈ Leave a comment

Tags

Christophe Claret, Interview, Interviews: Luxury Brands, SIHH, Verve Magazine, Watches

Published, Verve Magazine, October 2016

‘In watchmaking, everything has already been done, and everything has yet to be invented.’

Screen Shot 2017-07-24 at 2.29.25 PM

Born to a wealthy family in Lyon, and from the Geneva watchmaking school, Christophe Claret trained with Roger Dubuis and studied corporate management. With 25 years of experience in manufacturing for watch brands including Ulysse Nardin, Claret, who’s currently wearing his Maestoso watch, decided along the way to use his Neuchâtel operations for his own brand, where he ‘reinterprets haute horlogerie’. Besides the traditional and extreme lines with complications is his range of gaming watches. For example, while the Poker allows a real three-player Texas Hold ’Em game, Baccara doubles as a miniature casino with three games: baccarat (baccara in French), roulette and dice, each one of which also engages your audio, visual and tactile senses. Created especially for women are the Margot and Marguerite, romantic watches with a play on the ‘He loves me, he loves me not’ game, and the latter can have a personalised secret message.

Your watches are unique. How much importance is placed on art and design?
It is important to produce something with innovation. If I take inspiration from the watch industry, I would be recreating the same old design. It is very important to do something new. I am a perfectionist and for me, it’s perfection for detail and the aesthetic together that’s important.

Screen Shot 2017-07-24 at 2.17.59 PM

You’ve launched a gaming collection. Do you play?
No. Never. I’m afraid to play! Some people can bet a lot of money and boom — that can go away! It’s crazy. The watch works for those who play, and those who don’t can enjoy the technicality of the complication.

What drew you to complications for women?
I’ve wanted to produce pieces for women for a long time. Despite what the other watchmakers thought, I’ve always believed that they are a big market for speciality products. That’s why I created Margot — a very complicated watch. We sold many pieces! And Marguerite happened. Today, many other brands are designing big complications for women. Though I was the first!

Do you see an audience in India?
I am very interested to sell in India. It’s a little complicated to open something there because you have tax issues. I’m sure there is a market for us. For the Marguerite and X-Trem-1, for example. I think we will be looking at India very soon.

Founder’s Tales: Aletta Stas-Bax, Fredrique Constant watches

30 Sunday Oct 2016

Posted by sitanshi talati-parikh in Brand Watch, Interviews (All), Interviews: Luxury Brands, Publication: Verve Magazine

≈ Leave a comment

Tags

Aletta Stas-Bax, Baselworld, Fredrique Constant, Interview, Interviews: Luxury Brands, Verve Magazine, Watches

Published Verve Magazine, October 2016

‘True passion has always been the result of fine sensitive processes that happen over time ­— not the exploits of some exciting moment.’

Screen Shot 2017-07-24 at 2.21.30 PM

In 1988, checking out watch stores during a winter vacation in Bern, Switzerland sparked off the idea to start a “young watch company offering innovative products”. In 1991, Aletta Bax and Peter Stas were married and began working on the design and development of their first prototype watch. The next year they presented their horological offering at the Hong Kong trade fair and found, to their surprise, an order for 350 watches from a Japanese buyer. Aletta is the chief operations officer at Frédérique Constant, which has recently been acquired by Citizen, and is responsible for all the company’s day-to-day operations. She works on the development of new designs; most notably she played a major role in the introduction of the Double Heart Beat collection.

What’s the one word that you would use to describe your journey?
Passion.

Isn’t that what your book, Live Your Passion: Building A Watch Manufacture, is about?
It is a mix between a coffee-table and business book, one we worked on together with two journalists from Austria and Germany.

When you are busy building a venture you often do not get time to reflect….
And then you also learn to stand still. You realise that the people whom you work with are also important, in the end, you cannot do it all alone.

Tell us about your role in the Double Heart Beat collection.
It was around 2006. I wanted to have some more presence with the ladies’ collections. Hearts are something that women always like. That is why I designed the double heart. It is now an important pillar in our collection. We also link the heart collection with heart- and child-related charities, where we donate 50 dollars for each watch sold.

Screen Shot 2017-07-24 at 2.21.40 PM

Since last year, you have tied up with technology whereas others have only deliberated over it….
You are talking about our Horological Smartwatch. In the beginning, people were thinking that these are two different industries. While much of the Swiss watch industry remains traditional in thinking, we believe that if you can have a quartz watch with ‘connected’ (digital integration) features, then why should you not go in the direction of futuristic innovation, and why would the customers not be interested?

We need to integrate this whole system with cloud functionality, which is not our field. So, we found a partner who could do that. And, having sold 16,000 Horological Smartwatches, I can say that it is a pillar of Frédérique Constant; along with the ladies’ collection, with our new ambassador, Gwyneth Paltrow.

What’s the India story?
We started with a room five to six years ago, and last year, we grew 30 per cent. We have 40 to 42 per cent sales in India. We are really happy! The infrastructure is improving dramatically. I have visited the bigger cities — Mumbai, Delhi, Kolkata and Chandigarh — a few times. It’s an impressive country.

Discovering Design: Claude Emmenegger for Audemars Piguet

30 Tuesday Aug 2016

Posted by sitanshi talati-parikh in Brand Watch, Interviews (All), Interviews: Luxury Brands, Publication: Verve Magazine

≈ Leave a comment

Tags

Audemars Piguet, Claude Emmenegger, Interview, Interviews: Luxury Brands, SIHH, Verve Magazine, Watches

Published in Verve Magazine, August 2016

Screen Shot 2017-07-24 at 2.18.19 PM

Last year, Claude Emmenegger became the new creative director of Audemars Piguet. After a stint with the brand from 1999 to 2003, he left to establish his own design consulting company. Twelve years and working with 40 brands later, he is back, firm in the belief that his appreciation for the brand has not changed a bit. He’s the creator of the Royal Oak Concept (2002) and the Tradition of Excellence models 2, 3 and 4; currently his main objectives include the development of the women’s category, high-tech concepts and new functionalities. ‘Break the rules in order to revolutionise horology’ is Emmenegger’s philosophy. Find out more:

Design vision
“Audemars Piguet is known for its classical points, along with innovation. I would like to take the design in a more modern direction inspired by contemporary art: make it evolve — though, not change — from what it is now.”

Audemars Piguet philosophy
“Diversity in excellence. When Audemars Piguet does something new, the idea is not to stop things halfway; it is to do something innovative and to finish it in the right way.”

Screen Shot 2017-07-24 at 3.08.26 PM.jpg

Creative inspirations
“We live in a world where we are bombarded by sounds, images, perceptions…. The strength of a designer is to be able to hear in all that mass of information — what is interesting, what could be combined, what is of essence — and bring that together into something new. Once you have passed the stage of mood boards where you filter out the things you want to focus on…then, what the world is doing and what the noise is saying doesn’t matter anymore. Then you just have to get it done!”

Advanced complications for women
“We are in the middle of progress into that field. It’s really a big project right now — there are things in the pipeline and on the board, to see how the movements can evolve.”

When design meets technology
“It’s a bit like two brothers with different characters…. When you have a dream that you want to transform into a reality, it takes quite a bit to follow a road and make it happen. Even if you want to, tech may say, ‘No we can’t do it!’ You have to be able to stimulate them and persuade them…we are going to bend the iron a little bit more, but we are going to make it work!

What has really changed is the team spirit. You have people from design, from production, from the technological world, having discussions as early as possible. And rather than ‘No, it’s impossible to make it’, to agree on ‘Let’s find out if we can do it!’”

 

Story of a Watchmaker: At A Lange & Soehne’s atelier in Dresden

31 Sunday Jul 2016

Posted by sitanshi talati-parikh in Brand Watch, Features & Trends, Interviews (All), Interviews: Luxury Brands, Publication: Verve Magazine

≈ Leave a comment

Tags

A Lange and Soehne, Atelier visit, Feature, Interview, Interviews: Luxury Brands, Verve Magazine, Watches

Published Verve Magazine, July 2016

Visiting the new manufactory of one of the world’s premier watchmakers, A. Lange & Söhne, in Dresden, Germany, to meet the people behind the scenes and find out what makes them tick

Screen Shot 2017-07-25 at 11.40.16 AM

The girl is bent over in concentration, a magnifying eye glass strapped to her face…and when she looks up she takes a momentary glance at a candid photo of her family slipped into a metal wire stand. At another table, a man has a photo of the sunset staring at him, but if he were to look up, he would see, through large atelier windows, the lush green hillside on which the A. Lange & Söhne (pronounced ‘ah lang-eh’ and ‘zurn-neh’) manufactory resides, tucked away in the heart of Glashütte.

Germany’s prime watchmaking district, Glashütte (pronounced ‘glass-hoot-ey’), is an hour’s drive from the quaint Saxon town of Dresden and boasts 12 watch manufacturers of different calibres and hosts around 1,500 employees. These employees start their learning as early as the age of 15, and sometimes hail from different disciplines such as dentistry and porcelain making. They apply their fine motor skills expertise in watch manufacturing after undergoing at least three years’ training — including an extensive internal training — if they choose to work with A. Lange & Söhne. The people who work here are deeply passionate about what they do — their entire life revolves around their job.

Screen Shot 2017-07-25 at 11.40.31 AM

The desks are pristine and clinical to a fault, except where you catch fragments of personalisation — a little bag of crisps or chocolate, kept neatly to the side — while the technicians work on tiny components with focus and sharp consistency, often not requiring the guidance of their computer screens that flash the exact technical procedure required at the time. The virtually dust-free and energy-efficient manufactory has individual ultra-modern workshops for the various processes — all the way from complications to engraving, from quality control to finishing and assembly. It takes a few minutes to a few hours to look over a single minutiae element; challenging ones can take up to a few days. The entire process of making a single handcrafted timepiece takes from six months to a year. It takes a person with a particular steadfast temperament and a great deal of passion for the job to have the staying power to continue in this vein.

Screen Shot 2017-07-25 at 11.40.46 AM

And you can sense that as you walk through the spanking new manufactory that boasts a production area of 5,400 square metres, which can now house bigger and heavier machines, all entirely state of the art. You’re feeling like part of the establishment, clad in a crisp A. Lange & Söhne facility jacket and with machine-dispensed disposable plastic ‘socks’ on your shoe-covered feet. The double-skin walk-in facade has a climate-control function. Inaugurated last August, the facility, that cost in the double-digit tune of millions of euros, sees Saxony’s largest geothermal energy plant keeping the indoor climate pleasant year round. There is a serenity pervading the corridors and workstations, save for the sound of workmen putting the finishing touches to the new building. It is in this calm that perfection is allowed to thrive: an attention to detail, a rejection of that which doesn’t match their exacting standards.

Ferdinand Adolph Lange was the son of a gunsmith. The fire burnt strong in his belly for watchmaking, though, and in 1845 he managed to convince the local government to lend their support. He started in a small house on the Glashütte main street with a few apprentices. What had so far been a mining town was now poised to become the local centre of watchmaking. (His pocket watches remain highly coveted among collectors all over the world.) Despite managing to survive both world wars, he faced hard times in the 1850s and ’60s; and when, after the Second World War, East Germany came under the purview of the Russians, he continued manufacturing, though the A. Lange & Söhne name nearly disappeared into oblivion.

Screen Shot 2017-07-25 at 11.43.53 AM

In 1990, F. A. Lange’s great-grandson, Walter Lange, took it upon himself to relaunch the brand. In 1994, their first collection was launched in Dresden Castle. He was recently bestowed with the Order of Merit of the Federal Republic of Germany (First Class) by German President Joachim Gauck in recognition of his services in re-establishing Saxony’s watchmaking industry. Two months after winning the award, he remains affable, charming and humble as he walks with us around the A. Lange & Söhne booth at the exclusive Salon International de la Haute Horlogerie (SIHH) watch fair in Geneva, talking appreciatively about Indian women and their outfits.

Screen Shot 2017-07-25 at 11.40.59 AM

In just over 20 years, A. Lange & Söhne has developed 51 manufacture calibres, which has given them a prime position among the world’s finest watch brands. Their greatest successes include innovative timekeeping instruments such as the Lange 1 (with the first outsize date in a series-produced wristwatch) and the Zeitwerk (with its supremely legible, precisely jumping numerals). The jocular head of development, Anthony de Haas, identifies what has become key to most heritage watchmakers. “It’s very important for us as a brand to stay true to the identity we started with in the 1990s when we rebuilt the company. And it is a challenge to create something new with the A. Lange & Söhne identity that’s very recognisable. The Zeitwerk is a very good example of that — of pushing the limits, not only technically but also in design.”

Their showstopper Zeitwerk timepiece was launched in 2009. It hails from a German word, which means ‘time-movement’. Standing in the Zeitwerk workshop in Dresden, I am privy to the fact that the timepiece has 415 to 428 parts and 200 oiling points (with four different oils). Missing a single oiling point would lead to the watch potentially stopping — which leaves one thankful for the extensive quality control and assembly checks. The manufactory’s complication department is the vanguard of the brand’s prestige watches. The watchmakers who work there are responsible for a single timepiece from beginning to end (unlike the other watches that move from one specialised department to another). In a world where there is a heavy dependence on technology, it is astonishing to discover that in this case, machines are used for checking and not for making that change, as machines cannot make fine adjustments, like to the 100th of a millimetre!

Screen Shot 2017-07-25 at 11.41.05 AM

Last year, the big noise was the minute repeater with the decimal; this year at SIHH, the talking point was the limited-edition (100 pieces) Richard Lange Jumping Seconds which has an integrated jumping mechanism that makes it possible to display the time in strict one-second intervals. Says de Haas, “This is a typical collector’s watch — and you need a bit of an understanding of what’s going on. It’s a technical highlight, but packed in a very elegant, discreet way. You can make complications but they need to be nice-looking and fit the identity of the brand. Don’t do crazy things. Don’t start making diving or pilot watches, because others can do it far better.

A. Lange & Söhne never made watches to swim with, because the brand didn’t exist during the period when that became important. Also, with such a beautiful movement, with the sapphire case back, would I ever dare to jump in the water — even if I know it’s waterproof?”

Screen Shot 2017-07-25 at 11.41.25 AM

A. Lange & Söhne has a tradition (started 150 years ago) of using German silver for their plates and movements, which requires two assemblies because of the delicacy of the metal. Despite the challenges associated with using this particular metal — not just limited to temperature and its sensitivity to humidity — it remains a speciality of the watchmaker for its beautiful golden, shining surface. It’s also symbolic of how the brand considers challenges and an indication of why it has so many movements to its name.

The watchmakers design their own tools for the intricate work. And it is intricate — as I soon realise when I am (as a surprise) taken to my own little private engraving workshop, where I am to sketch a design, then pick up a tool and work on a metal plate (which have both been made idiot-proof for newbies). I discover under local guidance that I am not entirely unforgivable at it, and I pass muster!

Screen Shot 2017-07-25 at 11.41.15 AM

I get the hand-engraved piece returned to me in a box as a keepsake of the experience, which is nothing like the beautiful trademark floral engraving from Ferdinand Adolph Lange’s original pocket watches. Today, A. Lange & Söhne engravers undertake bespoke designs not just inside with specific creatives (like that of a royal family emblem, a motif or even a lover’s face) and initials, but also on the solid case back. You can place the bespoke order via your local boutique for a new piece and it then goes into the production process; while engraving initials on the balance cock can be done after purchase.

I walk over to the historic family building from 1873 (which once also housed production areas) and sit down for a light lunch with the director of press and public relations, Arnd Einhorn, who is eloquent about communicating the brand’s philosophy. There is a common speak and sensibility that pervades the brand and all associated personnel. De Haas (who incidentally had a stint at IWC before his 11 years at A. Lange & Söhne) was recently asked about making pilot’s watches. His response was simple and frank. ‘The Second World War for the Germans is a very black, dark period. Secondly, if we have companies like IWC who are masters in making a pilot’s watch, why should we do it, especially this year (the anniversary of the pilot’s watch)? To earn more money? To get more of their share of the market? That is not A. Lange & Söhne. We don’t decide on a market and then develop a product. We carefully develop the product families. And the marketing is merely our product, with the right information, with the right story.’

The developers and craftsmen in the valley who live in this placid, pristine environment, cut off from the machinations of the outside world, speaking only the local language, are the ones creating products for discerning people world over. The CEO, Wilhelm Schmid, is right when he says, “There is a certain German matter-of-factness, which can be perceived immediately.” De Haas identifies the quiet understatedness of the brand and the products as being influenced by the local area. “We are not so shiny, while we are fun. It’s very discreet; people are down to earth…with passion for detail. And I think that reflects in our products. We don’t come with pilots and spitfires and catwalks and Nicole Kidmans…it’s just us. And there are people who find it very boring, but we are how we are.” And he’s right. There is an atmosphere, in those quiet Glashütte hills filled with the sound of dedication.

The manufactory visit brings you closer to the heroes of these precision timepieces, affording you insight into a brand that believes in being subtly superior. The emotional connect isn’t with a clever marketing pitch, it’s with a labour-of-love marker of time.

A. Lange & Söhne consciously avoids having brand ambassadors — the watchmaker is the hero….as is the product.

5 things CEO Wilhelm Schmid wants you to know:

Screen Shot 2017-07-25 at 11.41.41 AM

“Our first priority is that every new model is predestined to stand the test of time. This may lead to a classic design like the 1815 or more avant-garde concepts like the ZEITWERK Luminous.”

“Our second priority is recognition value. Even without the distinctive arched logo, an A. Lange & Söhne can always be identified. This is due to a combination of subtle features like the curvature of the lugs, the shape of the hands and the engraved look of the typography.”

“Our customers are quality-conscious watch connoisseurs, self-confident personalities who are seeking outstanding timepieces that reflect their individual style.”

“I am pleased to see that more and more women invest in our timepieces because they combine the best of two worlds: handcrafted mechanical excellence and timeless elegance. The majority of our watches are not designed for a specific gender but with a horological issue in mind.”

“Ever since we entered the Indian market in 2007, our timepieces have enjoyed growing popularity. We have, therefore, recently opened our fifth point of sale in Bengaluru.”

Quick Byte with Anthony De Haas, Head of Development

Screen Shot 2017-07-25 at 11.41.49 AM

“Money talks, wealth whispers. Our watches are for whom wealth whispers. You are not buying an A. Lange & Söhne watch if you want to show off — when you buy a manually wound two-hand watch for 20,000 euros, you need to be a connoisseur. It’s very understated. Our sale of platinum watches is very high…why? They look like steel. So nobody recognises that you are wearing a watch that is worth 20-, 30- or 50,000 euros. But you have it for your own self. You know the inner value. Not merely the dial. The story is complete.”

Why You Should Buy A Vintage IWC Watch, And Which One

20 Wednesday Jul 2016

Posted by sitanshi talati-parikh in Brand Watch, Interviews (All), Interviews: Luxury Brands, Publication: Verve Magazine

≈ Leave a comment

Tags

Interview, Interviews: Luxury Brands, IWC, SIHH, Verve Magazine, Vintage, Watches

Published, Vervemagazine.in July 8, 2016

Find out which vintage IWC watch their own historian recommends, along with how to check authenticity and make the right purchase

The first Special Pilot’s Watch left the IWC (International Watch Company) factory in 1936. It was the start of a unique relationship between IWC Schaffhausen and flying.

Screen Shot 2017-07-24 at 2.42.53 PM

Today, 80 years later, Verve speaks to the IWC historian, David Seyffer, about the tradition of the Pilot’s Watch and about becoming an IWC collector.

Screen Shot 2017-07-24 at 2.42.35 PM

What does 2016 mean for IWC?
“Eighty years (of the pilot’s watches) – and we have now really made happen with a huge collection! With a different variation, really to please all needs or tastes of watch lovers but still hold onto the main characters of the heritage of the Pilot’s Watch.”

IWC at one point targeted the next male generation with the ‘father and son pilot’s watches’ – is this still a trend and has your target customer changed now?
“I do not think so. Interestingly, I have met people, where the man had the Big Pilot’s watch and the woman was wearing the son’s edition. Today, the youth knows and appreciates the nostalgia associated with the mechanical watch. With all that is going on in the world, people want something out of history.”

If there is one vintage IWC watch that any collector must own which would it be?
“I would really recommend (since it’s on my wrist) the Mark XI. The reason: it’s affordable as a collector’s piece, and we have huge quantity of spare parts if it comes for servicing. The movement, Caliber 89, is like an all-running system. It’s impressive how precise these movements are which are made in the 1940s, 1950s, and it has really a cool-looking feeling. So if somebody wants to start with collecting wristwatches, this is really a nice timepiece to start with.”

Screen Shot 2017-07-24 at 2.42.19 PM

Approximately, how much would it cost?
“This depends on editions. You could potentially find a vintage watch within 4-5 thousand dollars, but then if it is a rare piece and is in good condition, possibly used by BOAC, then it could go to 15 thousand dollars or so. Also, authenticity…are they all the parts 100% authentic or not?”

If somebody in India wanted to buy one of the vintage watches, where would they go? How could they check the authenticity?
“Now we are living in the world of international business, so you can really get it everywhere. For example, if you find a nice offer on the Internet. But, then it’s the point of the authenticity. IWC offers a ‘certificate of authenticity’: you send your watch to IWC; there is a team of 3-4 watchmakers (and myself) and if everything looks fine, then you get an official certificate. Also works for people who want to sell antique or heritage timepieces. Interesting for all are the auctions (worldwide from the famous auction houses) where you may find a MARK XI Pilot’s watch!”

Screen Shot 2017-07-24 at 2.42.07 PM

If you could get a carte blanche to create a pilot’s watch based on the history that you are so well versed with, would it be very different from what the brand currently has?
“Not really…because this year’s collection is so strongly related to the original design. Probably a small change I would recommend, as a conservative person, would be to skip the date, to make the watch look like a Mark XI.”

What is the one takeaway that you would leave a new watch buyer with when it comes to IWC’s rich history and tradition?
“IWC is located on the eastern part of Switzerland, therefore the design is different. It’s this east German-Swiss approach with the watch – you can find it in the way the bracelets are made. And in the way the cases were made. And of course, traditionally, what IWC was always about: precision and quality.”

Who is the IWC watch collector?
“The typical watch collector is in a certain way, a freak, highly knowledgeable, with a diverse background. We have very, very rich people and we have students who save every cent they earn just to get a historical timepiece, or a new timepiece. Bottom line is, the interest to learn as much as possible about the watch. Recently, in the collector’s meet, there were people from the USA, Europe. And, there was Captain Vishal who flies Air-India A-330 for several years and guess what he wears—An IWC Pilot’s watch! So you see, meeting people from all over the world, and really with that passion, feels great!”

← Older posts

|  Filling the gaps between words.  |

Writing By Category

  • Art, Literature & Culture
  • Brand Watch
  • Fashion & Style
  • Features & Trends
  • Fiction
  • Food
  • Humour
  • Interviews (All)
  • Interviews: Business
  • Interviews: Cinema
  • Interviews: Cover Stories
  • Interviews: Lifestyle
  • Interviews: Luxury Brands
  • Interviews: The Arts
  • Interviews: Travel
  • Musings
  • Parenting
  • Publication: Conde Nast
  • Publication: Elle
  • Publication: Mint Lounge
  • Publication: Mother's World
  • Publication: Taj Magazine
  • Publication: The Swaddle
  • Publication: The Voice of Fashion
  • Publication: Verve Magazine
  • Social Chronicles
  • Sustainability
  • Travel Stories

Reach out:
sitanshi.t.parikh@gmail.com

© Sitanshi Talati-Parikh 2018.
All Rights Reserved.

Website Powered by WordPress.com.

  • Follow Following
    • sitanshi talati-parikh
    • Join 51 other followers
    • Already have a WordPress.com account? Log in now.
    • sitanshi talati-parikh
    • Customize
    • Follow Following
    • Sign up
    • Log in
    • Report this content
    • View site in Reader
    • Manage subscriptions
    • Collapse this bar
 

Loading Comments...