With this being said, the one element that has been the talk of our industry, especially in the first half of 2020, was that of the tradeshow. Adi Soon, our editor has written extensively about his opinions on the demise of Baselworld (see his article: The Golden Goose (Baselworld) is Finally Dead), as well as the writer of this article (see Martin Goh’s article: Opinion – Baselworld’s Demise and the Meaning of Privilege).

The future of the watch industry tradeshow seemed very much in doubt last year, with cancellations and “postponements” being a result of the global health crisis – however, one tradeshow went ahead, and showed the possibility that brands bring the impetus needed to a digital version of a tradeshow, and this was Watches and Wonders, formerly the Salon International de la Haute Horlogerie (SIHH).

Four brands that arguably have the largest pull factor to the show – Chanel, Chopard, Patek Philippe and Rolex effectively heralded the death of Baselworld, with many of their executives expressing their dismay at the fair. In particular, Thierry Stern of Patek Philippe summed up their feeling as such: “Today Patek Philippe is not in line with Baselworld’s vision anymore, there have been too many discussions and unsolved problems, trust is no longer present”. As Wined Dined and Timed has written, much of the industry is based on gentlemen’s agreements, agreements that were very much violated during the “postponement” phase of Baselworld during the pandemic.

However, the 2020 edition of Watches and Wonders proved that a digital watch tradeshow can exist, and be successful. Furthermore, a press release dated in November 2020 from the organising committee of Watches and Wonders also shows the future of the watch tradeshow – with the continued pandemic raging in Europe, a digital version of the show was a no-brainer. Curiously, the 4 brands that were supposed to have a show concurrent to Watches and Wonders have now signed on to exhibit at Watches and Wonders – Chanel, Chopard, Patek Philippe and Rolex. This not only demonstrates the viability of the digital tradeshow, but also the level of trust between the Fondation de la Haute Horlogerie and the 4 brands that left Baselworld. There is also no doubt that these brands will bring many more visitors to the digital tradeshow, given that their presence at Baselworld drew most of the crowds for watches.

There is no doubt that brands have changed their ways of communication during the pandemic, and rightfully so. However, I do not believe that a digital-only tradeshow or unveiling will be the way of the future. There will always be a place in the luxury industry for physical gatherings, and where possible, these will occur so that journalists and enthusiasts can touch, feel and experience the product. Watches are a part of the luxury industry that still needs physical presence for the watch to have an effect on the viewer, and so I believe that tradeshows will go back to being physical tradeshows when possible, but include much more digital interactivity than ever before. Unveilings may be made live, like with the recent Hublot x Murakami piece that was released at LVMH Watch Week in 2021, and keynote speakers may feature again, like at SIHH 2019 (recommended viewing: https://youtu.be/M9Pqi-QMoQw – Max Busser’s Keynote at SIHH 2019). 

The operation of a simultaneous digital and physical tradeshow will bring much more attendance through the following means – journalists and enthusiasts are brought together in one place to broadcast the new releases, and watch connoisseurs on far-flung sides of the Earth can enjoy the media and created content at their convenience. In this way, it is really a win-win situation for all parties involved – even the brands get more impressions on their pieces. Now, it just comes down to how much the brands are willing to invest into such an omni-channel experience. We can only hope that the brands see the value in this omni-channel method, from first viewing (online through watch media or through advertising) all the way to final purchase that can occur months or years down the line.

Now this is a brand that is sometimes overlooked in favour of its more prestigious siblings within the Richemont group. When you are showing somewhat more pedestrian and humble everyday watches next door to the horological pyrotechnics from the other brands at SIHH, it can be a little bit difficult to get a proper look in. 

Thankfully, something special emerged in 2018, with the launch of the Clifton Baumatic 5 Days Chronometer. This was a watch that offered technical prowess, with a huge dose of value and a sober design anchored in the Clifton collection that was launched in 2012. There was much to like with its in-house BM12 movement, that had a 5-day (or 120 hour) power reserve and a silicon hairspring. Wrap up everything under the auspices of a well known and respected Swiss brand, with a good price, and it had everything it needed to become a hit. 

Baume & Mercier continued with new variations of the Baumatic 5 Days Chronometer, as well as the Baumatic Perpetual Calendar one year later in 2019, which offered a clue to the direction that the brand has fully leaned into for this year. 

What did it do? Well, it seems to have taken the technologies that have emerged from the first Baumatic and applied it to every watch in the Clifton collection, now called the Clifton Baumatic collection. It was the first time that the word “Baumatic” appeared on a complicated watch in the Baumatic Perpetual Calendar, which also coincidentally saw an upgraded power reserve to 5 days over the previous incarnation.

For 2020, Baume & Mercier has gone further in this direction, extending the Clifton Baumatic collection with two new members, the Clifton Baumatic day-date, moon-phase and the Clifton Baumatic moon-phase, date.

Both watches are related of course, differing in the day complication, which accounts for their similar BM14 base calibre, their 42mm case sizes and their 5 day power reserve. 

The Clifton Baumatic day-date, moon-phase comes in rose gold or steel case, with both versions having a gradient grey dial. The day is indicated by pointer hand under the 12 o’clock, and the date via pointer hand above 6 o’clock, which is also the same place for the moon phase indication that is very attractive and elegantly done. The two moons represent the respective views of the real moon from the northern and southern hemisphere are set against a starry sky with a smoky grey sapphire crystal indicating when it disappears from view.  

The next watch, the Clifton Baumatic moon-phase, date is basically the same as the above except with the day function removed.  It comes in three versions – steel, two-tone (steel and steel topped with gold), 18K rose gold, with a choice of interchangeable bracelet or blue strap. The white porcelain finished dial that this watch comes presents a clean and elegant character compared to the grey dial of the Clifton Baumatic day-date, moon-phase with grey dial, which is comparatively more moody and lush.  

Both of them course come in the sensuous round Clifton case, with trapezoid hour markers and alpha shape hands on the dial fulfilling the collection mandate of being “dedicated to the finest watch-making expressing elegance and refinement”.

Find out more at https://www.baume-et-mercier.com/

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