Frederique Constant, the Classics Moneta Handwinding Watch.
Frederique Constant is giving the Classics Moneta a mechanical makeover. First introduced in 2024, the collection has entered a new phase with the arrival of the Classics Moneta Handwinding — its first model to feature a mechanical movement. The time-only release pairs a 38.5 mm case with a hand-wound calibre developed by La Joux-Perret and customised exclusively for the Geneva-based Maison.
Produced in a limited run of just 999 pieces, the watch has also secured a shortlist spot in the Challenge category at the 2026 Grand Prix d’Horlogerie de Genève (GPHG), alongside the Classic Worldtimer Manufacture , which has been selected for the Petite Aiguille category.
The new FC-435 movement is visible through a sapphire caseback, where Côtes de Genève decoration and Frederique Constant’s crest provide a considered finish. Beating at a frequency of 4 Hz, the calibre delivers a 63-hour power reserve. Its manual-wind configuration dispenses with an oscillating weight, helping preserve the Moneta’s relatively slim profile while reinforcing its vintage-inspired character.
That neo-retro aesthetic is most apparent on the dial, which features a smoked salmon gradient that deepens to black around the edges. Mirror-polished applied hour markers sit alongside central dauphine hands and a small-seconds display at 6 o’clock, drawing directly on the visual language of 1950s watchmaking. The composition is completed by a black small-scale alligator leather strap, chosen for its supple feel and lightly patinated appearance.
The defining detail of the Moneta, meanwhile, remains tucked inside the case. Its inner rehaut is subtly sculpted with fine fluting inspired by the ridged edge of a coin — the feature that gives the collection its name and distinguishes its otherwise classical proportions.
Meanwhile, the Classic Worldtimer Manufacture represents a different side of the Maison’s mechanical offering, combining a 40 mm case with the in-house FC-719 calibre. The automatic movement extends the power reserve to 72 hours and drives a Worldtimer complication displaying all 24 reference time zones simultaneously, with a two-tone disc distinguishing day from night across the world map dial.
For Frederique Constant, the two nominations underline the breadth of its current approach. The Moneta brings a finely finished mechanical calibre to an accessible point within the Challenge category, while the Worldtimer showcases the Manufacture’s capacity to develop and assemble its own calibre and complications. The winners of the 2026 GPHG will be announced at the official awards ceremony on 7 November.
The new Classics Moneta Handwinding is now available globally online and in boutiques. Discover more here .
photography. courtesy of Frederique Constant words. Gennaro Costanzo
Breitling Navitimer B09 Chronograph 41 Tribute to Miles Davis.
Before tool watches were co-opted as luxury status objects, Miles Davis was already wearing the Breitling Navitimer Ref. 806 Mk5.
Paired with impeccably tailored Italian suits and exotic sports cars, the functional aviation instrument became a defining signature of his personal style in the mid-1960s. To mark the centenary of his birth, Breitling is now returning to that particular chapter with the ‘ Navitimer B09 Chronograph 41 Tribute to Miles Davis’ , limited to just 500 pieces.
The clear starting point is Davis’s own Navitimer Ref. 806 Mk5, the specific reference he wore in the mid-1960s. It was notable for pairing a graphic reverse-panda dial layout with Breitling’s historic ‘Twin Jet’ logo — details carried directly across to the new edition alongside the original 41 mm stainless-steel case diameter.
Yet, instead of simply cloning the vintage watch, Breitling has fitted the tribute with its modern, hand-wound Manufacture B09 calibre, visible through a sapphire caseback and offering a power reserve of approximately 70 hours. “We wanted to capture the character of that Navitimer that Miles Davis made his trademark,” says Breitling CEO Jean-Marc Pontroué . “At the same time, it should offer the performance and craftsmanship expected of Breitling today.”
Miles Davis by Sony Music, Breitling Navitimer B09 Chronograph 41 Tribute to Miles Davis.
Visually, the composition is deliberately restrained. The monochrome reverse-panda dial, cream-coloured Super-LumiNova® in a vintage ‘Old Radium’ tone and historic Twin Jet emblem provide the essential period references, while a brown, hand-dyed calfskin strap brings a warmer, lightly patinated finish to the stainless-steel case.
For a more textured alternative, there is also the option of Breitling’s revived Air Racer bracelet — a perforated, rally-inspired steel band originally introduced in the 1960s and later made famous by French cultural icon Serge Gainsbourg. “At the wrist of Miles Davis, the Navitimer wrote cultural history,” says Georges Kern , CEO of House of Brands.
“His self-confidence and originality embody exactly what Breitling stands for.”
The watch’s launch also serves as the starting point for a major new community project: the Breitling Social Club, set to open in Williamsburg, New York, in late 2027. Those who purchase one of the 500 tribute models will receive a two-year membership to the new culture and hospitality hub.
For collectors looking further, Breitling has also created the ‘Lifetime Club Member Set’, restricted to 50 numbered boxes. Each contains three reinterpretations of the Navitimer 806 Mk5, rendered in stainless steel, 18-karat yellow gold and platinum, with the latter distinguished by a blue reverse-panda dial.
The trio is housed in a presentation box modelled after a classic trumpet case, complete with blue interior detailing inspired by Davis’s celebrated album ‘Kind of Blue’ and a miniature red trumpet.
Breitling, Lifetime Club Member Set, including Navitimer B09 Chronograph 41 Tribute to Miles Davis.
The new Breitling Navitimer B09 Chronograph 41 Tribute to Miles Davis is available to explore online, at Breitling boutiques and selected global stockists. Discover more here .
photography. courtesy of Breitling words. Gennaro Costanzo
Spring/Summer 2027 really is setting up to be the season of the skirts. We first saw this almost obsession with the garment at Prada , and now, Dior is joining the conversation.
Presented by Jonathan Anderson in the Jardin des Tuileries, the 65-look show took the wénwán walnut teased in the invitations as its starting point, using the Chinese tradition of hand-rolling the intricately ridged nuts as a meditation on time, touch and nature’s imperfect symmetry. The show’s setting only reinforced the point: trees installed throughout the runway will be replanted in the Jardin des Tuileries, extending the collection’s natural reference beyond the catwalk itself.
“What looks symmetrical in nature is often not quite,” Anderson writes in the show notes, a deceptively simple idea that plays out across the collection in clothes that are constantly shifting between order and looseness. For his highly anticipated presentation, the designer transformed the catwalk into an exploration of texture and asymmetric geometry, treating the signature tailleur heritage of the house with an unforced lightness.
Familiar Dior codes remain intact, but their shapes are allowed to soften, drift and occasionally fall slightly off-centre — just like the nature of a tree growing out its fruits.
Anderson sent the skirts out in an extraordinary range of forms: sheer and feather-light, elongated with fabric tendrils and almost jellyfish-like, sliced into asymmetrical hems, pleated into movement, or layered with petals that appeared to unfurl from the fabric. Some silhouettes echoed the rounded volume of Dior’s historic femininity, while others seemed deliberately to float away from it. The effect was defining the sheer number of ways the idea could be reworked.
Texture was the driving force behind every silhouette. Watercolour-effect prints, striped shirting, Chantilly lace, plissé, bouclé and transparent fabrics appeared throughout, sometimes layered together within a single look. Matching trousers and chemises arrived in particularly playful combinations, including metallic snakeskin-effect trousers rendered in different tints alongside striped shirts, while floral prints and checks were set against one another rather than neatly separated.
The devil, naturally, was in the details. Bird-like silver buttons perched on tailored jackets, while petal-like flourishes of silk mousseline spilled from necklines and shoulders, echoing the collection’s wider fascination with things that seem to grow, unfurl or move. The Dior tailoring was there, but Anderson loosened its edges through transparency and fluid construction, turning even the most familiar pieces into something considerably less fixed.
Anderson leaves us with a wardrobe that feels alive, allowing its structure to gently yield to the unpredictable behaviour of the organic world. Romanticism, in his way, lives on through the things we take time to hold, touch and change.
Discover the Dior Spring/Summer 2027 collection here .
photography. courtesy of Adrien Dirand , Dior words. Gennaro Costanzo
Prada Uomo, Prada Galleria Vittorio Emanuele II.
Right after Milan Fashion Week, Prada is reclaiming its historic Milanese birthplace with a monumental eight-storey takeover inside the Galleria Vittorio Emanuele II, christened simply ‘ Prada Galleria ’. Uniting retail, historic café culture, contemporary art and deep archival heritage under one glass-domed roof, the project expands upon the 19th-century shopping arcade where Fratelli Prada first opened its doors in 1913.
Guided by Miuccia Prada, the complex links both flanks of the arcade’s central octagon through a newly constructed subterranean passage. Dubbed the ‘Passaggio Segreto’, the underground tunnel physically joins the expanded Prada Donna and Uomo boutiques, operating as a hidden gallery filled with archival specimens and early design experiments. Below street level, the expanded women’s store nearly doubles its display space, housing travel, beauty and home collections alongside restored period murals.
Marchesi 1824, Prada Galleria Vittorio Emanuele II.
Pradasphere, Prada Galleria Vittorio Emanuele II.
Above the retail floors, visitors can pause for espresso and pastries at Marchesi 1824 , Milan’s iconic historic pasticceria, before ascending to the piano nobile. Here, ‘Pradasphere’ debuts as the brand’s first permanent museum-scale exhibition. Having previously toured London, Hong Kong and Shanghai, the archive now settles permanently in Milan, gathering over a century’s worth of garments, architectural scale models and film collaborations into a living timeline.
Ascending into the upper levels shifts the mood toward private hospitality and bespoke commerce. The second floor houses the ‘Studio’, an appointment-only space designed for tailored fittings, which opens directly into the ‘Appartamento’.
Designed to mirror an opulent 18th-century residence, the invitation-only space showcases an exhibition curated by German photographer Andreas Gursky , setting contemporary art against antique Italian furniture and views of the arcade’s monumental mosaics. Crowning the entire complex at roof level, the ‘Osservatorio Fondazione Prada’ serves as an open research lab dedicated to visual culture and digital media, currently hosting ‘The Island’, a solo exhibition by artist Hito Steyerl .
Prada Donna, Prada Galleria Vittorio Emanuele II.
Osservatorio Fondazione Prada, ‘The Island’, solo exhibition by Hito Steyerl.
Prada views the house’s past as “an accumulation of ideas bound by intuition, collaboration and intellectual exchange,” and Prada Galleria brings that exact philosophy to life. Find out more here .
photography. courtesy of Prada words. Gennaro Costanzo