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
Is it really summer if you’re not flashing a bit of skin? Tom Ford ’s Spring/Summer 2027 collection is all about ditching modesty for a more revealing wardrobe.
Haider Ackermann ’s latest outing for the house arrived in Paris with skin everywhere — peeking through cut-outs, visible beneath transparent layers, framed by extra short shorts and exposed in a series of barely-there swimsuits. The clothes were unapologetically sensual, but the appeal came as much from what was beautifully constructed as what was left uncovered.
“Seduction is the pillar on which this house is built. This time I felt like pushing it further, closer to danger,” writes Ackermann. “There is something deeply sexual in a body that reveals itself without offering itself. I am not interested in provocation. I am interested in the risk of being free.”
The show was staged among walls of mirrors, doubling each look as it passed and turning the runway into a sequence of reflections, appearances and second glances. Models were sent out in pairs and groups, adding to the cinematic quality of the presentation and reinforcing Ackermann’s idea of a moment suspended between what has happened and what might happen next.
There was an impressive study in tailoring throughout the collection, something that should come as a given now at Tom Ford. Pinstripe trousers came with impeccably cut jackets, while slouchy leather two-pieces gave traditional suiting a heavier, more louche finish.
Elsewhere, playful netted tops, liquid-looking bodysuits and metallic beaded minidresses brought an evening-minded sensibility, with garments frequently revealing almost as much as they concealed. Sheer fabric became a recurring device, appearing in low-waisted skirts, see-through bodysuits and transparent layers that left the body very much in the conversation.
Underwear was perhaps the biggest departure to be introduced. Black cut-out swimsuits, asymmetrical wraparound styles, thongs and men’s speedos were worn with tailored jackets and knitwear, shifting the swimsuit from something reserved for the pool towards a fully fledged part of the wardrobe.
The palette kept things surprisingly earthy beneath all that skin. Olive and moss greens, navy, black, tobacco and shades of blue formed the core, punctuated by lighter blue and, eventually, a run of saturated red and pure white. Those closing shades changed the temperature of the collection, with vivid red evening pieces bringing a touch of glamour before the final white looks made the ending way more endearing.
Accessories stayed suitably grown-up; structured crocodile-effect briefcases and wallets were carried alongside generous leather handbags, while coats and jackets remained considered. There was even a playful exchange between formal and informal dressing, with swimwear occasionally taking the place of a shirt and silk robes assuming the proportions of outerwear.
Discover the Spring/Summer 2027 collection here .
photography. courtesy of Tom Ford words. Gennaro Costanzo
Jacob Elordi by Isabella Elordi for Cartier.
Cartier is giving LOVE Unlimited another turn in front of the camera, and this time Jacob Elordi is keeping it in the family. Following his recent Cartier campaign with Sofia Coppola , the actor returns for a new series photographed once again by his sister, Isabella Elordi , introducing the latest additions to the collection through a more personal lens.
The latest campaign follows a couple along the Seine, while Isabella Elordi’s photographs turn the focus towards Jacob himself, capturing the actor through the perspective of someone who knows him away from the red carpet. “There is a unique connection in photographing my brother — an ease and understanding that allows space for something honest to emerge,” says Isabella Elordi.
“I wanted to capture Jacob as I know him, while reflecting the elegance and freedom at the heart of LOVE Unlimited.”
left. Jacob Elordi by Isabella Elordi for Cartier. right. Charles Negre for Cartier.
The new chapter expands LOVE Unlimited with an all-gold necklace and diamond-set variations of the bracelet and ring. The necklace takes the collection’s flexible construction and stretches it upwards, forming a flowing ribbon of gadrooned gold links punctuated by Cartier’s familiar LOVE screws. It comes in rose gold, yellow gold and rhodium-plated white gold, with the construction designed to sit fluidly around the neck.
The new bracelets bring a little extra sparkle to the formula, replacing the traditional screw details with a series of 0.80-carat round diamonds held in specially developed screw-shaped white-gold settings. The diamond bracelets retain the collection’s clever modularity, too, with an invisible Cartier-patented clasp allowing one bracelet to connect to another.
Wear one, stack several or link them together: Cartier has built the jewellery around the idea that there should be no fixed arrangement.
left. Charles Negre for Cartier. right. Jacob Elordi by Isabella Elordi for Cartier.
Underneath the apparent simplicity is an impressive amount of jewellery-making engineering: each LOVE Unlimited bracelet and necklace comprises around 200 miniaturised components, individually polished by hand before being assembled into its flexible form. The construction was developed to transform the famously fixed silhouette of the original LOVE bracelet into something that moves with the wearer, while retaining the gadrooned links and unmistakable screw motif.
Discover the latest LOVE Unlimited collection here .
photography. courtesy of Isabella Elordi , Charles Negre for Cartier 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