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    <title>Pinboard (robertogreco)</title>
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  </channel><item rdf:about="https://jackforster.substack.com/p/montres-sans-spreadsheets-from-citizen">
    <title>Montres Sans Spreadsheets From Citizen - by Jack Forster</title>
    <dc:date>2026-06-26T07:05:14+00:00</dc:date>
    <link>https://jackforster.substack.com/p/montres-sans-spreadsheets-from-citizen</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["We don't need no stinkin' market index."

...

"I don’t think there is any need in particular to compare them to anything being produced in the luxury watch segment in Switzerland, except of course to point out that Citizen also offers very high quality luxury level Eco-Drive, high precision watches with dials based on traditional Japanese crafts, in The Citizen Collection, which also includes mechanical pieces with movements made by Citizen’s subsidiary, La Joux Perret – and that therefore the company has an on ramp which may in the fullness of time lead to one of the higher end products, but which are perfectly capable of giving great satisfaction on their own.

Pretty much everyone I follow on Substack who writes about watches has written – often more than once – about how relentless price increases from the Swiss watch industry are part of a larger dysfunctional conversation in which artificial scarcity, performative demonstrations of access, and preoccupation with secondary market prices have become proxies for delivering value. With these watches, none of that noise is part of the experience and you have almost pure signal – of respect for consumers and respect for the value of a dollar, which is refreshing."]]></description>
<dc:subject>citizen watches jackforster 2026 luxury eco-drive prices switzerland watchindustry quartz grandseiko grandseiko9f thecitizen leszetlein haq highaccuracyquartz</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.itsabouttime.email/p/nomos-glashu-tte-in-house-or-nothing">
    <title>NOMOS Glashütte: In House or Nothing</title>
    <dc:date>2026-06-26T01:46:32+00:00</dc:date>
    <link>https://www.itsabouttime.email/p/nomos-glashu-tte-in-house-or-nothing</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["NOMOS is one of the few that does not buy. The machine in Schlottwitz running through the empty weekend is the visible end of that decision. The invisible end is an escapement the company spent seven years and millions of euros to build, so that it would never again have to ask anyone's permission to make a watch. That single fact reflects the whole brand, and once you understand what it cost them, not just in money, you understand everything else about the company. The price discipline. The refusal to behave like a luxury house. It all comes from one decision, made by a small company in a small town, to do the hardest thing in watchmaking themselves rather than depend on anyone for it.

This is a piece about what that decision cost and what it bought. It is, I think, the most interesting story in German watchmaking, and it's dramatically undertold, because telling it straight means starting with the uncomfortable fact that the rest of the industry would prefer to leave alone.

A mechanical watch runs on a coiled spring. Wind the spring, it wants to unwind, and that unwinding is the energy that drives the hands. The problem is that a spring left to itself unwinds all at once, in a fraction of a second. So you need something that lets the energy out in tiny, evenly spaced increments, thousands of times an hour, for as long as the watch runs. That something is the escapement. The balance wheel swinging back and forth, the balance spring breathing it in and out, the escape wheel and the pallet ticking the energy free one beat at a time. It is the part that turns a wound spring into a timekeeper. Everything else in the watch is in service of it.

It is also the hardest part to make. The components are smaller than almost anything else in the movement, the tolerances are unforgiving, and getting them to work together reliably took the watch industry the better part of two centuries to figure out. The know-how and the machinery sit behind a wall that a small brand cannot climb. So small brands do not try. They buy the escapement, the way you buy flour rather than growing the wheat, and they build the rest of the watch around it.

There is nothing shameful in this. A watch built on bought parts can be excellent, finished beautifully, sold honestly. But it does mean something. If the heart of your watch comes from a supplier, then the supplier sets your quality and your quantity. You can ask for more. You cannot make more. You are independent right up until the moment the supplier says no, and then you find out exactly how independent you were.

NOMOS decided that was not independence at all. To understand why a small company would spend years and a fortune fixing a problem most brands are content to live with, you have to know where NOMOS started, and how badly the question of independence once stung.

The valley itself was born from a bailout.

Glashütte sits in the Ore Mountains of Saxony, in the east of Germany, about forty minutes south of Dresden. In the 1840s it was a dying mining town with nothing left to mine. A watchmaker named Ferdinand Adolph Lange wrote to the Saxon government with a plan to build an entire industry from scratch in this poor place, and in 1845 the state granted him a loan to do it. He arrived with fifteen apprentices and taught former miners and farmers to make watches by hand.

The detail I love, the one that makes Glashütte different from every other watch town, is what Lange did with those apprentices once they were good. He encouraged them to leave and start their own small supplier firms. He did not hoard the knowledge. He seeded it across the valley on purpose, until the whole town was a web of workshops each making one part well. Glashütte was an in-house ecosystem before the phrase existed. The name on the dial has meant something ever since, and it is now protected by German law the way Champagne is protected: a watch can only carry "Glashütte" if at least half its value is made there. You cannot buy your way into the word.

NOMOS arrived late, and it arrived under suspicion.

NOMOS was founded in 1990, in the months after the Berlin Wall came down, in a reunified Germany where the old eastern watchmaking had collapsed. It made clean, well-designed watches at honest prices, and in its early years it did what most small brands do. It used Swiss movements.

In a town whose entire worth is staked on the word "Glashütte," that was a problem. NOMOS was called out for it. A lawyer went after the company on behalf of the local tradition, arguing, in effect, that a watch with a Swiss heart had no business wearing the name of a German town. It is hard to imagine a more wounding accusation for a young company that wanted, more than anything, to belong to the place it was named after. You are not really one of us. Your watches are not really from here.

What NOMOS did next is why we love them so much. It could have fought the accusation in public and kept buying Swiss parts. Instead it set out, slowly and at great cost, to make the accusation impossible. It started building its own movements. It poured money into machinery and people. It worked its way up the watch, part by part, until there was almost nothing left to buy in. The company decided it would not just meet the standard of the valley. It would exceed it so far that no one could ever question it again.

Here is the numbers I haven’t mentioned. Seven years of development. Eleven point four million euros. One component."

...

"How little NOMOS buys in is almost comic when you hear it said plainly. Up to 95 percent of each calibre is made on site in Glashütte. What does the company purchase from outside? Ahrendt's own answer: the rubies used as bearings, and tiny oil reservoirs. Everything else, they make.

Now we can go back to the watchmaker, because the most interesting thing about NOMOS is not that it is high-tech, and not that it is hand-craft. It is that the two sit at the same bench doing the same job.

The parts made in Schlottwitz travel along the road to the NOMOS Chronometry in Glashütte, where the milling and the wire erosion give way to people. Watchmakers in white coats at wooden benches, near silence, the occasional tick of a movement waking up. Then you notice the machines tucked in among them. At each bench, dozens of movements wait in a dust-protected drawer and arrive in front of the watchmaker on a small conveyor. The machine helps place the tiny jewels and helps oil them. The person does the work that needs a person. The decoration is done with hand-operated tools, and then the movements are assembled and adjusted by hand, in a tradition the town has kept for more than 175 years.

It would be cheaper to commit to one extreme. Full automation, or full hand-work at triple the price. NOMOS does both, deliberately, because the machine is better at the parts that demand the same motion ten thousand times without a tremor, and the human is better at the parts that need judgement. The watch is where the two finally meet.

There is a part of the process where the machines step back almost entirely: the assembly of the Swing System itself, the marrying of the escapement to the movement. NOMOS says the knowledge of how to do this does not exist out in the world. You cannot hire it. It has to be taught inside the company, from the people who know to the people who will know next. That is the deepest meaning of building your own escapement. It is not that you own a machine. It is that you own a kind of knowledge that lives nowhere else, and the only place to learn it is the room where it happens.

Here is the part of the story I cannot stop thinking about.

The lawyer who went after NOMOS three decades ago, the one who argued the young company had no right to the Glashütte name, is a man named Wolfgang Straub. NOMOS spent the years after that accusation making itself unimpeachably German, building its movements, building its escapement, raising its in-house rate past the point of any reasonable doubt. And somewhere along the way, the man who once tried to keep NOMOS out joined them. For the last twenty years Straub has worked with NOMOS on the opposite goal, the campaign to turn the old unwritten Glashütte rule into an actual law. A couple of years ago, they won. The German parliament made "Glashütte" legally enforceable, with NOMOS at the front of the fight. It is the kind of turn you could not put in fiction without an editor calling it too neat."

...

"But here is what settles it for me. What NOMOS bought with all that money and time was not an escapement. It was control. They set their own quality, because they make their own parts. They set their own volume, because no supplier rations them. They own their own ideas, because the patents are theirs. They own their own future, because the knowledge of how to make the hardest part of a watch lives in their building and not in someone else's. A company that was once told it did not belong spent everything it could afford to make sure no one could ever say that again. Put that way, eleven point four million euros stops looking like pride and starts looking like the price of staying your own.

There is another dividend too, the one NOMOS rarely brags about, because bragging would spoil it. Consider that NOMOS makes thousands of watches a year, almost entirely in-house, with its own escapement and its own patents and the protected name on the dial, and asks for a fraction of the money. That gap is what doing it all yourself actually pays out. You take the cost out of the steps where a machine beats a person, you spend it back on the steps where a person beats a machine, and the difference goes to the buyer instead of to a middleman. It is not a discount. It is what is left when nobody in the chain is taking a cut they did not earn.

 That is the case for in-house or nothing. Not that it is cheap, because it is the opposite. Not that it is easy, because it is the hardest road there is. It is that when you make everything yourself, the watch on your wrist is the one object in the room that nobody outside the company had any say in. The bar of steel, the machine that runs through the weekend, the people who alone know how to make the escapement breathe, the patents, the name on the dial that the law now protects. All of it theirs, and hard-won.

The machine will be running again this weekend, the building dark and empty around it, turning steel into the beginnings of watches that nobody has had to ask anyone's permission to make. That is the point. NOMOS spent thirty years and a fortune making sure the only people who ever needed to be in the room were their own."]]></description>
<dc:subject>nomos watchmaking watches glashütte germany saxony ferdinandadolphelange 2026 escapements schlottwitz luxury balancewheels timekeeping independence oremountains 1990 2014 uweahrendt swingsystem chronometry automation knowledge inhouse wolfgangstraub law legal manufacturing control bragging vukradic</dc:subject>
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<item rdf:about="https://dougald.substack.com/p/making-special-making-scarce">
    <title>Making Special ≠ Making Scarce - by Dougald Hine</title>
    <dc:date>2026-06-06T05:00:25+00:00</dc:date>
    <link>https://dougald.substack.com/p/making-special-making-scarce</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Thinking with Ellen Dissanayake about art and being human"

...

"Ten days ago, I sent off the manuscript of the new book to my publisher. As the season of writing and revising came to an end, Anna and I moved into hosting our first online series in over a year. Over five weeks, we have 180 participants from multiple continents, the youngest in their teens and the oldest in their nineties, gathering in larger and smaller groups around the theme of “practice”. In their company I get to chew some more on questions I’ve been writing about.

One thread that links the book and the series is Ellen Dissanayake’s work on art as behaviour. Dissanayake has dedicated a lifetime to studying the arts through an evolutionary lens as a distinctive behaviour of the human animal. It’s one of those cases where someone makes no attempt to build an academic career, but simply follows a hunch over decades, creating a body of work that runs at a strange angle to any established discipline. And although I’m not generally drawn to evolutionary explanations of human behaviour, there’s something about her work that I find compelling in multiple ways.

First, the sheer volume of material she draws together should demolish the persistent idea of art as a crowning achievement of human civilisation, a sophisticated layer of activity at the top of a Maslovian pyramid, a luxury to which we dedicate ourselves once the more fundamental layers of human needs have been taken care of. Rather, the activities we recognise as art are ubiquitous, woven into every example we have of humans being human together.

From the Darwinian perspective with which Dissanayake is working, the distinctive and seemingly universal character of this behaviour suggests that it is an evolutionary adaptation: a behaviour which has made a difference to the chances of creatures like us staying alive, reaching adulthood and having children who also live to adulthood.1 Again, this offers a counter to the idea of the arts as a luxury: if Dissanayake is on the right track, then the behaviour of art literally makes a life and death difference to creatures of our kind.

So what is the essence of this behaviour? After considering various ways of describing it, Dissanayake landed on the expression “making special”. The thing that marks out humans is that we “intentionally shape, embellish, and otherwise fashion aspects of [our] world to make these more than ordinary”. We take a colour, a pattern, a sound, a gesture, a word and lift it out of its everyday context, the setting in which we find or come up with it, and use it in other ways.

Here, I can’t help going beyond what Dissanayake says, because I’m tempted to say that we make worlds together through this behaviour, layered worlds that are woven with meaning. And, further, that the adaptiveness of this (in evolutionary terms) is suggestive of truth: this layered, patterned, meaning-riddled way of inhabiting the world and making it habitable is a better fit for the reality in which we find ourselves than if we attempt to inhabit it as flat and meaningless. And I take it as the mark of modernity that, in contrast to just about every other way of being human together we know about, there has been an attempt to inhabit the reality in which we find ourselves as though it were flat and meaningless.

But that opens a sizeable can of worms, some of which go wriggling through the pages of the book I’ve just written, and others I’m saving for the next book.

For today, I wanted to share a couple of notes on this matter of “making special”. Because the conversations Anna and I are having with participants have brought into view a couple of misleading ideas about “specialness” that haunt the ways of being human that have been taken for granted around here lately.

One version of this is “making special” as “making perfect”. Anna speaks about the debilitating effect of the pressure to make things “Instagram-perfect” – and the quietly radical practice of inviting people into a messy house! If we’re stuck with an idea that for things to be special, or simply good enough, we have to make our lives and our homes look like a photo shoot, then our ability to be human together grinds to a halt. The specialness worth having isn’t captured through a camera lens, it arises out of shared experience – but much of the aesthetics of advertising that developed through the twentieth century was an attempt to evoke this sense of specialness visually, on the page or the screen, until these synthetic substitutes colonised our imagination, leaving us neurotic about our messy human reality.

The other version I’ve been thinking about is “making special” as “making scarce”. Again and again, from different angles, I find myself returning to the production of scarcity as the paradoxical tendency of modern industrial societies. There’s more on this, too, in the new book – but for now, I want to point towards the opposite possibility: that we have the conditions for an abundance of “specialness”, precisely because of the thing Dissanayake is getting at when she identifies “making special” as the distinctive behaviour of the human animal.

In the past two days, I’ve heard participants talk about their experiences telling stories to classes of young children, singing to the dying, learning to care for patients in general practice and working with mothers around the birth of their children. In each case, there was a clear sense of showing up in a way that recognises and contributes to the specialness of what is taking place, here and now, in a given situation, and also a recognition that many of these situations are more or less universal. Another participant spoke about a culture of traditional music in Scotland and the creation of higher-education courses training technically brilliant musicians, but where the professionalisation of an artistic practice detaches it from the embedded, relational field that is the source of what matters most in this culture. This latter example gives a glimpse of how scarcity is produced and how attention is drawn away from the everyday specialness – the extraordinary ordinary, as my old friend Anthony McCann would say – and into a coupling of specialness with exceptional, scarce gifts.

These are themes that have been on my mind a lot and I’ll look forward to exploring further in public conversations, down the line, but I wanted to share these notes in the meanwhile. If we’ve lost the knack of “making special”, or lost confidence in this as a capacity that all of us have, then there are reasons for that, historical patterns that make sense of how we ended up here. But to the extent that Dissanayake is right to locate this capacity on an evolutionary level, that suggests that it is still there, still part of the kinds of creatures we are, and the seeming scarcity is artificially produced.

To be continued…"]]></description>
<dc:subject>dougaldhine 2026 scarcity ellendissanayake art arts behavior human humans adaptation making makingspecial ordinary everyday humanism meaning meaningmaking perfect craft luxury perfection ads advertising aesthetics specialness misoc anthonymccann exceptionalism artificialscarcity manufacturedscarcity gifts</dc:subject>
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<item rdf:about="https://om.co/2026/06/01/clothes-are-nice-fashion-biz-not-as-much/">
    <title>Clothes Are Nice. Fashion Biz, Not As Much! – On my Om</title>
    <dc:date>2026-06-02T00:13:01+00:00</dc:date>
    <link>https://om.co/2026/06/01/clothes-are-nice-fashion-biz-not-as-much/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Every morning I sit down and open Feedbin on my iPad. It aggregates my RSS feeds and newsletters – about a hundred sources – covering everything from AI to zeitgeist. One story stopped me recently. The Wall Street Journal proclaimed: “Menswear Is in Its ‘Nice’ Era.”

This comment from a personal stylist sent me down a rabbit hole about clothes, social media, and how the gatekeepers still don’t understand their own growing irrelevance:

<blockquote>“The clothes are inoffensive, but there’s no point of view. The downside isn’t bad taste, but the erosion of individuality.” – Turner Allen, personal stylist, New York</blockquote>

Menswear today is neutral tones, muted basics, everything well-cut and normal. Or as they say, nice. The Business of Fashion recently called this an epidemic. Everyone in the industry has an opinion about it. What almost nobody has is an explanation for why. The fashion media is smart enough to spot the symptom but fails at the diagnosis.

The BOF at least attempts an answer, channeling the music critic Simon Reynolds, who argued in his book Retromania that pop music had collapsed into endless pastiche – referencing references, with nothing original left to say. The same, the BOF writer suggests, has happened to fashion. The epidemic of nice clothes is what you get when an industry runs out of ideas.

Maybe. But that framing is still entirely about the industry. It leaves out the person standing in front of the mirror.

Me.

The writers’ complaints are simply the arrogance of insiders, something common across media. Just look at how self-referential the Atlantic and the New Yorker have become. Same when it comes to technology, sports, and everything else.

They all treat the paying customer as a rube. What if we stopped wanting the opinions of fashion insiders and sports reporters who are not nearly as honest as they pretend to be? Everyone is talking their own book, all the time, everywhere. Everyone is looking to get paid.

We the rubes have learned a thing or two.

For years we have been swimming in images. Instagram, street style blogs, TikTok, Pinterest, the endless scroll. Whatever you think of that flood of images, it has done something to our eyes. It has trained us. We have looked at more clothing combinations, more visual context than any generation before us. We have developed taste not from magazines but from sheer accumulated exposure.

The assumption buried in the insider complaint is that the point of view should come from the garment. That the designer is the author and we are the readers. That clothes arrive with meaning already assigned, and our job is to receive it correctly. This is how the whole enterprise of fashion writing has always worked – and it is, not incidentally, how affiliate link revenue works. You spot the trend and explain why it matters. You link to where they can buy it.

That model made sense when images were scarce and editors were gatekeepers. It makes far less sense now.

Look at my own closet. It is a capsule collection of about a hundred pieces. Plain, nice, comfortable, well-made garments. French-made bespoke blue shirts. Muji T-shirts. Japanese workwear. I arrived at each of them because they are precisely what they are not: a line item in LVMH’s annual profit report. They work with my body. When I combine them, the result is mine. Not defined by a runway, a trend, or any external verdict.

Alexander McQueen famously said: “I want you to come out either repulsed or exhilarated, as long as it’s an emotion. If you don’t feel an emotion, I’m not doing my job.” It is a great quote. It is also a completely designer-centric view of the world. The designer produces the feeling. You experience it. You are the audience.

That model is over. Today’s designers are mostly hired hands executing the commercial agenda of conglomerates whose job is to sell expensive product on installment plans to people who want to feel rich. The clothes that result are rarely worth the allegiance.

A perfectly cut neutral trouser means almost nothing by itself. But that trouser with a specific shoe, a worn jacket, a watch with some history, a shirt you found somewhere unexpected – now there is something. The clothes are the vocabulary. I write the sentence.

Compare this to what came before. The hypebeast era, the logomania, the streetwear machine – that was actually the most passive way to dress in living memory. The brand told everyone what you were about. The logo spoke. You just put the thing on. It was expensive ventriloquism.

The epidemic of nice clothes is not a failure of imagination in the industry. It might be the industry finally catching up to what people actually want: room to think for themselves. A canvas, not a lecture.

The question was never whether the clothes have a point of view. The question is whether you do.

Lawrence Lessig in 2008 argued that the 20th century had been a Read-Only culture. You consumed what the professionals produced, passively, with no mechanism to talk back. The phonograph, the radio, the CD: the machines made you an audience. The internet broke that. Suddenly culture was Read-Write. You could take what existed, layer it, reinterpret it, make something yours. That shift has expanded with every generational turn – Web 1.0, Web 2.0, social, mobile, and now AI.

Fashion just got there later. The hypebeast era was the last gasp of Read-Only dressing. What is happening now looks like an epidemic of nice clothes. It is actually the beginning of something else.

The read-write metaphor has since become read-write-read. And the data backs it up.

Hundreds of millions of people are not just consuming culture – they are recreating it. Layering it, putting it back out. The fashion industry’s complaint that people lack a point of view doesn’t hold against what the numbers actually show. These are the same people uploading 14 million tracks a month to SoundCloud and posting 272 TikToks a second. They have plenty of points of view. They just stopped waiting for permission to express themselves.

Now give me the raw energy of Diya Joukani – a self-taught designer from Mumbai who just filmed a cameo with Rihanna. Wintour is good for hosting the Met Gala, not for finding the new thing. She can’t. Because there isn’t one new thing anymore. And the fashion-industrial complex doesn’t understand that.

The upside of the connected world means now I can find a talent like Diya without any editor telling me that I must pay attention to her. And in her I see what I have always imagined, a world where we tell the story of us. Diya and I are about 35 years apart, but she captures how I see my clothes. A palette to be put together. Simple, nice, and authentic. Embellishing is what I do. Sure, I learned from Anna and her ilk. But now I know myself much better, and hence nice is not just nice. It is me."]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=LU7swT_Fp08">
    <title>Rainbow Girls | Award-Winning LGBTQ+ Short Film - YouTube</title>
    <dc:date>2026-06-01T05:08:08+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=LU7swT_Fp08</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["When San Francisco's tech boom pushes them to the margins, a group of friends decide to push back, staging an audacious heist that turns luxury into resistance. 

Rainbow Girls
Dir. Nana Duffuor
https://www.rainbowgirlsfilm.com/

"With Rainbow Girls, writer-director Nana Duffuor crafts a tale of resistance against gentrification and systemic inequality, infusing it with infectious energy through three empowering characters." - S/W Curator, Céline Roustan

FULL REVIEW: https://www.shortoftheweek.com/2026/04/20/rainbow-girls/

CREDITS

STARRING:
Jai Stephenson
Sis Thee Doll
Céline Jackson
Nava Mau

Written & Directed by Nana Duffuor
Produced by Raman Nimmala

Co-Producers:
Jackson Gravagno
Nurie Kali Mohamed

Executive Producers:
Cheryl Dunye & Jingletown Films
Nana Duffuor
Nava Mau
Sarah A. Schoellkopf
Shane King Zackery

Associate Producers:
Dina Soliman
Lynn Nice
Dr. Nesba Ama Frimpong
Tiffany Dockery

Director of Photography Evan Weidenkeller
Edited by Sowj Kudva
Production Designer Olivia Kanz
Hair & Make-up Dex Simmons
Stylist Kara Fabella
Production Sound Mixer Jocelle Bautista
Post-Supervisor Guang Ren
Colorist Kyunchan Min
Music Composer Saman Khoujinian
Music Supervisor Jarret Poindexter

SUPPORTING CAST:
Joseph Amster
Greg Tyesi
Julian McCarthy
Halili Knox
Maxi Zubi
Conrad Cheeks
Alana Jacobs
Elijah Macias
Reproduced on this channel with the permission of the filmmakers."

[via Jared Ball :https://www.youtube.com/watch?v=KbSbtilM5nQ ]]]></description>
<dc:subject>sanfrancisco film nanaduffuor luxury gentrification</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=Yt15iNgvNsw">
    <title>McMansion Hell, Fandoms, Retinol and Modern Opera | Middlebrow Podcast - YouTube</title>
    <dc:date>2026-05-13T06:55:58+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=Yt15iNgvNsw</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Kate Wagner is the architecture critic at The Nation and the creator of the internet's favorite architecture criticism blog, McMansion Hell. We dive into finding beauty in all buildings, criticism as a practice, modern opera, retinol, fandoms and more. Read McMansion Hell here: https://mcmansionhell.com 

00:00 - Intro 
00:23 - Retinol 
2:30 - Anime Face 
2:58 - Defining McMansion 
05:47 - 80s Architecture 
07:05 - Revival of Old Tastes 
20:51 - Agrarian High School 
21:13 - Autodidact Gang 
22:25 - Challenges of Architecture 
26:39 - McMansions Abroad 
31:04 - Politics of a McMansion 
34:45 - Emerging Movements 
38:26 - Edgar Wright’s Running Man 
41:04 - DSA Baby Boom 
41:35 - Modern Opera 
45:18 - The Ring Cycle 
47:07 - Receptiveness in a Critic’s Heart 
49:21 - Fandoms 
50:33 - Faith in the Public 
53:48 - All Buildings Are Interesting 
55:03 - The Goal of Criticism 
01:00:38 - Fascist Architecture"]]></description>
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    <link>https://jackforster.substack.com/p/tech-guru-paul-graham-says-the-watch</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[in response to Paul Graham:
https://www.paulgraham.com/brandage.html ]]]></description>
<dc:subject>jackforster 2026 watches watchmaking technology paulgraham luxury history switzerland branding rolex patekphilippe vacheronconstantin jaeger-lecoultre omega marketing japan quartzcrisis swatchgroup audemarspiguet géraldgenta scarcity manufacturedscarcity arificialscarcity quality cartier montblanc iwc panerai suvs cars progress jewlery accuracy style piaget quartz conglomerates richardmille identity watchcanon artificialscarcity</dc:subject>
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<item rdf:about="https://www.paulgraham.com/brandage.html">
    <title>The Brand Age</title>
    <dc:date>2026-03-19T05:24:52+00:00</dc:date>
    <link>https://www.paulgraham.com/brandage.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[Jack Forster responds:
https://jackforster.substack.com/p/tech-guru-paul-graham-says-the-watch ]]]></description>
<dc:subject>paulgraham watches luxury history switzerland branding rolex patekphilippe vacheronconstantin jaeger-lecoultre omega marketing japan quartzcrisis swatchgroup audemarspiguet géraldgenta scarcity manufacturedscarcity arificialscarcity technology watchmaking quality cartier montblanc iwc panerai suvs cars progress jewlery accuracy jackforster style piaget quartz conglomerates richardmille identity watchcanon artificialscarcity</dc:subject>
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<dc:identifier>https://pinboard.in/u:robertogreco/b:8fd947a105ee/</dc:identifier>
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</item>
<item rdf:about="https://dissentmagazine.org/article/the-heaven-of-train-travel/">
    <title>The Heaven of Train Travel - Dissent Magazine</title>
    <dc:date>2026-03-12T04:58:06+00:00</dc:date>
    <link>https://dissentmagazine.org/article/the-heaven-of-train-travel/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Passenger rail is being remade as a luxury lifestyle product—suggesting the problem isn’t trains, but the indignity of using them when they are so badly run."]]></description>
<dc:subject>ellenpeirson 2026 trains rail railways travel amtrak us uk luxury tonyjudt</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:9cb445cadaaa/</dc:identifier>
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<item rdf:about="https://apnews.com/article/kshaped-economy-spending-income-inequality-dfa59144ecb2e1b674242666e28ff556">
    <title>Here's why everyone's talking about a 'K-shaped' economy | AP News</title>
    <dc:date>2026-02-17T22:14:29+00:00</dc:date>
    <link>https://apnews.com/article/kshaped-economy-spending-income-inequality-dfa59144ecb2e1b674242666e28ff556</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>2025 economics christopherrugaber k-shapedeconomy inequality economy consumption consumerism luxury us wealth eattherich</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.youtube.com/watch?v=wlNBdUDeoT4">
    <title>What Airlines Don't Want You to Know - YouTube</title>
    <dc:date>2026-02-17T22:13:03+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=wlNBdUDeoT4</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Want to understand the economy? Look at airlines.

They're leading the trend of pandering to wealthy customers while abandoning the rest of us, all to continue padding corporate pockets.

Producer: Sanya Dosani
Editor: Tobias Nikl
Videographer: Jack Belisle"]]></description>
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<item rdf:about="https://www.beyondthedial.com/post/bernhard-lederers-watchmaking-philosophy-could-liberate-the-swiss-watch-industry/">
    <title>The Swiss Watch Industry Needs Bernhard Lederer's Philosophy</title>
    <dc:date>2026-01-02T12:57:08+00:00</dc:date>
    <link>https://www.beyondthedial.com/post/bernhard-lederers-watchmaking-philosophy-could-liberate-the-swiss-watch-industry/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["For the first time, I found myself wholeheartedly agreeing with a press release [https://lederertimepieces.com/wp-content/uploads/2025/08/DP2-LEDERER-CIC39mm-T2.pdf ] that just landed in my in-box. This was disorienting. Agreement is not a position I’ve found myself taking vis-a-vis press materials before. Most aren’t pushing anything to agree or disagree with in the first place. But as I read the PDF explaining Lederer’s new watch (the CIC 39 [https://lederertimepieces.com/watch/cic-39-racing-green/ ], already sold out), I was nodding my head approvingly the whole way down.

The watch takes on the historically significant and rather fascinating detent escapement [https://revolutionwatch.com/the-detent-escapement-in-wristwatches-dream-a-big-little-dream/ ] invented by Abraham-Louis Breguet, but what struck me about this press release was the philosophical statements woven into almost every paragraph. Together, these statements formed a coherent—yet wonderfully dreamy—philosophy of watchmaking that also (perhaps unwittingly) lodges a long-needed critique of the Swiss watch industry writ large.

[photo of Lederer CIC 39]

I mean, this is a really good press release. It comes from Bernhard Lederer, one of the few great living independent watchmakers to come out of the generation that gave us Philippe Dufour, F. P. Journe, Kari Voutilainen and Laurent Ferrier—a tiny ilk of true masters.

Check out these extracted bits from the CIC 39’s press release, which in condensed form read like a hybrid of Wittenstein’s Tractatus Logico-Philosophicus and Shunryu Suzuki’s Zen Mind, Beginner’s Mind.

“…a watch is never an object, it is a manifestation of thought.”

“[Watchmaking’s] future belongs to those who pursue sincerity rather than spectacle.”

“…a creation has value only if it solves a real mechanical challenge, clarifies a system, stabilizes energy, or deepens understanding. Anything else is only noise.”

“Advancement cannot betray the craft.”

“Independence is not solitude….”

“Aesthetics arise not from decoration…”

“Every aesthetic choice in the [watch] exists to serve the mechanics.”

“…the elegance of a mechanism that has nothing to hide, only truth to reveal.”

“A movement should teach.”

“Its architecture is not merely functional; it is didactic.”

“Each wheel, bridge, and lever is placed with intent so that the movement reads clearly, teaching the eye how energy travels and how precision is earned.”

“…the [watch] expresses precision with a calm, almost meditative authority.”

“[The watch] does not demand attention; it invites a quieter form of fascination.”

[photo of Lederer CIC 39 movement from back of watch]

“…a quieter form of fascination.”

Many years ago, I started a podcast called Beyond the Dial that set out to explore the intersection of aesthetics and mechanics in watchmaking. I didn’t set out to explore mechanics and aesthetics separately, or even in parallel; I intended to explore the intersectionality of mechanics and aesthetics, what I envision as a kind of blurry overlaying of the Venn diagram’s circles into a unified field of aesthetic-mechanical creation from which those attuned to it could sometimes derive a state of prolonged wonder, a horological high.

A few truly great watches seamlessly fuse mechanics and aesthetics: Patek Philippe’s Ref. 1518, F.P. Journe’s Chronomètre à Résonance, the Lange 1, Jaeger-LeCoultre’s Master Hybris Mechanica Calibre 362. These watches, and precious few others, have transcended trends and can reliably engender the horological high, that uniquely prolonged state of wonder, that “quieter form of fascination,” as Lederer aptly puts it.

On the podcast, I struggled to express what this high was, exactly. I used phrases like “the phenomenology of watches,” [https://www.beyondthedial.com/post/insight-the-watch-collector-enthusiast-dichotomy-its-discontents-the-phenomenology-of-watches-as-spiritual-practice/ ] “mechanical wonder,” [https://www.beyondthedial.com/post/podcast-the-final-episode-through-the-looking-glass-on-philosophy-watches/ ] and “tripping on watches” to expound the idea that—since telling the time was no longer the point of looking at a mechanical wristwatch—experiencing a heightened state of mind might be. 

Watches are aesthetic objects, of course. All objects are. But when I allow watches to become mere objects of style, the psychological balm, the horological high, the sweet buzz of time abstracted via a tiny machine…it all just evaporates. When this happens, I find myself chasing down some passing trend [https://www.hodinkee.com/articles/vintage-vacheron-allen-farmelo ], or vying for social position in the horological hierarchy, worried about what so-and-so would think of my so-called wrist-game. And then I’d grow cynical about watches and, in the end, bored with them.

[photo of Lederer CIC 39]

Grokking mechanics to some degree is fundamental to my achieving the horological high, “the quieter form of fascination.” Promoting this state of mind, I will argue, should be the core mission of the Swiss watch industry. This message is implicit in Lederer’s philosophy.

The Sweeping Problem

I believe that social media and the mass popularization of watches it helped foster have made it much harder to filter out the buzz of fast-fashion and tune into the hard-hitting horological high I was pushing via Beyond the Dial. 

With a tiny glimmer of hope, I sense a return to mechanical concerns across the industry as the post-pandemic markets calm down. I sense that serious watch maisons are realizing that something more than a sage-green dial or some clever “collab watch” is required to draw serious collectors back to their latest offerings. The bubble burst around 2023, and now the hype-fest is cooling down. I’m seeing little glimpses of a return to mechanical concerns from Panerai, Breguet, Vacheron Constantin, and even Rolex.

Lederer’s recent release of the CIC 39 (as well as the other five watches in his Masters of Escapement [https://lederertimepieces.com/wp-content/uploads/2025/08/2025_Press-Dossier-LEDERER_Bernhard-Lederer-Biography.pdf ] series) may point the way for the watch industry to regain its hold on generating that elusive sense of mechanical wonder in its customers. This is certainly the highest calling of the enterprise called watchmaking, and it is well worth considering how the Swiss watch industry can humbly return that sense of mechanical wonder to primacy.

The Language of a Master

The philosophy of Lederer, so eloquently woven into this recent press release, is built from the astute language of a master who knows about mechanical wonder, about attaining horological highs, about transcending the surface of visual aesthetics (i.e., going beyond the dial) and basking in the blurry merger I call mechanical-aesthetics.

If Lederer’s philosophy of watchmaking wasn’t sincere, this language would be easy to dismiss as just more high-handed marketing fluff, of which a great deal emanates from the Swiss watch industry. But the Lederer release rings sincere—even humble—when considered within the context of the mechanical problems with which he toils.

[photo of Bernhard Lederer]

“A mechanism must solve a real problem. If it doesn’t, it remains an idea, not watchmaking. For centuries, the detent escapement had potential locked inside it. I wanted to give it a voice,” Lederer is quoted as saying in the press release for the CIC 39.

I’m reminded of John Coltrane, the jazz saxophonist who toiled humbly for well over a decade before finally figuring out how to go beyond the bold accomplishments of Charlie “Yardbird” Parker. Many great artists toil tirelessly in the shadow of a specific forebearer, a (usually deceased) master who haunts them with lingering unanswered questions.

[photo of John Coltrane]

Coltrane once said [https://www.penguinrandomhouse.com/books/592345/3-shades-of-blue-by-james-kaplan/ ], “I’ve had a strange career. I haven’t yet quite found out how I want to play music. Most of what’s happened these past few years has been questions. Someday we’ll find the answers.”

“We go where watchmaking has questions left to answer,” Lederer says in the press release, sounding just like Coltrane.

The Detent Escapement and its Problems

Others of Lederer’s generation have toiled with Breguet’s escapements (both the natural and detent mechanisms), including Laurent Ferrier [https://laurentferrier.ch/blogs/news/in-depth-look-laurent-ferriers-natural-escapement ] and Kari Voutilainen [https://revolutionwatch.com/the-detent-escapement-in-wristwatches-dream-a-big-little-dream/ ]. The problems inherent to these mechanisms loom large, nagging the great masters to solve them.

You can find dozens of videos [https://www.google.com/search?udm=7&q=detent%20escapement&sqi=2 ] depicting the detent escapement’s fascinating motion, which will serve you better than my attempts at explanation. What I can confirm is that for centuries the detent escapement had suffered from limitations that make it unsuitable for use in everyday watches. It’s hard to get going once the movement has stopped, for one, and it is prone to instability at low amplitude, which is required for any meaningful power reserve in the relatively small space of a wristwatch movement. 

Lederer claims to have toiled—and, importantly, failed repeatedly—with the detent escapement for decades, slowly building up his understanding of the mechanism’s limitations and eventually finding workable solutions.

[photo of Lederer CIC 39 movement showing detent escapement]

The result of Lederer’s protracted effort is a gorgeous movement that runs the revised detent escapement off of a center-mounted balance cock. The escapement drives two independent gear trains, a configuration similar to the natural escapement-driven movement in his Central Impulse Chronometer [https://www.phillips.com/article/162598500/in-depth-the-lederer-central-impulse-chronometer ] of 2022, one of the six movements that Lederer is releasing as part of his Masters of Escapement series.

Humility and Slowness Can Reset the Watch Industry

As I read the press release for this watch, I hear a not-entirely subtle critique of the mainstream Swiss watch industry. Lederer’s philosophy of watchmaking is tersely in opposition to what has become the operable norm of Swiss watchmaking today: namely, that style and decoration (from gratuitous dial treatments to gaudy pave cases and trendy reissues) dominate watch design.

“Aesthetics arise not from decoration…”

“…a creation has value only if it solves a real mechanical challenge, clarifies a system, stabilizes energy, or deepens understanding. Anything else is only noise.”

“[Watchmaking’s] future belongs to those who pursue sincerity rather than spectacle.”

In espousing this philosophy, Lederer is, I think, showing the watch industry how it might rearrange its priorities and, with that, keep itself from bleeding out while caught in the hype-trap. The underlying message is that the marketing strategies of large luxury groups have sacrificed too much in service of social media’s voraciousness and the fashion industry’s quarterly renewals. Watchmaking that allows the inherently slow development of genuine mechanical innovation to (literally) undergird aesthetics can never keep that pace.

It is abundantly obvious to me that the reason Swiss watchmaking today can feel so spurious, so devoid of meaning, at times so blatantly dumb, is that too many brands insist on attempting to keep an unreasonable pace dictated by the demands of their marketing departments and not their R&D divisions. This hyper-pace has resulted in a splintering of annual collections into monthly, sometimes weekly, introductions of new dial colors, limited editions wrapped in weak partnership narratives, endless announcements about who wore which watch to what red-carpet event, and the press release I received last year asking me to tell my readers about a new strap color on offer for a watch already released multiple times with increasingly horrendous dial colors. I’m confident that this is the “noise” to which Lederer refers.

[photo of Lederer CIC 39]

With a measure of compassion, I understand that the onset of social media, the broadening of luxury markets, and the demand for quarterly ROI have pressured the great watchmakers of Switzerland (and elsewhere) to hustle beyond their capacity for genuine innovation. We all get it on some level; the impact is felt across industries around the world—including journalism.

But wasn’t watchmaking meant to be that one oasis of enduring sanity in a desert of spurious luxury madness? Or, shouldn’t it be?

Over and over we’ve seen the mandates for growth destroy the integrity of horological endeavors ranging from publications [https://www.wsj.com/style/fashion/hodinkee-luxury-watches-ben-clymer-b4078322 ] to philanthropic programs [https://robbreport.com/style/watch-collector/lists/15-watches-withdrawn-from-onlywatch-auction-1235595062/ ] to entire watch brands [https://robbreport.com/style/watch-collector/lists/bremont-watches-are-suddenly-good-investments-here-are-10-to-get-now-1235799724/ ]. At some point an industry gets stretched too far and can lose something essential, allowing consumer cynicism to creep in. Watchmaking has to at least consider resetting its priorities around something other than striving to keep pace with the mad tempos of social media and the world of fashion into which it seems so desperate to enter.

It’s time to put mechanical wonder back at the center of watchmaking, to respect the actual history of mechanical watchmaking rather than perennially spinning that history up into some seasonal marketing campaign, to more slowly help neophytes come to understand the subtleties of mechanical watchmaking rather than trying to degrade their sense of self in order to convince them to buy this week’s offering. We’ll get fewer bubbles this way, but they won’t burst their wet mess all over the quarterly reports, either.

Without a reinstatement of a core philosophy that prioritizes meaningful horological achievements, we’re going to end up in a world of uninspiring watches traded as the coinage of social capital. The world needs that about as much as it needs another smooth jazz record."]]></description>
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<item rdf:about="https://sixcolors.com/link/2025/12/apple-designs-luxury-bubble/">
    <title>Apple design’s luxury bubble – Six Colors</title>
    <dc:date>2025-12-30T20:30:20+00:00</dc:date>
    <link>https://sixcolors.com/link/2025/12/apple-designs-luxury-bubble/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I enjoyed this thoughtful post [https://karbonbased.io/posts/2025/12/and-stay-out ] from Garrett Murray, itself a link to a post by Louie Mantia [https://lmnt.me/blog/and-stay-out.html ] about the departure of Alan Dye from Apple:

<blockquote>I sometimes think about what we lost along the way as Apple chased ultra-simplicity and luxury. Jony Ive spent a decade slowly removing any trace of personality from every product Apple released. Apple went from the original translucent-colored plastic aesthetic of the “Bondi blue” iMac G3 and the Power Mac G3 “Blue & White” to the more refined and unique design of the iMac G4 to… a bunch of aluminum rounded rectangles for decades. Chasing thinness, removing ports, simplifying everything down to metal and glass with no differentiation.</blockquote>

As Mantia wrote:

<blockquote>[Ive] and his team designed great products during the first half of his tenure at Apple. But as he became wealthier, he started to conflate good taste with luxury. Jony often described Apple products with words about craft, material, and precision, all things that appeal to a luxury market. Apple shifted away from making products “for the rest of us” and started making products that appealed specifically to rich people.

Not to put too fine a point on it, but they started making products that appealed to themselves. Because since Steve Jobs died, Apple, its executives, and its corporate employees got significantly wealthier. It wasn’t just Jony who took an interest in luxury. The whole company did. Anyone with even a little bit of power in the company started to dress more expensively. They all look like they could walk right out of a fashion advertisement.</blockquote>

Part of Apple’s appeal is “affordable luxury”. There’s no super-luxe iPhone for the billionaire class. But there is something about what Murray and Mantia write that strikes me as being absolutely right.

In the wake of Steve Jobs’s death, Apple elevated Jony Ive to a position of total design authority as a way of signaling to the wider world that the company was going to be okay after losing its co-founder and leader. In that era, there was a genuine fear that a company led by an operations guy was not going to be able to keep the magic going. (Certainly, that’s a narrative that current and former Apple designers have been happy to push ever since.)

The more I think about it, the more this (perfectly reasonable!) tactical decision has come to feel like the original sin of the Tim Cook era. An unchained and elevated Ive sent the right message to the world, and Ive really is a talented designer who built beautiful things. But without Steve Jobs to rein things in, Apple’s design sense got more insular, more obscure, more minimal.

It’s one reason I’m so critical about Ive, his overlong tenure at Apple when he was obviously burned out, and the fatal mistake of placing software design in the clutches of him and his lieutenants: I just get the sense that those designers became untethered from the rest of us, chasing idealized product dreams based on the expensive luxury brands they wore, drove, and otherwise used every day. Not that Apple designs ugly stuff, but there is undoubtedly an antiseptic sameness to a lot of it that smacks of a design team that has disappeared up its own white void."]]></description>
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    <title>Don't Become a Connoisseur.</title>
    <dc:date>2025-12-08T20:05:16+00:00</dc:date>
    <link>https://www.joanwestenberg.com/dont-become-a-connoisseur/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[video version:
https://www.youtube.com/watch?v=F1D6kPJMDe8 ]

"One of the great pleasures of my life is a bacon double cheeseburger. The simpler the better. Meat, cheese, a good pickle, a lug of ketchup and some sizzling bacon. There's nothing particularly refined about it. And there's not much I'd choose to eat instead of it, whether I can get one from McDonalds, Burger King or a corner diner.

I'll say it plainly: I do not consider myself a connoisseur of anything. I am neither an epicure nor an aesthete. I like the things I like, and I like 'em simple and (where possible) I like 'em cheap.

Connoisseurship is widely understood to be a good thing: we call it a mark of sophistication - a form of self-improvement that deepens your relationship with beauty and pleasure.

I think this is almost exactly backwards.

In fact, I've started to believe that developing "refined taste" is one of the most reliable ways to make yourself worse off.

Let me explain.

Someone decides to "get into" wine, coffee, whiskey, or any other domain where refined taste is possible // encouraged. They read books, subscribe to newsletters, join clubs, and begin paying attention to what they're consuming instead of just consuming it.

Within a couple of years they have developed what they proudly call "a palate."

They have also, if they're being honest, stopped enjoying approximately 90% of the options available at normal human price points.

The cheap stuff they used to consume happily now tastes "thin" or "unbalanced" or possesses some technical flaw that their newly trained senses cannot ignore.

And yes, the wine expert experiences rapture at a great Burgundy that the casual drinker can never access. The trained musician hears structure and beauty in a symphony that the untrained ear misses entirely.

But I think we massively underestimate the costs and overestimate the benefits.

You spend enormous amounts of time and mental energy developing your discernment; you read, you practice, you compare, you discuss. This is time you could have spent doing almost anything else, including simply enjoying the thing you're trying to become expert at.

Simply: the aspiring coffee connoisseur who spends 200 hours learning to distinguish processing methods could have spent those 200 hours just drinking coffee and enjoying the hell out of it.

Then, once you've developed your refined taste, you've created an expensive new preference for yourself. Where before you were satisfied with a $12 bottle of wine or a $3 cup of coffee, you now need a $60 bottle or an $8 pour from a specialty roaster to achieve the same level of satisfaction.

You've shifted your hedonic baseline upward without actually capturing any more total pleasure from the experience. You are, in almost every way, worse off.

The casual coffee drinker has expectations that hover somewhere around "hot, contains caffeine." Almost every cup of coffee clears this bar.

The connoisseur has expectations calibrated to the best coffee they've ever encountered, which means almost every cup falls short.

You've traded a world where 90% of coffee is acceptable for a world where 10% of coffee is acceptable. This is not an improvement.

So why do people keep attempting to leap into the connoisseur category?

It's not a complicated question to answer.

Refined taste is a form of social currency. When you can discourse knowledgeably about single-origin chocolate or Japanese denim, you're signaling membership in a particular, educated, cultured, upper-middle-class tribe. You're demonstrating that you have the leisure time to develop these refined preferences, the disposable income to indulge them, and the social connections to learn the right vocabulary and opinions.

Connoisseur-ship is, basically, a very elaborate and expensive form of peacocking.

Which would be fine, I suppose, if people were honest about it. We pretend the acquisition of refined taste is a form of self-improvement. But what if it's mostly just competitive consumption?

Imagine you could take a pill that would give you all the functional benefits of the improvement without the social signaling value. Would you still want it?

If you could take a pill that would make cheap wine taste exactly as good to you as expensive wine, would you take it?

I think most honest people would say yes. The expensive wine doesn't actually contain more hedonic value; you've simply trained yourself to require more expensive inputs to achieve the same output. The pill would be pure upside.

But I think there are more than a few professed connoisseurs who would find the idea repulsive.

I'll admit: there really is something wonderful about understanding a complex domain, about being able to perceive distinctions that others miss, about having the vocabulary to articulate your experiences precisely. I don't want to deny this entirely.

But the joy of mastery is portable; it doesn't need to attach itself to consumption goods that will raise your cost of living and narrow your sources of pleasure.

If you want to develop deep expertise in something, develop it in something that won't make you more expensive to satisfy.

Become a connoisseur of free things: sunsets, birdsong, public domain blues recordings, the way light filters through leaves.

Or become expert in something productive, where your refined judgment actually creates value rather than just consuming it. Learn to distinguish good code from great code, or compelling prose from merely competent prose, and you've developed expertise that pays dividends rather than extracting them.

The trap of connoisseur-ship is that it disguises consumption as cultivation. You end up poorer in money and narrower in the range of things that can make you happy, but you get to feel like you've achieved something meaningful.

The lesson here is simple: be very careful about what you let yourself get good at noticing. Every distinction you learn to perceive is a new way for the world to fail your standards.

The critic's eye is a curse. Better to stay a little ignorant, a little undiscerning, a little easier to please. The man who can enjoy an Aldi wine and a fast food burger has access to pleasures that the refined palate has permanently foreclosed.

That kind of effortless enjoyment is worth protecting.

If you're young, or if you've somehow preserved your capacity for unselfconscious enjoyment, guard it fiercely.

Refined taste looks like elevation from the outside, and even on the inside it can feel like expanding. But it's actually a narrowing. Every palate you develop is a menu shrinking.

The happiest readers I know haven't built an identity around Proust. The happiest drinkers I know cannot distinguish a Burgundy from a Bordeaux. The happiest programmers I know use whatever works without agonizing about whether something might work better.

They are richer in experience than any connoisseur, even if their experiences are individually less exquisite. They read whatever looks interesting at the airport bookstore. They drink whatever their hosts are serving. They use whichever tool loads fastest.

The enthusiast might not be as refined as the connoisseur. But they have a good deal more fun."]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=FWX0V9BQe_A">
    <title>Why Swiss watches made by Richard Mille, Patek Philippe are so expensive | 60 Minutes - YouTube</title>
    <dc:date>2025-12-08T06:21:43+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=FWX0V9BQe_A</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Luxury Swiss watches made by Richard Mille, Patek Philippe, MB&F, Jaeger-LeCoultre and Philippe Dufour are pricier than some homes. Craftspeople carefully design and construct the timepieces."

[via:
https://www.hodinkee.com/articles/60-minutes-spotlights-swiss-watchmaking-this-weekend ]]]></description>
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<item rdf:about="https://lmnt.me/blog/and-stay-out.html">
    <title>And Stay Out</title>
    <dc:date>2025-12-05T01:39:59+00:00</dc:date>
    <link>https://lmnt.me/blog/and-stay-out.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Alan Dye may have left for a more lucrative offer from Meta, but this is absolutely a good thing for Apple, which also benefitted from “losing” Jony Ive.

There’s no doubt Jony has good taste, by the way. He and his team designed great products during the first half of his tenure at Apple. But as he became wealthier, he started to conflate good taste with luxury. Jony often described Apple products with words about craft, material, and precision, all things that appeal to a luxury market. Apple shifted away from making products “for the rest of us” and started making products that appealed specifically to rich people.

Not to put too fine a point on it, but they started making products that appealed to themselves. Because since Steve Jobs died, Apple, its executives, and its corporate employees got significantly wealthier. It wasn’t just Jony who took an interest in luxury. The whole company did. Anyone with even a little bit of power in the company started to dress more expensively. They all look like they could walk right out of a fashion advertisement.

This is all to say Apple’s restyling was not just with iOS 7 or even Liquid Glass. It was in how Apple presented themselves as people who had good taste, because that’s their way of communicating authority on the subject of design.

It’s like the trope of overlaying the golden ratio on a logo, or drawing excessive guidelines to “prove” it was thought through. To me, if you have to explain it for people to get it, then it’s not that good, actually. And that’s how all those video presentations from Jony or Alan sound to me. It’s just marketing with a veneer of design. I think we all know that.

Speaking of those video presentations, I recall Jony’s use of the word “familiar” during the introduction of Apple Watch. He used it as a way to bridge the gap between iPhone and Apple Watch. If I remember correctly, Alan Dye also used this word when introducing Liquid Glass. Despite using this word, modern UI design has drifted away from what’s familiar, both in real world analogs—that we called skeuomorphism—and from traditional UI elements and arrangements that many of us have used for many years.

Familiarity is a great tool designers can use to get people quickly to an understanding about what they’re using. Not just in software, but in real life, you can utilize certain forms and materials to encourage people to use something in a way they already know how. It’s only when something feels unfamiliar that we become puzzled and ask for help.

And hasn’t this been happening—ironically—more since they started using this word? How many of us have searched the Internet for ways to “turn off” a new thing or “revert” to a previous arrangement of UI to feel more familiar? How many times has Apple specifically introduced a new setting just so we can do that? I use the “Tinted” setting for Liquid Glass, the “Bottom” tab style in iOS Safari, the “Classic” view for Phone, and “List View” rather than “Categories” in Mail.

Neither Jony nor Alan should ever have been in charge of UI design or product design. Elevating Jony was a bad decision on Tim Cook’s part. And it’s unfortunate that resulted in Jony putting Alan into this position to begin with, because it only lengthened this period of time where bad taste and poor sensibility in software prevailed. There was no reason to believe Jony would be good at this, and there was never any evidence Alan would be good at this either. I’ve never found any examples of Alan’s professional work prior to having this job. In any case, I hope neither of them step foot inside Apple ever again.

I don’t have much to say about Steve Lemay. He was the hiring manager for my first interview at Apple fifteen years ago. It didn’t work out, and I went to work on iTunes and iLife instead. But he had already been at Apple for a long time, and I have lots of respect for him for his platform knowledge and expertise. I don’t expect any big changes because I don’t think he or Apple are looking at this as an opportunity to undo Jony and Alan’s influence on the company, but I do sincerely think this will all feel better with Lemay’s leadership. I wish him the best."]]></description>
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<item rdf:about="https://i-d.co/article/the-emperors-new-grocer/">
    <title>The Emperor’s New Grocer</title>
    <dc:date>2025-11-09T17:42:22+00:00</dc:date>
    <link>https://i-d.co/article/the-emperors-new-grocer/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["New York’s hottest status symbol is a grocery store selling nothing."

...

"Andrea Hernández, creator of the popular Substack Snaxshot—aptly dubbed by The New York Times the Nostradamus of snacking—has another name for stores like Erewhon: Hypebeast grocers. “It doesn’t seem like there’s enough in the store to make sense.” Hernández tells me, “There’s a difference between selling gourmet items versus selling the hype around the grocery store itself. Erewhon is the Supreme of grocery stores. The $30 smoothie I must try… They create an aura of scarcity.” The phenomenon is international. In Seoul, Monday Morning Market drops groceries like capsule collections.

In stark relief, Hernández describes our parents’ buying habits. They went to the store, and then got out. The big choice in the cereal aisle would be buying a private label (ShopRite’s own) over a name brand (Barilla) for the sake of affordability and value. Then, “Along comes our generation, growing up with social media and inheriting the behaviors of affordable affluence. It’s the lipstick effect.” You may not be able to afford a Birkin, but you can go and try a $20 strawberry at Erewhon and post about it in the same way. Whether you eat the berry at all, actually, doesn’t matter.

How many people can really afford to do a full shop at one of these stores? In 2023 New York Magazine ran a sobering profile about the Angelinos going into debt to afford their Erewhon habit—people fixated both on the potential wellness benefits and the potential upward mobility Erewhon has to offer. Hernández remarks, “It’s depressing to think that this is the way that we are able to kind of have that same dopamine hit of keeping up with the Joneses, but it’s like, what’s in your grocery cart?” 

After the development of the first self-service grocery store Piggly Wiggly in 1916, packaging began to take on a more and more significant role in how we eat. There was an attempt to make products you might otherwise pass up in a grocery aisle more attractive. Now, with the advent of social media, branding, aesthetic intrigue, and hype are everything. “It’s the Trojan-horsing of aesthetics, the yass-ification of everything. Like, why does a can of beans have to look like that?” says Hernández. As she points out, Happier Grocery even offers transparent bags with the logo—like a walking display case for your carefully selected nut milks and pre-washed salad. 

The issue, Hernández feels, is that we’ve “shaped grocery stores in our clout-chasing image.” She explains, “We’re the apex consumers, and we’re treating grocery stores like luxury stores. Everything around us has to signal something because of social media.” Nussdorf, however, is skeptical of how Erewhon and its direct competitors’ clout chasing will translate to a New York audience: “I don’t think these smoothies with these influencers or designers in New York City that some of these other competitors are doing is making them that much money.”

These “HypeMarts” have more shared DNA with Balenciaga or Telfar than they do with a Whole Foods, relying on scarcity, drops, and branding for business. Beyond acting like clothing brands, these grocery stores also have their own clothing brands. Hernández tells me, “Happier grocery sells $120 jackets. Erewhon has been dropping, like, merch capsules.” Happier Grocer was created by a former Marc Jacobs designer and is owned by the same team that runs the W.S.A. building in FiDi and S.A.A. in Bushwick—two fashion hot spots—and the luxurious Cayman Heights hotel Palm Heights. Flamingo Estate, a popular lifestyle brand that sells a $80 jar of dried strawberries, has the tagline “Mother Nature is the last great luxury house.”"

...

"Culturally, as our grocery stores have trended sparer, so too have our bodies. For the past two years, publications across the world have published, repetitively and without satisfaction, about whether being ultra thin was “back.” According to CNN, as of 2024 1-in-8 American adults has taken Ozempic or another GLP-1. For Hernández these grocery stores represent the final evolution of consumerism: When you see groceries not as a necessity but as luxury good.  “It’s fucking dystopian as hell at a time where you have food inaccessibility, and people are having to DoorDash or eat Taco Bell because it’s cheaper than going to the grocery store. In Austin, there’s a store that’s opening soon with underground delivery because it’s cheaper and doesn’t have any overhead costs.” The brand (can we even call it a store?) is called Goods and advertises two-minute grocery delivery via “underground delivery” sent to a pickup lane near you. Hernández speculates, “Maybe we are going to start getting more groceries from underground tunnels, and then only if you can afford it, you’re gonna go have that luxury experience of going to an actual grocery store.” If that all sounds like a pipe dream, then it’s worth noting that when Erewhon debuts a new product, they often set up a selfie station with vegetables as the photo backdrop. Hernández, who grew up shopping at local markets in Honduras, turns somber: “We cannot unlearn convenience. We’re basically cosplaying being able to connect with what nurtures us.”"]]></description>
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<item rdf:about="https://psyche.co/ideas/how-luxury-brands-engineer-desire-with-behavioural-economics">
    <title>How luxury brands engineer desire with behavioural economics | Psyche Ideas</title>
    <dc:date>2025-10-03T16:32:15+00:00</dc:date>
    <link>https://psyche.co/ideas/how-luxury-brands-engineer-desire-with-behavioural-economics</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["From scarcity to market architecture, luxury fashion is manipulating our tastes. But a vintage countermovement has begun"]]></description>
<dc:subject>luxury economics manipulation vintage 2025 charlottewren architecture fashion capitalism behavior scarcity psychology consumerism consumption society louisvuitton christiandior fendi givenchy celine gucci sybmolism chanel zara h&amp;m versace escada plannedobsolescence authenticity individuality quality self-expression beauty aesthetics myth myths online marketing hype ads advertising exclusivity hermès tommyhilfiger danathomas china handmade dior</dc:subject>
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<item rdf:about="https://www.lux.camera/requiem-iphone-air/">
    <title>Requiem for the Rangefinder: An iPhone Air Review</title>
    <dc:date>2025-10-02T21:21:41+00:00</dc:date>
    <link>https://www.lux.camera/requiem-iphone-air/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Verdict

Since it doesn't have rangefinder, I won't call it the modern rangefinder. The iPhone Air is the spiritual successor to the Leica M6.

It isn't a camera for beginners, and you won't take it on a safari, but the Air's small size, discreet operation, and unmatched durability make it ideal for street photography, journalism, and candid portraits. You can buy phones with similar specs for half the price, but the premium pays for a beautiful piece of kit that is one-part tool, and one-part fashion accessory.

It's a camera that distills photography to its essence. It may have less, but that's what makes it fun. When you tap the capture button, you know that you, not the machine, took the photo."]]></description>
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<item rdf:about="https://mikeleepearl.substack.com/p/a-rich-person-with-awful-taste-is">
    <title>A rich person with awful taste is more of an 'average' consumer than you now</title>
    <dc:date>2025-09-09T00:34:04+00:00</dc:date>
    <link>https://mikeleepearl.substack.com/p/a-rich-person-with-awful-taste-is</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The charge of being consumerist piggies at the trough now only sticks to the rich. Good. The rest of us are free."

...

"Have you seen the viral clip of a way too excited woman bounding around some kind of pop culture reference escape room McMansion? I have watched it many times. It’s upsetting.

[embed: "(Re-posting the video because X embeds don’t work on Substack)"]

There are many things in this video to be annoyed by: adults living out their Sky Zone fantasies? The way the guy with the camera barks orders at the mystery woman (his sister, we’re informed at the end)? The jump scare room?

But what annoys me the most personally is that it’s meant to be consumed as an orgy of elder millennial childhood wish fulfillment. There’s a Friends peep hole! The house has a nightclub hidden inside an obsolete Dr. Pepper machine! And — epically — there’s a freakin’ Blockbuster Video store in there! Featuring the 1997 VHS version of the Star Wars Special Edition Trilogy VHS in those cool Darth Vader head boxes!

Naturally, this is not meant to be the normal, HGTV form of house renovation porn. This McMansion was built to be a viral video. It now is a viral video, and — one assumes — remains a very unfortunate, unpleasant house. The sun rises and sets, and most of this house just sits there, its curios and obstacles collecting dust. It will presumably soon be re-renovated into a more normal McMansion, and sold at a profit, minus the cost of producing the viral video that was staged there.

X user @poddtadre was one of many people who noticed how this house seems to reflect a trend. “Very bleak that this new generation of wealthy tech bro man children has me yearning for the era of evil wealthy industrialists who lived in beautiful homes and patronized the arts,” the user wrote, and received about 47,000 likes.

I’m informed that the actual viral video house belongs to (or at least was renovated by) a magician and YouTuber named Justin Flom, and since it is content rather than just being someone’s horrible house, it makes for a complicated example of an annoying rich moron blowing money on garbage. But the fact remains that our economy is propped up by annoying rich morons blowing their money on garbage.

And I mean well and truly propped up by the rich, to the extent that some version of what you see in this video is now what drives American life, because according to economic data released by Moody’s back in February (and first reported by The Wall Street Journal) half of all consumer spending now comes from the top 10 percent of earners.

It’s intuitive that those with disposable income would spend a higher proportion than everyone else, but that number still probably sounds wrong to you, and that’s because it’s not how things have ever worked in this country as far as anyone knows. This Moody’s data goes back to 1989, and 50 percent is the most spending the top tranche of consumers has ever accounted for. In about 1995, their spending made up 36 percent of the total.

[image: "Graph from Bloomberg, posted here for the purpose of art criticism. I find it ugly."]

What this all means is, well, exactly what it sounds like: imagine a symbolic cash register representing money spent today in America. Half the money in that till came from people in households making $250,000 or more. And yes these findings reflect a durable trend. A report last month from the Federal Reserve Bank of Boston found that “since 2022, real aggregate spending—overall spending adjusted for inflation—has been propelled by the highest-income consumers.” Lest you think consumer spending isn’t a good reflection of the wider economy, that Boston Fed report also notes that consumer spending makes up 70 percent of current GDP.

So if you want my advice, you should try to remember at all times that the mode average of all consumption dollars comes from someone well-off. This habit of mind adds some much needed coherence to American life lately. It makes one realize, for instance, why Big Lots went bankrupt last year, why dollar stores seem to be in free fall, why the average new car costs almost $50,000, and on, and on.

If you’d like a really vivid picture of what American consumerism looks like now, look no further than a recent New York Times opinion piece titled "Disney and the Decline of America’s Middle Class," written by a management consultant named Daniel Currell. In the piece, a school bus driver and her daughter, a special ed. classroom assistant, scrimp and save to go to Disney World, which they’re forced by economic circumstances to do on some of the most sweltering days of the year. They exhaust themselves trudging around from the park’s opening until closing time in order to get their money’s worth, but they spend most of their time navigating the park’s app, waiting in lines, and at one point stuck in a restaurant for three hours. They can’t swing the costly add-ons Disney offers that would have given them easy access to the attractions they were most excited about in the first place, so they miss at least one of them entirely. This punishing experience is clearly not what Disney intends, but it’s the one you get if you simply can’t spend the sort of fuck-you money the company can easily extract from millions of average — by which I mean rich — park attendees now.

The article then switches perspectives to show us what a more normal Disney World experience looks like: a tech executive’s visit with his 13-year-old daughter. They’re able to spend money on line-cutting add-ons and luxury meals. They hit every marquee attraction. After only seven hours, the daughter dubs it the “best day ever.” Len Testa, a Disney Parks expert interviewd for the piece says Disney parks today are “for the top 20 percent of American households — really, if I’m honest, maybe the top 10 percent or 5 percent.”

Again, it’s not new that those with disposable income dispose of it disproportionally. It’s just new — at least in America — that ostensibly average consumer experiences are being reimagined as luxuries. A day at a Disney park very much feels like something Americans are all entitled to enjoy as a sort of birthright.

We feel this way because we were propagandized to feel this way — both as workers and consumers. Currell digs up a Disneyland employee handbook from around the time the original park opened, and it contains this quote from Walt Disney: “We roll out the red carpet for the Jones family from Joliet just as we would (with a few embellishments) for the Eisenhowers from Palm Springs.”

But keep in mind that consumer propaganda is a cornerstone of our entire way of life. Sigmund Freud’s nephew Edward Bernays invented public relations as a profession for this exact reason, and his ideas were appropriated by big business and the post-FDR federal government — including the CIA — to monkey with the desires of the American people and align them with the desires of the elite in order to maintain the Cold War world order. I hope it’s obvious that I’m paraphrasing the Adam Curtis documentary The Century of Self here.

Here’s the most telling quote from The Century of Self. It comes from Stuart Ewan, historian of media and consumer culture:

    It’s not that the people are in charge, but the people’s desires are in charge. The people aren’t in charge. The people exercise no decision making power within this environment, so democracy is reduced from something which assumes an active citizenry, to the idea of the public as passive consumers driven primarily by instinctual or unconscious desires, and that if you can in fact trigger those needs and desires, then you can get what you want from them. 

People, broadly speaking, are extremely aware that consumer culture treats them like rats in a psychological maze, and this awareness took hold very early in the rise of what we today regard as our consumer dystopia. The journalist Vance Packard wrote a book called The Hidden Persuaders and it became a bestseller all the way back in 1957. This is where the popular idea of insidious subliminal messaging from corporations comes from. Do I even need to post the They Live scene? Ok, ok, I’ll post it:

[embed: https://www.youtube.com/watch?v=yjw_DuNkOUw ]

At any rate there has been, at least for my entire lifetime, an uneasy alliance inside seemingly everyone’s brain between guilt over the frivolity and laziness of modern life (Do I even need to post the Wall-E scene?) and the comfort of surrendering to a consumer culture that knows what you want before you do. There’s a famous example, also outlined in The Century of the Self, in which Betty Crocker releases an instant cake mix that initially fails as a consumer product because it triggers an unconscious desire in the average housewife to sacrifice some piece of herself every time she cooks. So the market researchers tell Betty Crocker that if they add a package instruction telling Mrs. America that she must add an egg — a symbol for motherhood — to each batch of cake, she will buy the product. The gimmick works, and the product is a sensation.

Snopes, by the way, rates this anecdote a hoax. It turns out adding egg powder to dry cake mix made the finished baked goods, well, too eggy, and reduced the shelf life of the powder. Apparently, requiring the addition of the real egg made for a better all-around product. I guess Betty Crocker’s success as a company wasn’t just a product of the mental weakness of America’s housewives.

But the point isn’t that the story is true. The point is that I assume you’ve heard it before, or something like it. We’ve all absorbed some notion that the average person and the average consumer are the same thing, and that the animal spirits in all of us drive the economy — that we’re all the happy little piggies at the trough, whether we like it or not. That may have never been true, but it appears to be less true than it has ever been.

Bloomberg’s Amanda Mull, reporting on the February Moody’s report, interviewed the fretful economist responsible for compiling the data, Mark Zandi. She summarizes Zandi’s comments this way:

<blockquote>Letting so many of the country’s economic resources accrue to so few people, Zandi says, risks a lot more than just the economy—it eats away at social cohesion in ways that have leaked into other areas of American life and politics. It breeds distrust and recrimination among individuals and groups of people, as well as toward the systems and institutions we’re supposed to trust to make society work in ways that are at least minimally fair. The end result is a combination of economic fragility and social disaffection that eventually even high earners might not be able to buy their way out of.</blockquote>

If you’re one of those high earners and you’re a rational person, this probably should be your takeaway. Mine, however, is much sunnier: we’re free.

I grew up around Herbert Marcuse-inflected, anti-consumerist leftism — the only brand of leftism I knew was available in end-of-history America. I used to enjoy Adbusters magazine. I have, in the past, been disgusted by Black Friday, and I’ve found its rebranding as “Buy Nothing Day” as an antidote to consumer excess intriguing, if not especially persuasive. On one hand, a lot of those people busting down the doors on Black Friday are just poor people trying to get a low price on a TV. But on the other hand, I still find it a little too nihilistic when leftists shrug off all consumer concerns with the phrase “there’s no ethical consumption under capitalism.”

However, I’ve just been handed a new way to shrug off these concerns: there’s not much consumption at all now except for what the rich are doing, and theirs are the unconscious desires meant to be satisfied by our dreary economic system. It’s their psychological turmoil that all this soulless slop exists to soothe. They’re the piggies at the trough now, not me."]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=osj6FhuVtwU">
    <title>Why Watch Accuracy Matters: What a True Bauhaus Watch Looks Like - YouTube</title>
    <dc:date>2025-07-30T22:56:33+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=osj6FhuVtwU</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["At its core, a watch is meant to tell time—everything else is secondary. While some watches serve as status symbols or fashion accessories, accuracy remains a key measure of quality and craftsmanship. But how does this relate to Bauhaus design?

In this video, we explore the true meaning of Bauhaus principles in watchmaking. Does a minimalist aesthetic alone make a watch Bauhaus, or should accuracy and functionality be the real focus? We take a deep dive into Nomos, Junghans, Braun, and even Grand Seiko to challenge common assumptions.

Let me know your thoughts in the comments! What watches annoy you the most? Do you own a true Bauhaus watch?"]]></description>
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<item rdf:about="https://www.hodinkee.com/articles/inside-the-design-afraid-minimalism">
    <title>Inside The Design: Why Are Watch Dials So Busy? - Hodinkee</title>
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    <link>https://www.hodinkee.com/articles/inside-the-design-afraid-minimalism</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Across the design world, minimalism equates to luxury. In the watch world, it's the opposite."]]></description>
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<item rdf:about="https://www.scottishwatches.co.uk/2023/11/20/scottish-watches-podcast-519-chatting-with-allen-farmelo-about-watches-bikes-audio-and-a-new-app-for-us-all/">
    <title>Scottish Watches Podcast #519 : Chatting With Allen Farmelo About Watches, Bikes, Audio and A New App For Us All - Scottish Watches</title>
    <dc:date>2025-07-25T08:52:09+00:00</dc:date>
    <link>https://www.scottishwatches.co.uk/2023/11/20/scottish-watches-podcast-519-chatting-with-allen-farmelo-about-watches-bikes-audio-and-a-new-app-for-us-all/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[also here:
https://open.spotify.com/episode/5Uy0ow9rjtbdSbqT0bM3pj
https://podcasts.apple.com/us/podcast/scottish-watches-podcast-519-chatting-with-allen/id1448576480?i=1000635376350

referenced:

Four Arguments for the Elimination of Television, by Jerry Mander (1978)
https://en.wikipedia.org/wiki/Four_Arguments_for_the_Elimination_of_Television ]]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=voSv87wg8oM">
    <title>#49 “I’m more about people than more about brands” – Allen Farmelo, Founder of Beyond the Dial - YouTube</title>
    <dc:date>2025-07-25T08:23:37+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=voSv87wg8oM</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Beyond the Dial started off as a podcast that gave Allen a creative outlet to deep dive and discuss watches in a way that working in the watch publication world never did. When COVID hit, his brand grew and he decided to establish his writing, taking a unique perspective by looking at watches through different academic disciplines. In this episode we discuss how Allen and his team keep their journalism authentic and the perception consumers have on watch manufacturing."

[See also:

"#78 “When I put it on I feel the message was received ” – Allen Farmelo, Founder of Beyond the Dial"
https://www.youtube.com/watch?v=dkQ2qZT26vI

"In part 2 of our interview with Allen, we discuss how Andy Warhol inspired him, the American watch scene, and how pocket watches and rail road watches became collectible items."]]]></description>
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<item rdf:about="https://www.beyondthedial.com/post/e63-rolex-vs-gen-x/">
    <title>Podcast Insights E23 - Rolex vs. Gen X - BEYOND THE DIAL</title>
    <dc:date>2025-07-24T23:14:55+00:00</dc:date>
    <link>https://www.beyondthedial.com/post/e63-rolex-vs-gen-x/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Can irony reconcile the cynical Gen X world view with a luxury hobby? Does the Swiss watch industry sell us “Vintage Nationalism” along with our watches? Did Jean-Claude Biver leverage anti-establishment tendencies with his anti-electronic rhetoric of the 1980s and 1990s?  Allen takes a stab at these topics and more in this essay episode."

[Also here:
https://podcasts.apple.com/us/podcast/insights-e23-rolex-vs-gen-x/id1472733566?i=1000518322057
https://open.spotify.com/episode/30aIknfcJE6JPuVshl0jru ]]]></description>
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</item>
<item rdf:about="https://www.beyondthedial.com/post/e32-the-aesthetic-revolution-will-be-beautiful/">
    <title>Podcast Insights E17 - The Aesthetic Revolution (Will Be Beautiful) - BEYOND THE DIAL</title>
    <dc:date>2025-07-24T23:13:12+00:00</dc:date>
    <link>https://www.beyondthedial.com/post/e32-the-aesthetic-revolution-will-be-beautiful/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What started as a cute aphorism has grown into a socio-economic theory. Allen works his way through the assumptions that make up this theory, drawing on personal memory, Marxist and Anarchist failures, Pan-Indigenous Environmentalism, and, of course, horological love. The goal? Nothing short of transforming Late Capitalism through our built-in human love of Beauty."

[Also here:
https://podcasts.apple.com/us/podcast/insights-e17-the-aesthetic-revolution-will-be-beautiful/id1472733566?i=1000474649630
https://open.spotify.com/episode/350bhPLlRJLgrDipWJzcVI ]]]></description>
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<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:d2ef62acc1fa/</dc:identifier>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Lauren Sanchez, in preparation for her Venice wedding, is carrying an Eiffel Tower purse that likely costs more than your rent, your mortgage, or even your monthly salary. Jeff Bezos' yacht Koru's purchase price could supply insulin for 856,666 diabetics or feed roughly 1,285,000 people for an entire year. The Bezos/Sanchez $10 million wedding is just the tip of the selfish iceberg that is the Amazon empire, known for grinding warehouse workers into the ground with surveillance practices, extreme time management, on-the-job injuries, and aggressive union busting. Join your Inequality Watchdog Taya Graham, as she breaks down the true cost of the wedding, Amazon's harsh labor practices, and how the Venetians are fighting back—they just might win too!"]]></description>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["The rich are severed from the rest of us — materially through gated communities and jets, and psychologically through the bubbles they exist within."

[direct link to video:
https://www.youtube.com/watch?v=EJ-OSJ7J64w ]]]></description>
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    <dc:date>2025-05-24T00:15:09+00:00</dc:date>
    <link>https://jackforster.substack.com/p/too-good-for-its-own-good-finishing</link>
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    <link>https://psyche.co/ideas/is-modern-asceticism-about-conformity-or-quiet-revolution</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["From detoxes to slow food, today’s asceticism is often about fitting in. But we can rediscover its transformative power"]]></description>
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<item rdf:about="https://www.gawkerarchives.com/5978737/why-do-assholes-love-watches">
    <title>Why Do Assholes Love Watches?</title>
    <dc:date>2025-04-30T04:38:21+00:00</dc:date>
    <link>https://www.gawkerarchives.com/5978737/why-do-assholes-love-watches</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["When you think of "things that self-aggrandizing assholes like," you may think of flashy jewelry, or exotic sports cars, or misquoting The Art of War. True enough. But there is no single signifier more characteristic of the upwardly mobile, ostentatious yet fundamentally insecure, braggart asshole male than an expensive fucking watch. See this? It's a Breitling, bro. Don't touch.

Why? What is it with watches? I mean you see a dude wearing flashy diamond jewelry that cost tens of thousands of dollars, or driving a freshly waxed Ferrari somewhere other than a race track, and you say to yourself, "Yeah, look at that rich flashy asshole." But that is so typical as to be forgettable; it renders the asshole in question an easily dismissed caricature.

I wear a watch. You wear a watch. Your dad wears a watch, and your granddad wears a watch, and your accountant and your garbage man and the grocery store cashier all wear watches. So do the nightclub bouncer and the nightclub owner and the stock trader and the hedge fund guy and the idle rich layabout. Which is to say, the mere act of wearing a watch is not an immediate giveaway of assholedom. This means that the rich pompous asshole, with his big fucking watch with the face as big as a dessert plate, can sidle on up next to you without raising your automatic "rich asshole" defense system. You might, distracted, unaware, even fall into the trap of uttering the words, "Nice watch." At that point, it's already too late.

"Oh this? Yeah. Better be. Sixteen grand, right here. Ha. This is just my walking-around watch, you know? A little Tourneau, a little something. It's nice, but I don't give a fuck if I lose it, you know? I'll go out drinking in this watch. The Patek Phillippes, I keep at home. I only break those out on special occasions. Just for little parties and shit like this, I got this one, I got the Movado, I got the B-vvv-lgari, and I got the Vacheron. That one, I bought at the auction. People don't know about Vacheron. You got guys out there, they think Rolex is the thing. They think Rollies are like the nicest watch there is. That's amateur hour. Me, I don't even own a Rolex. Rolex makes you look like an asshole. Every time I see a guy in a Rolex I walk up to him and say, 'You see this? This is a fucking Richard Mille. This right here is worth more than ten of your shitty Rolexes.' Then I laugh at him and walk away. This watch thing is really about taste."

The stealth factor of watches combined with the virtually limitless price of watches is, I theorize, what makes them so attractive to asshole. I know no way of changing this intractable dynamic. But we can, at least, put forth some simple truisms:

- You can get a perfectly serviceable watch for about fifty bucks. All watch prices in excess of fifty bucks are due to the vanity of the wearer.

- Assuming the wearer is not extremely large, the size of a watch face is inversely proportional to the dick size of the wearer.

- The intricate complexity of an expensive watch, which sends its price astoundingly high, will never be understood one bit by the wearer.

- The average buyer could not tell the difference between a moderately priced watch and an extravagantly expensive watch without a price tag and marketing materials to guide him. (Watches are like wine, in this way.)

- The woman you want to sleep with cannot tell a Patek Phillippe from a Timex from five paces away.

What kind of watch do you wear? "]]></description>
<dc:subject>watches hamiltonnolan 2013 assholes ostenation breitling jeweley flashiness assholedom patekphilippe bulgari bvlgari vacheronconstantin rolex richardmille luxury</dc:subject>
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<item rdf:about="https://www.ablogtowatch.com/according-to-ariel-unsustainability-will-be-the-new-chic-in-luxury-watches/">
    <title>According To Ariel: Unsustainability Will Be The New Chic In Luxury &amp; Watches | aBlogtoWatch</title>
    <dc:date>2025-03-24T19:40:17+00:00</dc:date>
    <link>https://www.ablogtowatch.com/according-to-ariel-unsustainability-will-be-the-new-chic-in-luxury-watches/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["How will a projection of unsustainability be part of watch brand marketing in the years to come? The obvious answer is already happening, and that is in how much brands charge for their watches. Prices used to better relate to how much a product costs to manufacture. More recently, and especially among the most elite watchmakers, prices relate to asking buyers how much they can afford to waste. By making objects harder to get and increasing the wait times for them, brands shift the value of a watch from its commodity value to the exclusivity value. This is a nuanced psychological manipulation game that asks a consumer to forget what they are buying and instead think about all the people who simply can’t have it. The value comes in the buyer being able to project status and wealth, as opposed to the inherent value of the object. I find this practice distasteful and don’t recommend that people spend hard-earned money on such watches when so many exceptional timepieces are available. That, however, requires someone to have worked hard for their money. If that isn’t the case, then paying for exclusivity to mask one’s insecurity about how easily their money came to them is a winning value proposition for enough buyers. In any event, buyers who want the experience of something hard-to-get and rare have no interest in sustainability and are attracted by the idea of spending more than something actually needs to cost. That type of waste is only going to become more attractive in the eyes of the mainstream.

People with private jets have already been long associated with extreme elitism. Now that form of travel is as revered as it was once demonized for the signals that being able to travel that way sends. The “jet-set lifestyle” is what we use to refer to any time people use social media as a platform to project how privileged they are. As wasteful and dirty as jet travel may be, few can deny that it will increasingly be associated with the privileged, which people aspire to be. Therefore, while dirty practices will remain dirty, they will also be an ultimate signal for status seekers — exactly the currency that the luxury industry trades in. Similarly, luxury watches will thus further emphasize the pleasure and pursuit of travel, and most of the time, planes as the way of getting places.

Someone hipper than myself will come up with a term for the allure of unsustainability in luxury brand and wristwatch marketing over the next several years. I simply proclaim that the era of sustainability has concluded in the watch and luxury space. Vestiges of this messaging will endure a bit longer, and some brands will have pledged long-term commitments to carbon reduction. Nevertheless, luxury and high-end timepiece makers will resume their embrace of waste and excess the way their consumers have seemingly always wanted it. No one with much extra money wants to be reminded about it, nor do they want to feel guilty about their spending. These emotions, above all else, will be the foundation of much luxury watch buying in the years to come."]]></description>
<dc:subject>luxury excess environment greenwashing 2025 arieladams watchmaking marketing inequality sustainability unsustainability waste privilege eattherich socialmedia politics elitism billionaires oligarchy</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=kPYsCBYL_BQ">
    <title>The Persistence of Time | The Hour Glass - YouTube</title>
    <dc:date>2025-03-18T03:02:00+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=kPYsCBYL_BQ</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Hour Glass presents The Persistence of Time, an evocative cinematic exploration of timekeeping’s historical evolution and its enduring impact on contemporary artisanal watchmaking. From the earliest milestones in measuring time to the groundbreaking innovations of horloger de la marine Abraham-Louis Breguet, this film traces the rise of independent watchmaking across the generations.
 
Join some of the watch industry’s leading voices—Alex Ghotbi, Aurel Bacs, David Rooney, Felix Baumgartner, Firmin Li, Jean Arnault, Kari Voutilainen, Maximilian Büsser, Michael Tay, Rémy Cools, Rexhep Rexhepi, Su Jia Xian, and Wei Koh—as they reflect on the forces shaping this timeless art form to uncover how time defines both craft and perception."]]></description>
<dc:subject>watches watchmaking thehourglass 2025 alexghotbi aurelbacs davidrooney felixbaumgartner firminli jeanarnault karivoutilainen maximilianbüsser maxbüsser michaeltay rémycools rexheprexhepi sujiaxian weikoh mb&amp;f akrivia rexhepi urwerk johnharrison abrahamlouis-breguet history guilloché design artisans style breguetsympathique navigation regulation mechanics mechanicalengineering engineering thomasearnshaw uk france switzerland technology marinechronometers escapements precision observatories chronometers timekeeping quartz georgedaniels invention craft handmade derekpratt coaxialmovement watchmovements independent fpjourne 1980s materials independentwatchmaking vincentcalabrese philippedufour svendandersen ahci danielroth press media exhicbitions marketing watchindustry luxury tha denisflageollet vianneyhalter watchmakers brands 1990s pocketwatches complications henrywinston 2000s goldpfeil 1979 patekphilippe rolex géraldgenta 1999 2000 1994 1991 artisanal singapore watchcollecting 1970s 2010s 202</dc:subject>
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<item rdf:about="https://www.latimes.com/lifestyle/image/story/2024-10-24/on-food-and-luxury">
    <title>The rise of Erewhon and how food became a luxury - Los Angeles Times</title>
    <dc:date>2024-12-03T01:00:44+00:00</dc:date>
    <link>https://www.latimes.com/lifestyle/image/story/2024-10-24/on-food-and-luxury</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["There is rampant spiritual sickness pervading the West, and what is called luxury, in every area of life, seems to soothe its symptoms. When it comes to food — shopping for food like our lives depend on it, but casually, in refined and enchanting micro-climates — the spirit seems to swell with optimism at the thrill we feel when we pay more for the false security of organic, non-GMO, seed oil-free, Nara Smith-approved groceries. My mother, widowed but loyal to the lifestyle market as if it would protect her from the alienation of child rearing, was onto something. This is where the elite go to abandon and redeem themselves, where the almost elite go to feel like what they may never be and claim a lifestyle just beyond their reach, for now. Who could blame them?"]]></description>
<dc:subject>harmonyholiday jessicadejesus food luxury erewhon 2024 supermarkets groceries</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:165f255b4188/</dc:identifier>
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<item rdf:about="https://www.youtube.com/watch?v=mSNuacj7iqY">
    <title>THE GIFT OF TIME - YouTube</title>
    <dc:date>2024-11-05T18:58:35+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=mSNuacj7iqY</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["“THE GIFT OF TIME,” a short film from Seiko, explores Japan’s deep connection with time, as seen through the eyes of its cultural icons. Once a moment passes, it can never be recaptured. That is why life’s greatest luxury is spending time in nature or surrounded by friends and family, sharing generously with your community or pursuing the work and art you love most. The film, shot in culturally significant locations throughout Japan, shares the essence of Japanese luxury—craftsmanship, timelessness, and harmony with nature—with the world, urging viewers to embrace the beauty of the present moment, the four seasons, and the passing years. 

＜special website＞
https://www.seiko.co.jp/thegiftoftime/ "

[via:

"How Seiko’s “Gift of Time” short documentary has made me appreciate my most prized watch even more"
https://timeandtidewatches.com/seiko-gift-of-time-short-documetary-film-video/ 

"This past weekend, Grand Seiko held its annual GS9 Club USA Experience event in New York City, where a vast range of Grand Seiko creations were on display, various insightful panels were held, and, of course, exceptional food (courtesy of panellist Ivan Orkin known for his world-renowned ramen) and drinks (courtesy of Suntory) were served. But, amongst the large event packed with devout Grand Seiko collectors and prestigious guests, the thing I really took away with me once the festivities ended was the premiere of Seiko’s new short documentary Gift of Time, directed by Paula Chowles.

In our horological hooliganism, I have seen the watch community poke fun at Grand Seiko’s romantic interpretations and expressions of time now and again. Regretfully, I may have been guilty of this myself in the past. The brand’s motto, The Nature of Time, and its consistent leverage of nature to inspire its dials can, at times, be the brunt of jests – in particular, the communication around them. With repetition, the Western world may generate scepticism, reducing a meticulous detailing of a bamboo forest to a romantic excuse or dollar-driven marketing effort to drum up interest in a new dial.

While I understand how the poetic communication of Grand Seiko’s muses can cause some to think it is simply a mere marketing tactic, I do not feel that strong, genuine intention and strong marketing are mutually exclusive. To understand how these seemingly opposing things run parallel, and are perhaps why Seiko and Grand Seiko have developed such a cult following, I highly recommend watching the 25-minute documentary that showcases various Japanese cultural icons sharing the importance of time within their lives and professions. The thoughts they share and express ultimately show that the romantic interpretation and thoughtful consideration of time we often see communicated by the Seiko Corporation is not derived from the brand nor born out of commercial motives. Rather, it is an ingrained way of life and mindset woven in each artist or individual through Japanese culture – which, as an American, I could not help but envy as I watched.

While I found many insights shared during the film very interesting, I would like to share one concept, integral within Japanese culture, that really stood out to me to give you a taste of what is explored in the film.

“Ma“: The space between things

Ma refers to the space between things, and artists utilise these spaces and gaps to create meaning, experiences, and more, For example, architect Kengo Kuma, who notably designed Grand Seiko Studio Studio Shizukuishi, introduces the concept of ma in the film as he explains his strategic implementation of gaps in a temple he designed in Minato, Japan: Zuishō-ji. In the film, you can see that each element within the space has ample breathing room between them.

“The spaces surrounding the pond and gravel were intentionally designed with a lot of breathing room,” Kengo Kuma explains. “To have such deliberate emptiness right in the midst of a city is incredibly rare… Ma is revered as a crucial element, valued both for its presence and its absence. It is central to Japanese culture.”

As a result of these gaps and spaces, Kuma believes Zuishō-ji exudes the most serenity of any temple he has designed. The emptiness allows the mind to be empty, clear, and present, in stark contrast to the bustling city surrounding it – packed with buildings and objects and people racing to get to the next destination. As a result, time, in a certain respect, slows in serene spaces like Zushō-Ji to best support mindfulness. This serenity is born out of Kuma’s mindfulness of space and his cadence and frequency for placing things within the space he created. There is a reason why clean and open spaces are more conducive to creativity and productivity, regardless of the type of task at hand – whether prayer or preparing documents in an office.

The film then transitions away from ma as it pertains to architecture, with Japanese singer MISIA conveying its prevalence in music and the power of silence (gaps) between notes.

“The human ear is fascinating. We can hear the flapping of an insect’s wings. Their wings can flap 1,000 times in a second, which means we can perceive a thousandth of a second. That’s how sensitive we are to ma,” MISIA explains. “As musicians, when we are in sync with one another’s ma, it feels wondrous. Slow music has a long ma, and fast music has a short ma. In these pauses or spaces, a musician expresses their feelings, thoughts, and groove, all of which play a significant role in their style. Songs with beautifully designed ma are masterpieces.”

In the same manner the cadence of objects introduced into an architectural design can change how someone engages with a physical space, the cadence of notes and the gaps between them bear great effect on how we interpret music and sound. Short, abrupt sounds are associated with actions, while longer, drawn-out sounds are associated with emotion and passion. The silences between them create emphasis, and when introduced at the right time it makes a given piece of music that much more powerful. The devilish chime of Bulgari’s latest tritone minute repeaters is a wonderful example of such musicality in practice within watchmaking. Swiss conductor Lorenzo Viotti, through introducing the tritone, made a traditionally innocent sound more tense – creating a new experience for a wearer to engage with a chiming watch.

Closer to home, as Grand Seiko nerds will likely already know, the constant-force tourbillon mechanism within the Grand Seiko ‘Kodo’ produces a sound akin to a musical 16th note – creating a more vivid sense of a heartbeat (which Kodo translates to in English).

To tie it all back further to watchmaking and watch design, my introduction to the concept of ma , through both Kuma and MISIA words in the film, gave me a better understanding of why I am so drawn to my Credor Eichi II – the most coveted watch in my collection. The Eichi II is, aesthetically, the embodiment of simplicity, and I have always been very appreciative of its calm and serene quality. The vast majority of the dial is a crisp white porcelain, with minimal interruptions to its deep, largely empty surface.

As someone who likes to precisely set his watch in synchronisation with a reference clock, like my iPhone, the Eichi II, limited to just hour indices with no index for each minute/second, means I have to set the watch on a 5th minute or the hour to synchronise. You can picture me pulling out the crown upon the second hand at zero, lining the minutes hand perfectly with the appropriate hour index, and then having to wait minutes before I can push the crown back in.

It is a very small price to pay for such a stunning dial, but my newfound understanding of ma has left me looking at these gaps with a new sense of appreciation. The ritual of setting the time perfectly, in effect, slows me down. Calms me. And, with Spring Drive powering the watch, the gaps between the index best showcase the serene glide of the second’s hand – allowing the passage of time to be centre stage rather than having a very clear-cut discernable minute. As the hand hits each index, it is as if the hand is calmly and precisely arriving at its destination. Not too fast, nor too slow. Moving at just the right thoughtful pace.

The empty space, or, rather, the vast calming porcelain backdrop, also allows the full shadow of the passing central seconds hand, the crescent-shaped counterweight of the hand in particular, to clearly be seen on the dial – a visual quality I appreciate more and more with each wear.

It is a bit ironic that a watch, with no outer minutes track and minimal indexes, is so precise – in my experience, gaining at most a second any given month. In the past, I simply associated the serenity of the Eichi II with its plain white dial and Spring Drive movement. In learning about ma, however, I now have an appreciation for the gaps between the indices that once were seen as a neusance born as a casualty of design rather than a source of appreciation and heightened serenity.

I hope this has been far more indicative of the benefit of learning about Japanese culture regarding better understanding Seiko’s design and philosophy rather than a sermon delivered at a cyph. If, to you, it seemed more so the latter, then I encourage you to watch Gift of Time with even greater enthusiasm. I promise it is well worth it."]]]></description>
<dc:subject>seiko time film watches luxury craftsmanship timelessness harmony nature presence seasons japan paulachowles ma design grandseiko grandseikokodo credor kodo zachblass enoura light cycles cyclical life living bodies misia precision ginza odawara memory hiroshisugimoto kyoto shunichitokura mountfuji trains travel blossoms shinjihattori kintarohattori seikosha tokyo measurement clocks days hours moments kengokuma nara buddhism buddha human music generations humanness present ikigai being environment temporary ephemeral humans serenity emptiness inbetween nothingness mu wood materials tea culture senses multisensory change 1923 existence universe naturalhistory industrialrevolution history watchmaking altruism reliability credibility flow ephemerality inbetweenness betweenness between</dc:subject>
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<item rdf:about="https://aeon.co/essays/luxury-fashion-in-the-artisanal-tradition-is-a-good-thing">
    <title>Luxury fashion in the artisanal tradition is a good thing | Aeon Essays</title>
    <dc:date>2024-09-28T03:28:59+00:00</dc:date>
    <link>https://aeon.co/essays/luxury-fashion-in-the-artisanal-tradition-is-a-good-thing</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The waste and exploitation of fast fashion shouldn’t blind us to the joys of making beautiful clothing with care"]]></description>
<dc:subject>luxury making art care handmade fashion design 2024 clothing srg glvo</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:1bcb427aadfb/</dc:identifier>
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</item>
<item rdf:about="https://www.fastcompany.com/90457589/science-proves-it-men-who-own-mercedes-and-bmws-are-more-likely-to-be-assholes">
    <title>Study: Men who own Mercedes and BMWs are more likely to be assholes - Fast Company</title>
    <dc:date>2024-09-04T20:20:50+00:00</dc:date>
    <link>https://www.fastcompany.com/90457589/science-proves-it-men-who-own-mercedes-and-bmws-are-more-likely-to-be-assholes</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This is why the male drivers of Mercedes, Audis, and BMWs are always cutting you off in traffic: They’re scientifically proven jerks."

...

"Yes, the drivers of those luxury cars that cut you off really do suck. A new study in the Journal of International Psychology finds that many owners of high-status luxury cars are actually assholes. “The answers were unambiguous: self-centered men who are argumentative, stubborn, disagreeable and unempathetic are much more likely to own a high-status car such as an Audi, BMW or Mercedes,” say the researchers in a press release.

The study surveyed 1,892 Finnish car owners and also analyzed their personality types, an idea inspired by lead researcher Jan-Erik Lönnqvist’s observation that the drivers “most likely to run a red light, not give way to pedestrians and generally drive recklessly and too fast were often the ones driving fast German cars” such as BMWs, Mercedes, and Audis. He knew that previous studies found luxury car drivers more likely to ignore traffic rules and drive “unethically,” but it was unclear why: Was wealth corrupting their behavior?

Lönnqvist, a professor of social psychology at the University of Helsinki, instead asked what types of people own these cars. Sure enough, he found that less cooperative, less kind, and less considerate men often drive high-status cars. “The same traits also explain why such people break traffic regulations more frequently than others,” says Lönnqvist.

He found no connection between female self-centeredness and luxury cars.

Before you start flashing the bird at passing luxury vehicles, know that not all classy car owners suck. In fact, some are quite dependable: The study also found that conscientious men and women—people who are organized, ambitious, respectable, and often high-performing—are also frequent owners of high-status cars, which Lönnqvist says likely reflects an appreciation for quality and an urge to present a self-image of classy reliability. You can probably tell the difference by whether or not they’re speeding, weaving through traffic, and cutting off pedestrians."


[study here:

https://onlinelibrary.wiley.com/doi/abs/10.1002/ijop.12642

"Not only assholes drive Mercedes. Besides disagreeable men, also conscientious people drive high-status cars

Abstract
In a representative sample of Finnish car owners (N = 1892) we connected the Five-Factor Model personality dimensions to driving a high-status car. Regardless of whether income was included in the logistic model, disagreeable men and conscientious people in general were particularly likely to drive high-status cars. The results regarding agreeableness are consistent with prior work that has argued for the role of narcissism in status consumption. Regarding conscientiousness, the results can be interpreted from the perspective of self-congruity theory, according to which consumers purchase brands that best reflect their actual or ideal personalities. An important implication is that the association between driving a high-status car and unethical driving behaviour may not, as is commonly argued, be due to the corruptive effects of wealth. Rather, certain personality traits, such as low agreeableness, may be associated with both unethical driving behaviour and with driving a high-status car."]]]></description>
<dc:subject>cars luxury wealth 2024 behavior mercedes bmw 2020 arainnecohen consumption narcissism corruption personality agreeableness ethics driving concscientiousness</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://jackforster.substack.com/p/blasts-from-the-past-scent">
    <title>Blasts From The Past: Scent - by Jack Forster</title>
    <dc:date>2024-05-26T08:01:57+00:00</dc:date>
    <link>https://jackforster.substack.com/p/blasts-from-the-past-scent</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In the interests of resurfacing things I have written that are not easy to find, I have gone back to a Blogspot site I started in 2009. At a certain age you hope your better stuff won’t vanish. Here is the first post from a blog (it was a real blog) that I started, called Digressions, based on a comment from Plato that someone made to Socrates – that his digressions were the most interesting thing about him. Me in 2009.

----

The idea of having a blog never particularly interested me before but I've been feeling more and more as if there are things I'd like to have on the 'net that don't necessarily fit well in some of the other venues I habitually use. Wristwatch discussion forums, for instance, are useful professionally and interesting personally, but they're hardly a good place for discussing (say) the neurophysiology of smell (or, in many cases, for being candid about watches in particular and the luxury goods world in general, for that matter.)

Which brings me to the subject of my first blog post, a wonderful book by Luca Turin called The Secret of Scent. It's been out a while -since 2006 -and it's interesting both as a sort of introduction to the fragrance industry (and it is an industry) and as a scientific detective story. The author's spent a good deal of his professional life researching the mechanisms by which we smell, and while he's profoundly fascinated by perfumes, their history, and their design, the book is equally an attempt to present a novel theory of how smell actually works. When I taught introductory neurology at the Swedish Institute we always had to gloss over a lot of the interesting details of how the special senses work -for one thing, stuff like conformational changes in photoreceptor pigments are not of immediate urgent importance to massage students, and for another the material came up at the end of the term, when I would have been hard pressed to get students to come to a lecture on how to use Swedish massage to cure cancer. So I'd parrot the conventional wisdom on olfaction: that odorant molecules bind to a repertoire of receptor molecules on the olfactory nerve endings, and that the almost infinite variety of scent sensations are achieved through the cognitive blending of a combination of receptor types.

Like most explanations of neurological events, there's an air of hopeful hand-waving about all this, and Turin uses the lush world of perfume chemistry to introduce an alternative theory, which is that what we're really detecting is the vibrational mode of odorant molecules. As a lapsed alternative medicine practitioner I'm predisposed to find anything that invokes molecular vibrations suspect, but as it turns out, the concept is based on well accepted chemical science -the vibrational mode of a molecule is more properly known as its Raman spectrum (after the Nobel Prize winning scientist, Chandrasekhara V. Raman, who discovered molecular spectra.) And there are databases of thousands of molecular spectra which have been developed since Raman became interested in the problem in the 1920s. While there are many open questions with the vibrational model, the notion that the nose functions as a spectroscope is a fascinating one. One olfaction researcher who pioneered the theory (Malcolm Dyson) wrote:

"Let us commence the inquiry with a simple case -selecting some group of substances with an indisputably characteristic odor which is unlike that of the vast majority. . . I have selected the mercaptans (-SH) as the most suitable; once their powerful and clinging odor has been observed it forms a most vivid impression and most chemists would recognize it again. . . Is there any corresponding characteristic feature in their Raman spectra? The answer is that there is indubitably a unique feature in the Raman spectrum of all alkyl mercaptans, a line with . . . frequency 2567-2580. No other compound has such a line."

Turin also writes very beautifully about the challenge of understanding science:

"In almost every science textbook, there is one point, usually of paragraph length, where the style of the author matches exactly one's style of understanding, and which we then grasp properly and permanently. The trick is then to read hundreds of books, so that the paragraphs gradually come to cover one's field of interest, like fliers strewn on a football pitch. This, over a period of about ten years, is what I tried to do with undergraduate solid state physics."

And for someone like me, who lies awake nights wondering if writing about luxury products for a living is really an intellectually respectable thing to do, there are his wonderful insider's observations on the frustrating mediocrity that he observes in his own industry:

"Ten years ago, a fine fragrance used to cost 200-300 euros per kilo. These days, 100 is considered expensive. Bear in mind that only 3 per cent or so of the price in the shop is the smell. The rest is packaging, advertising, and margins. The cheapness of the formula is the main reason why most 'fine' perfumes are total crap. Other reasons include slavish imitation, crass vulgarity, profound ignorance, fear of getting fired, and general lack of inventiveness and courage."]]></description>
<dc:subject>jackforster 2009 2024 fragrances perfume scent smell smells luxury lucaturin science watches physiology 2006 fragrance economics olfaction chandrasekhararaman ramanspectrum malcolmdyson</dc:subject>
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<item rdf:about="https://www.theguardian.com/media/article/2024/may/20/counterfeit-cool-high-end-brands-urged-embrace-dupe">
    <title>Counterfeit goes cool: high-end brands urged to embrace rise of #dupe | Social media | The Guardian</title>
    <dc:date>2024-05-22T04:14:43+00:00</dc:date>
    <link>https://www.theguardian.com/media/article/2024/may/20/counterfeit-cool-high-end-brands-urged-embrace-dupe</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Gen Z are flaunting their knockoffs and imitations – so experts say companies should play along"

...

"High-end brands should “lean in” and embrace the #dupe subculture that feeds off recommending duplicates or cheaper alternatives to luxury products, social media experts have advised.

Dupes, knockoffs and brand imitators are not new: the first wave of beauty YouTubers were highlighting cheaper products as far back as 2010. But in the past, buying imitation goods was mostly done with the aim of passing the item off as the real thing.

The difference now is that buying #dupe is no longer the same as duping or being duped. With the rapid rise of shareable short-form video platforms, counterfeit has gone cool, with generation Z openly finding and flaunting their dupes.

“The rise of dupe culture speaks to a generational shift in consumption of goods and media,” said Jennifer Baker, the growth marketing leader at Grin, a creator management platform.

“Previous generations may have shopped for knockoffs on the sly, but gen Z has not only normalised buying knockoffs or generic products but has grown the #dupe movement into one of the most searched terms on social media.”

The change is so profound that research shows that even when gen Z or millennials can afford to buy a genuine designer item, many still opt for a dupe instead: nearly one-third of US adults said they intentionally bought a dupe of a premium or luxury product, with at least 11% of UK consumers buying one dupe product at least once every few months.

Half say they buy dupes for the savings, while 17% say even if they could afford the genuine article, dupes are a great alternative.

Insiders say dupe culture looks likely to become a permanent part of young shoppers’ habits, with “dupe discourse” permeating every online medium, from YouTube and Instagram to digital magazine listicles and blogs.

Most consistently tagged are items appealing to younger women – the internet’s heaviest users – including clothing brands Lululemon leggings, Skims shapewear, Bottega Veneta, Ugg, Charlotte Tilbury foundation, Adidas Sambas, Dior, Olaplex and Dyson.

So popular is the trend that TikTok videos with the #dupe hashtag have racked up nearly 6bn views to date. Playful variations of the phrase, such as #doop or #doupe, account for hundreds of millions more: type “I found the perfect dupe” into TikTok and watch the hundreds of thousands of videos pop up.

What constitutes a dupe varies from genuine counterfeits to advice on how to find cheaper versions of high-end products. In some cases, dupes are openly produced by retailers looking to undercut rivals – discount supermarket chains Aldi and Lidl are well known for their imitations of private-label products.

Stevie Johnson, the managing director of influencer marketing agency Disrupt, warned of a problem when bigger brands start duping smaller, independent ones. “But as long as the legal implications are adhered to, I don’t see too many dupe downsides,” he said.

Dupes are sometimes created by third-party manufacturers and sold on online platforms such as Amazon. These products can be openly marketed as dupes – but in other cases, influencers find them and highlight them on their platforms as being the “perfect dupe”.

Influencers fall into different camps too: from those who work for brands and creators in a paid capacity – who must use the hashtag #ad in a prominent position – and those for whom recommending dupes is an unpaid part of their online identity.

For gen Z, say experts, dupe discourse is less about curating authentic designer goods and more about consuming authentic social content to achieve the same look for less.

But since dupe products are often created by unknown brands, creator recommendations are more important than ever to determine the difference between an affordable substitute and a cheap gimmick.

This is why, said a consumer communications lead at TikTok, a good dupe recommendation can make a TikToker an overnight sensation.

“If a creator or influencer finds a cheaper product that everyone else wants to buy, they can become stratospheric overnight,” they said.

But wherever the dupe comes from, experts say companies should see it as an opportunity to strengthen their brand and freshen up their cultural relevance.

“Brands don’t need to worry about their reputation being damaged because it’s all so much in the open,” said Sophie Hardie, the client director at influencer marketing firm the Goat Agency.

“Instead of fighting dupes, high-end brands should use the dupe to light-heartedly engage with popular culture. They should engage with it directly – and authentically – to bring new people in and show a confidence in the power of their brand,” she added.

Johnson agreed, advising bigger brands to become more playful. “Brands are going to have to start playing with this a little bit more,” he said. “If they do, they can attract new customers that might not have initially come to them without the attention raised by the dupe.”

Ellyn Briggs, a brands analyst for the US tech research group Morning Consult, carried out research that found getting duped even had its benefits for the “dupee”, with approximately two-thirds of US adults saying they associate positive words such as “fashionable”, “trendy” and “elite” with often-duped brands.

“This means that the widely known presence of a dupe is effectively a consumer stamp of approval that companies should feel empowered to lean into – especially considering a wide majority of US adults view duping as a minor problem, if one at all,” said Briggs.

Last year, the sports clothing company Lululemon did just this. The luxury, $50bn company struck a marketing blinder by offering fans in Los Angeles who had bought a Lululemon dupe of its popular $98 Align tights the chance to exchange it in-store for the real thing.

Its “dupe swap” came after a post by the TikTok user Ariana Vitale about Lululemon dupes that got more than 955,000 views – leading to the generic hashtag #lululemondupes getting more than 150m hits.

“It felt like a very fun way to step into a cultural conversation,” said the Lululemon chief brand officer, Nikki Neuburger. “Part of why we had total confidence doing that is because we really do know our products are the best; and if you try them, we felt folks would have that sensory ‘Aha’ moment.”

The gamble worked: according to Lululemon, 50% of the more than 1,000 people who came to the swap were new customers – and half were under 30. The response far exceeded Neuburger’s expectations: her team is now considering expanding the swap idea to more events in other markets.

Olaplex is another luxury brand that has leaned fully into dupe discourse, generating millions of views and online conversations in just a few weeks.

Olaplex rolled out its newest haircare product last September – and, at the same time, sponsored TikTok influencers to hail a Olaplex dupe under the name Oladupé.

When the influencers’ link was clicked, however, people were taken to the official Olaplex page and told there was no dupe because nothing can be as good as the real deal."

[via:
https://www.watchcrunch.com/Porthole/posts/yet-another-homage-post-420519 ]]]></description>
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    <title>With Beyonce &quot;Renaissance,&quot; is Black American music now an out-of-reach luxury? - Los Angeles Times</title>
    <dc:date>2024-03-21T08:07:46+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><dc:subject>harmonyholiday 2023 music arethafranklin tinaturner samcooke raycharles tupacshakur biggiesmalls ninasimone amrtibaraka aminabaraka laurynhill pharoahsanders josephinebaker billieholiday beyoncé renaissance revolution luxury sunra roberthjohnson kendricklamar marvingaye dukeellington ellafitzgerald blues</dc:subject>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Every manufacturer wants to sell you the luxury version of their tool watch. Gold submariner. Canopus gold Speedy. Pave Royal Oak. But there is one watch the resists the pressure to become fully luxury. It's the humble field watch. Here's why."]]></description>
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<item rdf:about="https://jackforster.substack.com/p/some-thoughts-on-gatekeeping-in-the">
    <title>Some Thoughts On Gatekeeping In The Watch World</title>
    <dc:date>2024-03-02T06:58:51+00:00</dc:date>
    <link>https://jackforster.substack.com/p/some-thoughts-on-gatekeeping-in-the</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The one place I do think it is valuable to take a broader view, however, is if you choose to write about watches professionally. This matter is complicated by the fact that the category of professional watch writer – professional enthusiast watch writer – seems to be a relatively new phenomenon. There were in the pre-internet post-Quartz Crisis days some consumer publications devoted to watch and clock collecting but if you pick up a copy of the NAWCC Bulletin, you are unlikely to mistake it for a copy of Revolution. For much of the history of watchmaking, watch writing consisted largely of writing by professionals for professionals and to the extent that horological writing existed as something you did professionally, it was usually as a subcategory of the larger jewelry industry, or something you did for trade publications or fellow technicians.

Today however, and for many years prior, professional watch writers writing for consumers have more often than not, been enthusiasts first and professional writers second. This is not to say that enthusiast watch writers do not write to a professional standard but simply that, as with writing about cars or wine (I imagine) one comes into the business with certain views already more or less firmly in place. This is partly because if you going to write about watches, you are more or less dead in the water unless you are actually interested in watches on some level.

For our purposes, though, it has also generally meant that, rather than see it as our job to have a broader view of watches and watchmaking, we have often seen it as our job to promote our own view of what watches and watchmaking should be. This is not only inevitable but probably to some extent, even desirable; we are after all interested in a reviewer’s opinion at least as much as we are in simple facts. But a watch writer will I think find themselves handicapped at least partly, if they don’t have a somewhat broader grasp of the history of watchmaking, as well as all the worlds to which watches are related, which includes everything from the history of design, to the basics of classical mechanics, to the history and techniques of the decorative arts (and much more).

Part of the reason for recognizing the degree to which all of these apparently unrelated fields converge on the subject of watches, is simply that for both the professional and the serious amateur enthusiast (and again there is so much overlap, and there has been for so long, that it is impossible to tell where one leaves off and the other begins) is that to be uninformed, is simply to put yourself at the mercy of the marketing departments; you hear a claim, have no reason to doubt it and you reproduce the claim without qualification.

It also follows from that, that a wider perspective puts you in the position of having a much better chance of offering real value to whomever is consuming the content you are producing. I think it’s hard to do better than to have someone who finishes a piece of horological writing to say two things to themselves: “Well, that was entertaining,” and “Wow, I didn’t know that.”

This goes as much for watches as design and style objects as it does for technical watchmaking; it cuts both ways and if you don’t know something about the history of design, at least over the last century or so, you are in a disadvantaged position to offer an interesting perspective on the design side of things as well. Watches don’t exist in a vacuum and from the geometrically disciplined but exuberant watches of the Deco period, to therelatively austere and utilitarian designs of the 1950s, to the Pop and Op-art influenced designs of the 60s and 70s, to the unbridled and seemingly exaggerated designs of the pre-Financial Crisis era, they are designed by their designers in a particular context.

I will say, though, and I know this might be controversial to some people, that I think if you are going to write about watches you should at least have a grasp of the technical fundamentals. Watches, as a friend of mine and occasional collaborator wrote once, many years ago, are machines. I don’t say that everyone ought to know what an all-or-nothing piece is in a minute repeater but I think it is a professional responsibility for a watch writer to understand the basics. As John Gardner, the author and famous writing teacher once observed, a writer should at least be able to spell and by the same token, a watch writer should at least be able to understand technical watchmaking well enough to understand how it affects other aspects of a watch including its design.

That said, one of the most basic problems with gatekeeping, is that it fundamentally oversimplifies a wonderfully rich and complex subject. Here the old saying that if the only tool you have is a hammer, everything looks like a nail, applies. Having a particular interest is one thing, but the (admittedly natural) prejudice that one’s special interest is the only legitimate interest means missing out on a lot. A watch might be mostly an exercise in technical horology, or mostly an exercise in design, or mostly an exercise in the expression of decorative crafts but taken as whole, watches touch so many worlds that it would be exhausting to list them all and that complexity, which we oversimplify to our loss, is a feature, not a bug."]]></description>
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    <title>It's 2024. Is This The Year Everyone Gets Tired Of Watches?</title>
    <dc:date>2024-02-03T03:25:26+00:00</dc:date>
    <link>https://jackforster.substack.com/p/its-2024-is-this-the-year-everyone</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[""How did you go bankrupt?" "Two ways. Gradually, then suddenly.” Ernest Hemingway, "The Sun Also Rises"

...

Let me say at the outset that the last decade has been a remarkable one for watches. Just in general, the level of interest that we’ve all seen in watches and watchmaking seems to have grown exponentially – along with prices, unfortunately, but that’s the wicked way of the world.

For anyone reading who’s heard me say this before, I apologize in advance but it’s still true: When I first got interested in watches, there was no Internet and the watch magazines, such as they were, were on the bottom back of the newsstand magazine racks, along with the model railroading and doll collecting magazines (both noble avocations, I ought to add, but I think it’s safe to say that watch collecting’s become a fixture of popular culture in a way that collecting, say, bisque porcelain dolls has not). And now look how far we have come – it is scarcely possible to see a famous sports figure, movie star, or indeed, murderous despot without also seeing an expensive watch on their wrist.

At the same time, it’s hard to avoid feeling that there is something like collective fatigue setting in. Part of this has to do of course with the fact that there has been so much hype around luxury watches in the last few years – to such an extent that both the hype watches, and calling them hype watches, have both become clichés. A few interesting things have happened in the last couple of years, though.

The first is that the long-anticipated correction in prices for pre-owned luxury watches has finally hit, with many of the most popular models noticeably lower than their peak in mid-2022.

The second is that prices for new watches have continued to go up, and up, and up. It is not true that you can no longer buy an interesting watch if you are not a millionaire but it is more true than ever that if what you want is to experience for yourself, the great Swiss or great German or even the great Japanese traditions of watchmaking, you must gird yourself, especially if you don’t buy watches frequently enough to stay abreast of price increases, for a little bit of sticker shock (or a lot, depending on the brand and the watch).

Thirdly, there is the fact that with increased demand, we have also seen – partly thanks to COVID – a decrease in availability, and the waiting list has become more talked about than a lot of the actual watches that people are waiting for. There are all sorts of very good reasons for the shortage in supplies, but the fact remains that spending years on a waiting list is probably not a viable position in which to keep your customers indefinitely – at some point, it simply becomes too tedious, too boring, and above all too depressing, to endure either waiting years for the privilege of buying a watch, or being asked to buy watches you don’t want to establish credentials with an AD. In fact, the whole idea of having to buy something you don’t want in order to get something you do, doesn’t seem like an especially sustainable strategy either. Is it unrealistic to think that a watch should be sold on its own merits, and not on the basis of undergoing some sort of ritual hazing to show your worth? Showing preference to valued repeat customers is one thing, institutionalizing enforced ownership of undesired watches in order to merit access to desired watches is another.

Finally, I think that increasingly, watch brands struggle to make anyone understand why anyone would want to buy a luxury watch at all. In a rational – or less irrational – world, watches would be bought at a price that has at least some relationship to actual quality in construction and content in terms of watchmaking. The last few years have not been a distinguished one for innovation in horology, holding the line in terms of movement quality in construction and finish, or even inventiveness in design. Even in independent watchmaking the preference seems to overwhelmingly be for round, sub-40mm, hand-wound watches which, for all that they may in many cases at least have gobs more real watchmaking content than anything from an established brand, are still basically from a playbook which has been around since the 1920s (in one form or another).

It is hard to avoid feeling as if a lot of the big names in fine watchmaking are at this point, not terribly interested in their own watches (or in fact in anyone else’s). There is still a lot of beautiful stuff out there, of course, and I don’t want to paint an entirely dark picture, because there are still lots and lots of people in the watch industry who do love watches.

But the absence of excitement is palpable – for all that it had its faults, at least Baselworld was exciting, and while nobody misses being gouged at restaurants and hotels once a year as the price of a week and a half of exhilaration, at least we all went home with something to talk about. (This is of course, a singularly joyless time in general, but that is another story, and one playing out in the headlines every day). If prices continue to go up, availability continues to be meager, and brands continue to think of their customers as possessed of both unlimited funds and limitless patience, I can see the industry entering a moribund phase in which it will have to work hard to regain the sense of interest, excitement, and pleasure in ownership which ought to characterize fine watchmaking."]]></description>
<dc:subject>jackforster 2024 watches watchenthusiasm luxury prices waitlists</dc:subject>
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<item rdf:about="https://www.theatlantic.com/podcasts/how-to-build-a-happy-life/">
    <title>How to Keep Time - The Atlantic [bookmarking for Season 5, &quot;How to Keep Time&quot; - this podcast covered other topics before that.]</title>
    <dc:date>2024-01-23T05:11:04+00:00</dc:date>
    <link>https://www.theatlantic.com/podcasts/how-to-build-a-happy-life/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[Direct link to Season 5:
https://www.theatlantic.com/podcasts/how-to-build-a-happy-life/?season=5 ]

"A series exploring our complex relationship with the clock"

...

"About How to Keep Time

On this season of How to Keep Time, co-hosts Becca Rashid and Ian Bogost explore our relationship with time and how to reclaim it. Why is it so important to be productive? Why can it feel like there’s never enough time in a day? Why are so many of us conditioned to believe that being more productive makes us better people?

Produced by Becca Rashid. Co-hosted by Becca Rashid and Ian Bogost. Editing by Jocelyn Frank. Fact-check by Ena Alvarado. Engineering by Rob Smerciak. The executive producer of Audio is Claudine Ebeid; the managing editor of Audio is Andrea Valdez."


[Transcripts:

Episode 1
"How to Keep Time: Try Wasting It
How to Waste Time: Wasting time could be the best way to use it.
In a culture obsessed with productivity, what would it mean to commit to letting it go?"
https://www.theatlantic.com/podcasts/archive/2023/12/how-to-waste-time/676187/

"Co-hosts Becca Rashid and Ian Bogost explore our relationship with time and how to reclaim it. Why is it so important to be productive? Why can it feel like there’s never enough time in a day? Why are so many of us conditioned to believe that being more productive makes us better people? [includes interview with Oliver Burkeman]"

Episode 2
"How to Keep Time: Look Busy
If time is a luxury, why don’t we flaunt it?"
https://www.theatlantic.com/podcasts/archive/2023/12/how-to-look-busy/676195/

"Many of us complain about being too busy—and about not having enough time to do the things we really want to do. But has busyness become an excuse for our inability to focus on what matters?

According to Neeru Paharia, a marketing professor at Arizona State University, time is a sort of luxury good—the more of it you have, the more valuable you are. But her research also revealed that, for many Americans, having less time and being busy can be a status symbol for others to notice. And when it comes to the signals we create for ourselves, sociologist Melissa Mazmanian reveals a few myths that may be keeping us from living the lives we want with the meaningful connections we crave."

Episode 3
"How to Leave Work Time at Work: Time to Break Up With Your 9-to-5
Sometimes workplace culture requires you to leave the rest of your life at the door. What if there are better ways to structure time?"
https://www.theatlantic.com/podcasts/archive/2023/12/how-to-leave-work-time-at-work/676196/

"Before laptops allowed us to take the office home and smartphones could light up with notifications at any hour, work time and “life” time had clearer boundaries. Today, work is not done exclusively in the workplace, and that makes it harder to leave work at work.

Co-hosts Becca Rashid and Ian Bogost examine the habits that shrink our available time, and Ignacio Sánchez Prado, a professor of Latin American Studies at Washington University in St. Louis, offers his reflections on American culture and shares suggestions for how to use the time we do have, for life."

Episode 4
"How to Rest. What Is Rest, Anyway?
There’s a difference between leisure and laziness."
https://www.theatlantic.com/podcasts/archive/2024/01/how-to-rest/676197/

"Between making time for work, family, friends, exercise, chores, shopping—the list goes on and on—it can feel like a huge accomplishment to just take a few minutes to read a book or watch TV before bed. All that busyness can lead to poor sleep quality when we finally do get to put our head down.

How does our relationship with rest affect our ability to gain real benefits from it? And how can we use our free time to rest in a culture that often moralizes rest as laziness? Alex Soojung-Kim Pang, the author of several books on rest and director of global programs at 4 Day Week Global, explains what rest is and how anyone can start doing it more effectively."

Episode 5
"Time-Management Tips From the Universe
It could help to examine the cosmos."
https://www.theatlantic.com/podcasts/archive/2024/01/time-management-tips-from-the-universe/676199/ 

"Time can feel like a subjective experience—different at different points in our lives. It’s also a real, measurable thing. The universe may be too big to fully comprehend, but what we do know could help inform the ways we approach our understanding of ourselves, our purpose, and our time.

Theoretical physicist and black-hole expert Janna Levin explains how the science of time can inspire new thinking and fresh perspectives on a much larger scale."

Episode 6
"Can We Keep Time?
Do photos, social posts, and diaries actually help us remember better?
https://www.theatlantic.com/podcasts/archive/2024/01/can-we-keep-time/676198/

It can be tough to face our own mortality. Keeping diaries, posting to social media, and taking photos are all tools that can help to minimize the discomfort that comes with realizing we have limited time on Earth. But how exactly does documenting our lives impact how we live and remember them?

In this episode, diarist and author Sarah Manguso reflects on the benefits and limitations of keeping track of time, and Charan Ranganath, a professor of psychology and researcher at the UC Davis Center for Neuroscience, discusses what research reveals about how memories work and how we can better keep time."]]]></description>
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</item>
<item rdf:about="https://www.watchcrunch.com/bipennate/posts/why-does-heritage-in-a-watch-matter-to-you-or-does-it-269534">
    <title>Why does &quot;heritage&quot; in a watch matter to you...or does it? | WatchCrunch</title>
    <dc:date>2024-01-15T19:35:48+00:00</dc:date>
    <link>https://www.watchcrunch.com/bipennate/posts/why-does-heritage-in-a-watch-matter-to-you-or-does-it-269534</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[comment by @Oronitius_Fineus:

"“Heritage” has replaced chronometry as the mechanical watch industry’s primary function.

Heritage matters to watch companies because they lose a foot race to a $20 quartz watch every time. ALS or PP can’t charge you $80,000 for sketchy timekeeping. They need to sell something else to survive. So they sell heritage.

Companies like Omega, Longines and many more can call on long and storied histories. Companies like Universal Geneve, Vulcain and others can rise like Lazarus by appealing to dormant pasts. Shops like Fears can concoct insta-heritage to bootstrap themselves into existence. And so on and so forth.

And we lap it up. Why? We like to bask in the nostalgia of a past that may or may not have existed. When heritage copy is written by marketing consultants expect wobbly narratives. Most of us don’t bother to fact check their claims anyway. We need to inject nostalgia into our veins and we’ll suspend disbelief for the hit. That’s because mechanical watches offer a refuge from the socially fragmented, throwaway, digital nothingness of modern life. They’re just really nice things and make us feel good.

When people say mechanical watches are obsolete they’re right in a narrow sense and wrong at a broader level. Sure, they’re not as reliable as quartz, atomic or digital clocks. Using a flyback chronograph to time boiling an egg would be overkill. But the reason mechanical watches will endure is because they serve as a way for us to hold on to a past. We need that almost out of desperation - at a time when the present is uncertain and the future looks, well, pretty gruesome."

comment by @PoorMansRolex:

"I've said it before but anyone hyping heritage beyond the briefest mention is essentially shouting that their best days are behind them and that they've done nothing noteworthy of late."]]]></description>
<dc:subject>watches heritage 2023 marketing nostalgia luxury chronometry omega longines vulcain quartz quartzcrisis Orontius_Fineus universalgenève storytelling branding</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.watchesofespionage.com/blogs/woe-dispatch/watches-as-tools-of-money-laundering-and-illicit-finance">
    <title>Watches as Tools of Money Laundering and Illicit Finance – WOE</title>
    <dc:date>2024-01-14T17:07:30+00:00</dc:date>
    <link>https://www.watchesofespionage.com/blogs/woe-dispatch/watches-as-tools-of-money-laundering-and-illicit-finance</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Luxury timepieces are one of the most effective mediums to move illicit funds around the globe and a tool to integrate those ill-gotten gains into the financial system.  Transnational criminal networks, terrorists, narcotraffickers and corrupt politicians have used watches to launder money as a part of global illicit finance."]]></description>
<dc:subject>watches moneylaundering 2024 rolex luxury corruption</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:f84a8cf3695c/</dc:identifier>
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<item rdf:about="https://www.watchcrunch.com/88MilesPerHour/posts/a-hypothetical-time-travel-experiment-and-a-question-of-mythology-over-quality-271421">
    <title>A Hypothetical Time Travel Experiment And A Question Of Mythology Over Quality | WatchCrunch</title>
    <dc:date>2023-12-15T03:28:43+00:00</dc:date>
    <link>https://www.watchcrunch.com/88MilesPerHour/posts/a-hypothetical-time-travel-experiment-and-a-question-of-mythology-over-quality-271421</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Okay - here’s a thought experiment that I realize is mostly annoying,  but, stay with me...

It’s 1962.

You’re an ambitious young person making their way in a life that both requires punctuality and occasionally getting your hands dirty. For the purposes of this exercise (and romance) let’s say you’re a, uh, travel writer who covers adventurous territory, but also has to pitch your books in board rooms.

A mysterious man approaches you in the Tunisian desert and holds out two objects. He is a time traveler. In one hand, he has a new Rolex 5512 Submariner, in the other, a new Lorier Neptune IV. He says, “You may have one.”

You say, “What if watch nerds want to examine the pros and cons of this scenario one day? Could you break down the specs of each watch?”

He says:

The Rolex 5512 has a 1520 movement:
19,800 vph
power reserve of 42hrs
17 Jewels
non chronometer
Hacking
Automatic but no hand winding,
No quickset

Lorier Neptune IV has a Miyota 9015 -
28,800 vph
Power Reserve of 42 hrs
24 Jewels
Non-chronometer
Hacking
Automatic with hand winding
Quickset

WHICH WATCH DO YOU CHOOSE?

Post script - When I was in New York I tried on a vintage Submariner, it was cool! And, for my taste, more appealing than the shiny boxy ones they make now. But I was also struck by how sort of… not spectacular it was? I’m at a phase in my collecting where I’m wondering if I want to reach for something like “the best” or whether what I have is maybe enough.

So, I’m not trying to prove a point here, I really am wondering, if romance isn’t a factor, is one of these watches really better than the other? Thanks for reading."

[comment by @casiodean:
https://www.watchcrunch.com/88MilesPerHour/posts/a-hypothetical-time-travel-experiment-and-a-question-of-mythology-over-quality-271421#comment-1074488

"It's all marketing and nostalgia working in tandem. The whole industry was designed to make people want to role play being what they thought the rich were like, to create an illusion of doing better than they were in relation to their peers. Rolex in particular was designed from the very beginning to make the poor aspire to spend money they couldn't really afford to on an object which was never worth what the sellers wanted for it. It's all to fill a void, the "God hole" as it were, which gives very temporary happiness through manipulated consumerism."

also points to a post with this video embedded:

"Why Luxury Brands Are A Big Waste Of Money"
https://www.youtube.com/watch?v=zO8eaI78Jg8

comment by @Orontius_Fineus (reason this bookmark is tagged 'watchcanon':
https://www.watchcrunch.com/88MilesPerHour/posts/a-hypothetical-time-travel-experiment-and-a-question-of-mythology-over-quality-271421#comment-1074773

"I began my career 30 years ago. It happened to be at a marketing and advertising company in London. They did ethical stuff, promoting social justice through conscientious placement of goods and services (yes, positive change through capitalism and all that).

The company was an outlier because “what are you doing nobody does that.” Its work was vindicated because a few years later its founder was awarded an OBE by the Queen (I’m a republican but that was still kinda cool).

There was a poster above my desk. It was there from Day One: a photo of a pile of excrement on a plate. Around it there were four tall halogen lamps, like football stadia lights. Underneath this enticing arrangement the caption read:

“It’s a piece of shit but it’s tastefully lit.”

My soon-to-be OBE boss saw me looking at it and said (I paraphrase): “That’s what most of this industry is about, young man. Learn it quick.” In other words, a half a trillion dollar industry putting lipstick on a pig.

About ten years ago I took an executive course at Harvard University on marketing management. Even though by then my career had taken me in other directions, none of us can avoid marketing - it infiltrates everything. I wanted to see where the industry was 20 years on from my first job.

The course was *appalling.* It had no ethical or moral content. It was exclusively about how to hone skills to manipulate behavior at individual and market levels. My classmates were without exception as thick as mince.

Now, the watch industry is tiny compared to fashion, but has adopted many of the methods of the large groups (LVMH, etc). Patek Philippe, which artfully positioned itself with royalty in the 19th century at least won chronometry awards at the time. There was performance backing up its prestige. Today? It hasn’t competed in chronometry awards for years. It doesn’t have to. It’s modus operandi is to cultivate exclusivity. Exclusivity sells by the bucketload.

Further down the food chain we see the same. Seiko, which heroically won chronometry awards in the late 1960s now delivers bog standard timekeeping in watches that are little more than objects of manufactured heritage. Wafer thin operations like Fears in the UK are based entirely on flimsy, cobbled together back stories. No one appears to have the gumption or heft to call this out.

Instead of performance trials we have fatuous beauty contests like GPHG where entrants have to pay €8K to be considered. This immediately rules out small, creative, one-man watchmaking operations. Platforms like this are now the province of those who’ve subscribed to how the industry is - a feudal hierarchy built on pretense. Sign up and take part, and you’re clubbable. Choose not to and expect to be frozen out by the industry and community. That’s the game.

Watch media outlets like, oh I don’t know, Hodinkee, grease the wheels of this machine. Some of them have become and will become subsidiaries of the corporate behemoths who own and direct the market. Hodinkee’s privacy policy makes it clear that it’s a data gathering operation that delivers consumer insights to brands. In other words, it is selling its readers to watch companies (I haven’t checked lately but their website once included a statement on what a typical hodinkee ready was like).

The most insidious part of all this is without question marketing that, as I alluded to above, is both pervasive and intrusive. It takes an enormous act of will to fend it off to protect mind space, such that we can look after our own interests. That can be hard for social apes who take our cues from fellow apes. We all want to be liked and to feel part of something.

In terms of the Rolex vs. Lorier conundrum we should at all cost avoid binary choices, in life and with watches. If it ever appears that there can only be one option or another, make that effort to create a third option for yourself. In this case, Rolex or Lorier, or neither.

Sometimes the act of doing nothing is the most powerful statement of independence we can make. No to buying, no to adding, no to succumbing to animal urges. Brands need us more than they care to admit. Your average Omega executive - a career company man - is basically terrified of you, the consumer. He wants you. He needs you. You can’t say No, not for your sake, but for his. Choose not to be seduced by the schtick and it all comes crashing down.

After all is said and done watches can still be lovely little things, objects of fascination without end. But we live in a time when social and economic inequalities coexist with booming ‘luxury’ markets. This is a profoundly sick state of affairs and it deserves to be rejected outright. Ultimately it behoovs us to make choices that demonstrate self-respect, because we can be sure the legacy watch companies don’t respect us."]]]></description>
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    <title>Why Luxury Brands Are A Big Waste Of Money - YouTube</title>
    <dc:date>2023-12-15T02:52:44+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=zO8eaI78Jg8</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["“Luxury,” Socrates once declared, “is artificial poverty.” I’m not poor, but there’s nothing like an afternoon spent shopping for luxury goods to make me feel that way. On a recent jaunt through some of Midtown Manhattan’s snazzier stores, I began to wonder why this should be the case. When, I asked myself, did it become commonplace to charge several thousand dollars for a mass-produced handbag? How could the flimsy designer sundress I bought on sale — a “steal,” the saleswoman assured me — still wind up costing a whole month’s salary? Why is my favorite brand of lipstick more expensive than a nice bottle of Italian wine? When did these products’ values grow so distorted, and what is the would-be customer to make of it all?

In the midst of my consumerist crisis, the question I should have been asking was: Dana Thomas, where have you been all my life? In “Deluxe: How Luxury Lost Its Luster,” Thomas investigates the business of designer and luxury clothing, leather goods and cosmetics, and finds it wanting. Hijacked, over the past two or three decades, by corporate profiteers with a “single-minded focus on profitability,” the luxury industry has “sacrificed its integrity, undermined its products, tarnished its history and hoodwinked its consumers.” Hoodwinked? The truth hurts. After I read “Deluxe,” suddenly my new sundress no longer looked like such a steal. Au contraire, the book’s line of argument suggested, it was I who’d been robbed.

For Thomas, a cultural and fashion writer for Newsweek in Paris and the Paris correspondent for the Australian Harper’s Bazaar, the luxury industry is a sham because its offerings in no way merit the high price tags they command. Yet once upon a time, they most certainly did. In the 19th and early 20th centuries, when many of luxury’s founding fathers first set up shop, paying more money meant getting something truly exceptional. Dresses from Christian Dior, luggage from Louis Vuitton, jewelry from Cartier: in the golden period of luxury, these items carried prestige because of their superior craftsmanship and design. True, only the very privileged could afford them, but it was this exclusivity that gave them their cachet. Although they may have “cared about making a profit,” the merchants who served this pampered class aimed chiefly “to produce the finest products possible.” - Financial Times

But all is not lost even in today’s money-driven and fast fashion environment. Thomas shows how luxury still persists in a few brands such as Hermes, Chanel and Louboutin. Most of the book was horrifyingly candid for such a lover of designer goods like me, but I did enjoy the latter parts of the book that allow these wonderful brands to shine and stand against the dizzying avarice of others.

Christian Louboutin explains that “luxury is the possibility to stay close to your customers…about subtlety and details. It’s about service…Luxury is not consumerism. It is educating the eyes to see that special quality.”

Cristiane Saddi, a marketing director in Sao Paolo says that clients who frequent Daslu, a luxury fashion emporium, “don’t need the logo entry-level handbag or to wear labels or logos. We buy from luxury brands, but not ordinary products. You can see what is mass and what is special. Luxury is not how much you can buy. Luxury is the knowledge of how to do it right, how to take the time to understand and choose well. Luxury is buying the right thing.” - Eve Crabapple"]]></description>
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    <title>Luxury Fashion Is For Broke People - YouTube</title>
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    <link>https://www.youtube.com/watch?v=FGDB22dpmwk</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Rich people don't actually buy designer brands, the poor do. Luxury fashion brands have secretly targeted the middle class for over a decade, getting people to overspend on Gucci belts, Louis Vuitton bags and other flashy goods. 

The CEO of LVMH, Bernard Arnault became the richest person alive with over $200 Billion Net Worth. LVMH is now the largest fashion company in the world, and they got there by ripping off regular folks like you and me."]]></description>
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    <title>the Mondragon moment – The Homebound Symphony</title>
    <dc:date>2023-10-02T18:40:11+00:00</dc:date>
    <link>https://blog.ayjay.org/the-mondragon-moment/</link>
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</item>
<item rdf:about="https://www.futurehistories-international.com/episodes/s02/e55-kohei-saito-on-degrowth-communism/">
    <title>Kohei Saito on Degrowth Communism | Future Histories International</title>
    <dc:date>2023-09-18T04:44:02+00:00</dc:date>
    <link>https://www.futurehistories-international.com/episodes/s02/e55-kohei-saito-on-degrowth-communism/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[also here:
https://www.youtube.com/watch?v=NtWVrmJz758 ]]]></description>
<dc:subject>koheisaito degrowth communism karlmarx dualism socialism sustainability capitalism future monism climatechange economics economy energy resources technology marxism ecology 2023 labor metabolism nature recycling greenwashing regulations corporations inequality globalsouth communes horizontality indigeneity indigenous metabolicrift brunolatour jasonmoore socialequality equality sharing abundance luxury travel privatejets advertising desire fulfillment consumerism consumption ecologicalcrisis green ecosocialism greenneocolonialism luladasilva socialwellbeing wellbeing happiness greencapitalism lcd lula kōheisaitō well-being</dc:subject>
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<item rdf:about="https://www.hodinkee.com/articles/untold-story-patek-philippe-generations-advertising-campaign">
    <title>The Untold Story Of Watchmaking's Most Iconic Advertising Campaign</title>
    <dc:date>2023-08-07T00:17:38+00:00</dc:date>
    <link>https://www.hodinkee.com/articles/untold-story-patek-philippe-generations-advertising-campaign</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["How Patek Philippe's "Generations" campaign changed watch advertising forever."

[referenced here:
https://screwdowncrown.substack.com/p/brand-power

resurfaced here:
https://www.hodinkee.com/articles/patek-philippe-generations-ad-campaign-fathers-day ]]]></description>
<dc:subject>watches advertising patekphilippe emotions luxury inheritance objects stephenpulvirent parenting psychology generations legacy</dc:subject>
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<dc:identifier>https://pinboard.in/u:robertogreco/b:42b385e8c4a6/</dc:identifier>
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<item rdf:about="https://www.ssense.com/en-us/editorial/fashion/how-rolex-became-its-own-currency">
    <title>How Rolex Became Its Own Currency | SSENSE</title>
    <dc:date>2023-07-24T21:34:46+00:00</dc:date>
    <link>https://www.ssense.com/en-us/editorial/fashion/how-rolex-became-its-own-currency</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>rolex fashion 2020 oliviawhittick luxury brands branding marketing</dc:subject>
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<item rdf:about="https://www.wired.co.uk/article/russell-davies-watches">
    <title>Russell M Davies: The irrationality of the watch | WIRED UK</title>
    <dc:date>2023-03-04T15:54:47+00:00</dc:date>
    <link>https://www.wired.co.uk/article/russell-davies-watches</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The fundamental unit of human endeavour is the watch: the humble wristwatch. If you really want to understand the human race in all its astonishing complexity and fearsome irrationality, spend some time thinking about watches. You might even want to write one of those narrative non-fiction books about them. Like Salt or Cod -- but Watch. If you do, here is a rough survey of the territory:

Let's start with the chapter on behavioural economics. Ever tempted by Freakonomics or Nudge, or one of those books about how people aren't very rational and how many of their economic choices are in fact emotional? Don't bother. Just get yourself to a watch shop; watches are the ultimate proof that we're not rational. You can get a watch accurate enough for all conceivable human purposes for about three quid. Pay anymore than that, and you're doing something else. You're projecting brand values, asserting status, embracing aesthetics -- something other than telling the time. Even if you just want function, you're probably doing something similar. The Casio F91W is a simple Chinese-made digital watch that costs around £10. Yet it's a cult, seen on some of the most discerning, geeky wrists because its simple, robust construction appeals to industrial-design fans (and, purportedly, terrorists, who appreciate its ubiquity and reliability as a timing device).

Then you should do a chapter on mechanical watches, and think about the extraordinary things they say about our world. People pay thousands for extreme precision- engineering, which does the job slightly less well than a cheap bit of quartz. Why does this industry exist? I suspect it's not just heavily branded man-jewellery, but more nuanced. William Gibson suggests: "Mechanical watches partake of the 'Tamagotchi gesture': they are pointless yet needful, comforting precisely because they require tending." That feels true: we can't help but connect to something we wind every day -- we end up needing the things that need us. But we're also drawn into the sheer exuberance of the engineering, even if it has no practical value. It's like performance engineering, almost postmodern in that it is about nothing other than itself. So where most of us don't get art, and don't really see the point of it, maybe engineering aesthetics fill a little hole in our cultural lives.

And then you would have to devote some attention to watches and the Idea of the Future, because every respectable future scenario involves strapping something extraordinary to your wrist. Weapons, cameras, sensors, communicators-all apparently appropriate things to attach to your arm. Which leaves the technology companies with very little imagining to do; they just have to get on with the manufacture.

Ever since 1946, when Dick Tracy started using his wrist watch radio, and 1964, when he upgraded it to TV, the development cycle for wrist-tech has been clear. And yet, adding smarts to a watch seems a reliable assurance of failure. Remember the Casio WMP-1V? It was an MP3- playing watch about the size of a Wagon Wheel, which could handle a whopping 33 minutes of audio and last for four solid hours before charging -- for some reason it didn't find a home on every wrist. There were all those watches built on Microsoft's SPOT technology. You could pay a subscription and get weather info via a tiny graphic, and they worked in a quite a few US cities; again, for some baffling reason, not as popular as sliced bread. LG is the latest to have a stab with its GD910 Watch Phone. (These companies are good at names, aren't they?) It does speech and video, it tells the time, it's about £500 -- but will it sell? Who knows. But it's good to know that watches continue to fascinate.

And that might have to be the conclusion to your watch book; there's no need ever to wear a watch, but we continue to do it. The time is all over the place these days; on every screen, in every pocket, we don't need it under our cuffs as well. Except maybe to ease that moment when a conversation's gone on too long and you want to leave. That's what a watch is for, and that's why we'll always have them. Which is my cue to notice you staring at your collectable Swatch and sign off."]]></description>
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<item rdf:about="https://srslywrong.com/podcast/270-the-future-is-degrowth-w-aaron-vansintjan/">
    <title>270 – The Future is Degrowth (w/ Aaron Vansintjan) – srsly wrong</title>
    <dc:date>2023-01-15T20:19:08+00:00</dc:date>
    <link>https://srslywrong.com/podcast/270-the-future-is-degrowth-w-aaron-vansintjan/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The ideology of infinite economic growth destroys the ecological foundations of human life, produces alienating ways of living and working, gives rise to undemocratic productive forces and techniques, and mismeasures our lives, standing in the way of well-being and equality of all."

[See also:

"The Future Is Degrowth: A Guide to a World beyond Capitalism, by Matthias Schmelzer, Aaron Vansintjan, and Andrea Vetter"
https://www.versobooks.com/books/3989-the-future-is-degrowth ]]]></description>
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<item rdf:about="https://www.ablogtowatch.com/ariels-thoughts-the-four-styles-of-luxury-watch-buying/">
    <title>Ariel's Thoughts: The Four Styles Of Luxury Watch Buying | aBlogtoWatch</title>
    <dc:date>2022-11-11T19:36:31+00:00</dc:date>
    <link>https://www.ablogtowatch.com/ariels-thoughts-the-four-styles-of-luxury-watch-buying/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[1. Social Projection of Wealth & Success 
2. Connoisseurship 
3. Investment 
4. Patronage ]]></description>
<dc:subject>2022 watches luxury arieladams behavior economics investment connoisseurship patronage socialstatus signaling success consumption consumerism capitalism</dc:subject>
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<item rdf:about="https://www.ablogtowatch.com/grinding-gears-is-the-luxury-watch-industry-unsustainable-secretive-about-it/">
    <title>Grinding Gears: Is The Luxury Watch Industry Unsustainable &amp; Secretive About It? | aBlogtoWatch</title>
    <dc:date>2022-11-11T19:35:52+00:00</dc:date>
    <link>https://www.ablogtowatch.com/grinding-gears-is-the-luxury-watch-industry-unsustainable-secretive-about-it/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The luxury watch industry has been lagging behind others when it comes to sustainability and traceability — which means it has others, such as luxury fashion and automotive industries, to look at for guidance. They, too, would give an arm and a leg for absolute secrecy or to increase their margins by a fraction of a percentile. The goal of this Grinding Gears column is not to list all the brands and their various efforts, or lack thereof, but rather to bring to the spotlight the pressing issue of underwhelming communication efforts when it comes to transparency and sustainability, and to minimize environmental impacts and the risks of human rights abuses at those very places where the raw materials, beautifully polished and assembled in Switzerland, come from.

If we may be so bold to ask: Keep your eyes open and, if you haven’t already, try to learn about the environmental impact of your next watch purchase. There’s no reason why it couldn’t be at least a little friendlier to the people who helped make it and to the environment whose materials it is sourced from."]]></description>
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<item rdf:about="https://www.ablogtowatch.com/auction-world-shenanigans-the-horrible-truth-behind-the-new-rolex-deepsea-challenge-saving-the-environment-the-watch-industry-way-and-the-psychology-of-buying-luxury-watches/">
    <title>Auction World Shenanigans, The Horrible Truth Behind The New Rolex Deepsea Challenge, Saving The Environment The Watch Industry Way, And The Psychology Of Buying Luxury Watches | aBlogtoWatch</title>
    <dc:date>2022-11-11T19:11:53+00:00</dc:date>
    <link>https://www.ablogtowatch.com/auction-world-shenanigans-the-horrible-truth-behind-the-new-rolex-deepsea-challenge-saving-the-environment-the-watch-industry-way-and-the-psychology-of-buying-luxury-watches/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["On this week’s edition of aBlogtoWatch Weekly, Ariel, Rick, and David spend another delightful hour covering all the latest from the watch world. They go green with a discussion of sustainability efforts in the watch industry (including a drop-in from Oris CEO Rolf Studer), think deep about why people even bother buying luxury watches, and confront the horrible truth behind Rolex’s new titanium behemoth. Plus: another alarming watch theft, an auction house gets eviscerated on social media, and a vintage Seiko that doesn’t quite hold up. You can listen below or on the podcast player of your choice."]]></description>
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<item rdf:about="https://www.hodinkee.com/articles/why-do-we-watch-videos-of-people-stealing-watches">
    <title>Watch-Theft Videos: Why Do We Watch?</title>
    <dc:date>2022-09-25T03:28:35+00:00</dc:date>
    <link>https://www.hodinkee.com/articles/why-do-we-watch-videos-of-people-stealing-watches</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["These clips are everywhere online right now. Almost unavoidable. And the questions they raise are thornier than you might expect."

...

"It's interesting to note that Instagram is both the place where robbers go to find watch owners and watch owners go to be warned about robberies. It would be convenient, certainly, if Instagram were the entire problem. But it's not that easy."

...

"Still, it's a strange reversal to see luxury-watch collectors – who are, by definition, privileged to own multiple examples of wrist-borne jewelry that nobody can be said to actually need – as victims. We observe this in comments posted to the videos: "A terrible world we live in"; "The story now in every city"; "It's awful that people would rather take from someone than earn that stuff themselves." Many of these comments have a grain of truth to them, but they also tread on hoary stereotypes about urban crime and ignore the overwhelmingly long odds against bootstrapping your way to a perpetual calendar.

To my mind, the questions and contradictions orbiting these videos are more compelling than the videos themselves. It's disquieting to see how nominally civilized gestures or even just neutral ones – a handshake from a stranger,  people pretending to choose a table in a restaurant, the scooter guy "brushing" the mirror and waving to the driver – are not what they seem, and how quickly they turn menacing. It's like a supernatural horror movie, when a friendly face turns suddenly demonic.

"Something has to be done," Thorpe says in one of his videos, "to help protect the watch community and watch owners and watch owners across the country."

In a broader context, Thorpe could be anyone talking about anything. Something has to be done about coronavirus, something has to be done about climate change, something has to be done about the floods in Pakistan and Kentucky, the fires in Spain and France and California, and the famine in East Africa. And with this much going on in the world, it's a safe bet to say that the calvary is spread pretty thin and, therefore, probably not on its way to any of these situations in abundant numbers.

My friend Tom Sexton's entire family lost absolutely everything they own in the recent Kentucky floods. His sister was almost swept away and was saved by Sexton's nephew; the story was written up in the The New York Times. "People think they own things, that objects belong to them," Tom told me. "But when you see a river take everything you own out of your house and give it a slick of propane and leave it on the banks in a town five miles away, you get it real fast that no one really owns anything."

Despite his recent misfortune, he hasn't stopped dreaming about "a Rolex Explorer 124270, you know, the regular stainless steel one with the black face?" 

Like pretty much anyone who reads HODINKEE, Sexton believes watches are complex and beautiful objects. "But the reason they're so hugely popular is because – much like sneakers, cars, and many other consumer goods whose value has inflated in the last few years because of scarcity both real and imagined – people can make more money now off reselling these items than ever before." He adds to this the fact of the world's increasing financial, ecological, and institutional instability. "Watches are a way of taking what's yours and strapping it right onto your body."

He wonders if watch-stealing videos resonate with us because they tap into our latent terror that even the possessions we hold closest – maybe even especially these – aren't safe. He points out that in so many watch-stealing videos – and this is true of both the Bugatti video and the scooter caper – viewers aren't even sure what got stolen. "They're like, 'it was a cell phone. No, it was a wallet!'" It's not just watch ownership that people fear may be under assault, but ownership of anything.  

Then again, none of this has not stopped Sexton from getting in touch with his local authorized dealer, in Cincinnati, and putting his name on the waiting list for his grail Explorer."

[Choice comments:

https://www.hodinkee.com/articles/why-do-we-watch-videos-of-people-stealing-watches#comment-322605 (@AEMNW)

"Nothing that the luxury time piece community loves more than keeping itself insulated from humanity, and the events of the world, as a whole!"

https://www.hodinkee.com/articles/why-do-we-watch-videos-of-people-stealing-watches#comment-322519 (@AEMNW)

"Sarah Miller is a brilliant storyteller and writer, surprised that her journalistic bs detector didn’t filter that first video as a fake. Though as fake and setup as it appears, it does show how skilled thieves can operate. Brute force usually wins though and is likely the norm in 98% of thefts.
The days of nimble fingered pick pockets is likely behind us.

As luxury watches worth as much as most yearly salaries become more prolific and as the public consciousness of them grows, theft of them being on the rise shouldn’t be surprising. It is obviously wrong though.

But so is the growing inequality in the world. Extreme wealth is typically built on the exploitation of the masses and modern slavery is on the rise.

Love live Casio!"

https://www.hodinkee.com/articles/why-do-we-watch-videos-of-people-stealing-watches#comment-322533 (@exnewbie, Sara Miller)

"I really appreciate everyone’s comments and their engagement with the story. Something a little different for me! With the world economy falling apart for a lot of people – and then, simultaneously, a lot of other people getting very wealthy – it's not too surprising that watch-related crime is spiking. Writing about it doesn't mean I like it or am glorifying it. What I'm trying to do in this story is understand it as a cultural phenomenon through the lens of these videos. To ignore the clips (or the phenomenon of theft overall) is to avoid confronting a real issue. I'd rather face it, reckon with it, and talk about it with you fine folks."

https://www.hodinkee.com/articles/why-do-we-watch-videos-of-people-stealing-watches#comment-322706 (@CLUCK)

"Now I remember why I never read the comments.

I always enjoy Sarah’s writing and perspective. Her comparison to the magnitude of the losses experienced through the Kentucky floods was well done and useful, as was the point that it’s not easy to “bootstrap yourself to a perpetual calendar.” I have little sympathy for thieves, but appreciated the broader context Sarah offered, as well as the analysis of the whys behind the increase in this type of violent crime."

https://www.hodinkee.com/articles/why-do-we-watch-videos-of-people-stealing-watches#comment-322667 (@nitwit)

"Possessing rare treasures brings about harmful behavior.
(Lao Tzu, Daodejing, verse 12, ca. 6th century BCE) [Translation Ch. Muller]"]]]></description>
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<item rdf:about="https://www.hodinkee.com/articles/watchmaking-middle-class-new-2022">
    <title>The New Middle Class Of Watchmaking Is Unexpectedly Thriving</title>
    <dc:date>2022-08-30T03:15:17+00:00</dc:date>
    <link>https://www.hodinkee.com/articles/watchmaking-middle-class-new-2022</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A lot has changed for the watch world's mid-grade makers, but there are plenty of reasons to be excited about the future."

]]></description>
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<item rdf:about="https://www.ablogtowatch.com/thoughts-on-how-to-interpret-sustainability-and-environmental-friendliness-claims-from-watch-brands/">
    <title>Thoughts On How To Interpret Sustainability And Environmental Friendliness Claims From Watch Brands | aBlogtoWatch</title>
    <dc:date>2022-08-20T03:52:06+00:00</dc:date>
    <link>https://www.ablogtowatch.com/thoughts-on-how-to-interpret-sustainability-and-environmental-friendliness-claims-from-watch-brands/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>watches sustainability environment 2022 greenwashing signaling capitalism marketing mining metals labor exploitation arieladams carbonneutrality plastics plastic oceanplastics carbonoffsets recycling luxury sales vegan veganleather animals animalrights leather pleather consumption packaging waste consumerism charities ngos nonprofit nonprofits charity philanthropy</dc:subject>
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<item rdf:about="https://www.mrporter.com/en-ca/journal/watches/dopamine-horology-bright-watches-colour-dial-strap-17532988">
    <title>Watches: Dopamine Horology: The New Style Language For The Post-Pandemic Watch Boom | The Journal | MR PORTER</title>
    <dc:date>2022-08-11T16:39:09+00:00</dc:date>
    <link>https://www.mrporter.com/en-ca/journal/watches/dopamine-horology-bright-watches-colour-dial-strap-17532988</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["If you’d told me then that this hulking piece of techno-chic gear would, by 2022, have morphed into a slinky, unisex, pink-dialled watch for the masses, I’d have given you short shrift. But, as an illustration of how watch design is evolving on the other side of the pandemic, the 2019 PPX 115 and the watch Oris dropped earlier this year, the PPX 400 (or ProPilot X Calibre 400), offer a handy before-and-after comparison.

Reduced to a lithe 39mm of air-light titanium, the case and bracelet of the PPX 400 follow the same form factor as the earlier watch, but substantially streamlined and elementally different. It feels smaller than it is. It has the supple elegance of the best sports-luxe bracelet watches, but also the fluid wearability of a smartwatch. It’s fresh, non-retro and specifically unisex. The dial, rather than amplifying the techy feel of the case, now offsets it, with a soft, minimalist design in grey, deep blue or eye-popping salmon pink.

As a collision of conflicting elements, it shouldn’t work. But in the era of dopamine-boosting colourways, high/low cultural mash-ups and relaxed, anything-goes attitudes in design and style, it does.

“The pink dial was the wild card, but it’s the best-selling version and the best activated of the three,” says Mr Rolf Studer, co-CEO of Oris. He says it’s a 2022 take on the idea of “salmon-dial” vintage watches, which have gained plenty of currency in recent times, though the Oris version is considerably pinker and poppier than those. And in watch design’s post-pandemic remix, a colourway that might have been seen as eccentric, even provocative, has struck a chord. “It’s elegant and relaxed, but uplifting,” says Studer. “People seem to understand this. They want to make themselves smile and to have that thing on their wrist that’s a bit of a talking point.”

It’s stating the obvious that a mechanical wristwatch remains, in 2022, a deeply anachronistic thing, long out-manoeuvred by digital technology. But it’s one reason why over the past decade, and particularly against the background of the smartwatch explosion, brands have tended to emphasise the elements that made their watches different from all that. They wanted their products to be luxurious havens amid the information onslaught and exclusive reference points for old school quality and analogue style.

Retro revivalism has had a decade-long field day. So, too, has anything that opens up and highlights the mechanical, crafted nature of a “proper” watch (such as the PPX 115). Pre-pandemic, owning a luxury watch wasn’t just a matter of taste and preference; it was a vote for the old school and, depending on which brands’ marketing spiels you drunk in, an act of connoisseurship and cultural flexing akin to fine-art patronage.

Things are changing. The mainstreaming of the luxury watch market didn’t begin with the pandemic, but the cultural firestorm of lockdowns, social media, hype watches, sneaker culture, crypto, NFTs and any number of concurrent factors turned a slowly shifting landscape into a landslide. A new generation of buyer has come to the party and their interests, touch points and values are fundamentally different.

“We’re in the middle of a generational shift,” says Mr James Marks, a member of the MR PORTER Style Council and head of Phillips Perpetual, the contemporary watch business at the auction house Phillips. He points to Rolex’s launch in late 2020 of a series of boldly coloured Oyster Perpertuals, the so-called Stella dial collection, as a galvanising moment. “Rolex was giving lifeblood to a tired reference, which suddenly was the hot watch. But they were very clever, taking a Swiss watch and moving it into the high-fashion market. You can match your car, handbag, bikini, sneakers to these watches and it just caught on.”"

...

"Right now, a watch ­– luxury or otherwise – is whatever you want it to be, to be worn however you want to wear it.

“A mechanical watch has become a piece of jewellery, and everyone accepts that, and we can charge it with emotions, great proportions, design, technology,” says Studer. “The pandemic has really helped us gain confidence in doing interesting or unexpected things. Suddenly everyone realised that the old concept of exclusive luxury was holding things back. Inclusive luxury is not about the object. It’s about the joy of the object. People have their own reasons for appreciating things, but the important thing is that it makes you smile.”"]]></description>
<dc:subject>timothybarber 2022 watches fashion luxury style oris breitling rolex design color propilotx geraldcharles bellandross rogerdubuis tagheuer iwc platfulness titanium analog baumeandmercier jewelry objects mrporter bell&amp;ross baume&amp;mercier</dc:subject>
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<item rdf:about="https://www.theguardian.com/business/2018/may/18/richemont-destroys-nearly-500m-of-watches-in-two-years-amid-buyback-policy">
    <title>Cartier owner destroys more than £400m of watches in two years | Luxury goods sector | The Guardian</title>
    <dc:date>2022-08-01T16:55:05+00:00</dc:date>
    <link>https://www.theguardian.com/business/2018/may/18/richemont-destroys-nearly-500m-of-watches-in-two-years-amid-buyback-policy</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Richemont bought back stock from jewellers to stop it being sold at knockdown prices"

[See also:

https://blog.esslinger.com/swiss-watchmakers-destroy-over-500-million-worth-of-luxury-watches/

https://qz.com/1284838/why-richemont-is-destroying-unsold-cartier-and-piaget-watches/

https://monochrome-watches.com/richemont-destroys-more-than-eur-450m-of-unsold-watches-in-two-years/

https://www.businessinsider.com/amazon-destroying-unsold-goods-report-other-nike-burberry-fashion-2021-6

https://www.youtube.com/watch?v=PYJagx6rmsM

https://www.wristwatchreview.com/richemont-buys-back-500m-watches-to-destroy-them/

https://www.forbes.com/sites/forbestechcouncil/2018/09/21/why-preserving-brand-equity-comes-at-a-price-in-the-age-of-e-commerce/?sh=7705ea16573f ]]]></description>
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<item rdf:about="https://www.fratellowatches.com/the-affordable-luxury-watch-is-dying/">
    <title>【F】 The Affordable Luxury Watch Is Dying</title>
    <dc:date>2022-06-28T19:04:45+00:00</dc:date>
    <link>https://www.fratellowatches.com/the-affordable-luxury-watch-is-dying/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>lexstolk watches economics prices 2022 inequality luxury</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=0yNjUFEuW18">
    <title>The Extraordinary King of Luxury Fashion - YouTube</title>
    <dc:date>2022-06-11T20:59:49+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=0yNjUFEuW18</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["To outsiders, luxury fashion is a curious industry where consumers seem to irrationally shell out hundreds and thousands of dollars for sneakers, handbags, wallets, or T-shirts.  

But take a step inside, and you’ll find the world of high fashion is more like Game of Thrones with  Italian, English, and French houses like Gucci, Louis Vuitton, YSL, and Balenciaga fighting to be the king.  For the houses that get to sit on the throne, they don’t last for long.  

Brands like Versace, Tony Burch, and Coach once dominated in the 2000’s.  Fast to the 2020’s and today’s top players are Gucci, Louis Vutton, YSL.  Now what if I told you that there’s a high fashion brand that’s more lucrative and successful than Gucci, YSL, Moncler, and Louis Vutton? 

A brand who only sells its products to a carefully curated list of only its highest spending customers, takes no preorders, refuses to expand inventory, or scale production.  A brand whose products are so elusive that they appreciate thousands of dollars and are often resold for profit.   A brand that does not allow returns, refunds, or exchanges.  A brand who has remained independent, manufactures by hand, spends the least on marketing, and yet grosses close to what Gucci makes every year.   

That brand is Hermès and they are the current king in high fashion. Hermès operates their business with a playbook and style that no other brand can even come close to emulating."]]></description>
<dc:subject>hermès 2022 luxury markets fashion brands branding rationality irrationality gucci louisvuitton balenciaga versace ronyburch coach moncler exclusivity marketing supply manipulation yvessaintlaurent ysl highfashion sneakers handbags clothing lvmh kering flexing licensing endorsement wholesale resale sponsorship genz millennials consumerism consumption shopping trends sales retail brandambassadors media socialmedia handmade efficiency scale slow craft craftsmanship assemblylines lessismore change elusiveness worthiness loyalty brandloyality france speed technology automation profits business manufacturing geny generationz zoomers generationy</dc:subject>
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    <title>The Less-Glamorous Side of the Watch Business: Repair Centers - The New York Times</title>
    <dc:date>2022-04-05T05:21:19+00:00</dc:date>
    <link>https://www.nytimes.com/2021/09/08/fashion/watches-repair-centers.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Few customers see them, so modest surroundings for service operations don’t mar a brand’s image."]]></description>
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    <title>The Black Hole of Luxury Watch Repair - The New York Times</title>
    <dc:date>2022-04-05T05:20:05+00:00</dc:date>
    <link>https://www.nytimes.com/2020/04/30/fashion/watches-repairs-customer-service.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Customers are used to waiting, waiting, waiting until their timepieces are returned. Is that patience about to end?"]]></description>
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    <title>Your Watch Needs Service. Now What? - The New York Times</title>
    <dc:date>2022-04-05T05:18:47+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["The choices: Pay more for local service, or send it off for what may be a lengthy stay with its maker."]]></description>
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<item rdf:about="https://www.hodinkee.com/articles/jewelry-designer-maggi-simpkins-finds-power-in-her-grandmothers-cartier-tank">
    <title>Jewelry Designer Maggi Simpkins On Her Cartier Tank</title>
    <dc:date>2022-02-15T19:47:11+00:00</dc:date>
    <link>https://www.hodinkee.com/articles/jewelry-designer-maggi-simpkins-finds-power-in-her-grandmothers-cartier-tank</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Most of the jewelry I wear has a significant amount of sentimental value for me. Almost every day I wear my mom’s engagement ring, a ring of her mother's that I stack with a band I made out of my father’s gold-fill glasses frames. On my neck, I wear a pendant necklace from his mother. I’m a strong believer in connecting emotion to the objects we wear.

That’s part of why I love what I do with engagement rings because my connection to jewelry is really a sentimental one. I like pretty things, but really it comes down to really wanting to create things that tell stories and mean something significant to people.

And while the pieces I wear every day keep me connected to my loved ones, I have a special piece, my superhero piece, that I save for special occasions – my grandmother Lilian’s Cartier Tank.

I never knew my grandmother, she passed away when my mom was pregnant with me, but I always think of her as an absolute powerhouse. She managed to buy her own home on Long Island as a Black woman in the 1960s, working two and three jobs to send my dad and his twin brother to private school (which, of course, he hated). She was a sweet, hard-working, deeply religious woman who dedicated her life to others. I think of the pieces I have from her – my necklace and this watch, especially – as my guardian angels, her strength is carried through me.

My career feels like a reflection of my family in some ways; my mother encouraged me to be creative, my father was a welder and made things with his hands, and my grandmother was this source of strength.

My dad and his brother inherited her home in the late ’80s, but when my father passed away in 2012, I went to the home to help clean through all the belongings. It was a time capsule of his life and hers, as well. There were lots of old photos of my dad and a few funky vintage toys, but she was a single mom of two boys so there wasn’t a ton of opulence. But then there was this watch in her dresser. So beautiful and out of place. I think one of the reasons why I am so sentimental with jewelry is that there have been family members that I never got to meet, but I get to have little pieces that hold their stories.

Because I never got to know her, I don’t know much about the watch itself. I took it to a local watch shop when I first got it a few years ago to get it fixed and was told it was real, but if I’m being 100 percent honest, whether it’s real or fake means nothing to me. In that sense, it might as well be a Seiko or a Casio. It just so happens that I think it’s stunningly beautiful and is to my taste.

I recently had an epiphany – it felt like it was right in front of my nose, really – and I want to get into working with watches. For so many people they serve the same purpose as jewelry – pieces that commemorate occasions, get passed on from loved ones. I was intimidated by watches, the mechanics, “does it come with a box and papers?”, but the more that I learn about it, the more I approach it the way that I approach jewelry. I’m not so precious about the little things. I sell stones with certificates, but I also sell stones without certificates. For me it’s most important to think: Do we like the stone? How does that sparkle? If you touch it and it means something to you, that’s what is important."]]></description>
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    <title>HODINKEE's Jack Forster on why he's a lifelong watch lover</title>
    <dc:date>2022-02-12T17:24:26+00:00</dc:date>
    <link>https://www.hodinkee.com/articles/a-love-letter-to-watches</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[""The heart has its reasons, whereof reason knows nothing." –Blaise Pascal

People sometimes ask me (less often than you'd think) when I first got interested in watches and the truth is, I don't remember. It's sort of like asking a restaurant critic when they first got interested in food, or an art critic when they first got interested in art. Maybe there's a Saul-on-the-road-to-Damascus moment when you sit back from your desk at your nine-to-five and exclaim, "Dear God! I must become an art critic, or die in the attempt to become one!" But in general, I think it's something you sort of grow into, and it's only in retrospect that you realize there were early warning signs.

Another question people ask me, and which I sometimes ask myself, is, "How on earth is it possible to spend your life, day in and out, writing about watches? Don't you find the subject too narrow, too irrelevant to the deeper problems of life and the fundamental nature of human character? Why don't you write about culture, or science, or history, or art? Or cars, which are so much, well, bigger? What kind of job is this for an alleged grown-up? What the hell's wrong with you?"

The short answer, I think, is that watches are interesting. The longer answer is that they are interesting in so many different ways, that you can, in fact, spend your entire professional life (and an embarrassing amount of your non-professional life, for that matter) writing about watches, and thinking about watches, and learning about watches.

First of all, watches (and clocks; let's assume from here on in that I mean both when I say "watches") are meant to tell the time, and to do it as precisely as possible. When I look at a watch, I see a lot of different things, but one of them is that a watch is a physical incarnation of an attempt to solve a problem in physics, with the practical art of mechanics. I also see the whole five hundred year history of attempts to improve on the work of those who came before. (All those names … Galileo, Huygens, Hooke, Breguet, Le Roy, Berthoud, Arnold, Harrison … my heroes.) A watch at its most basic is just a device for keeping an harmonic oscillator oscillating and counting the oscillations, but how you get from the idealized mathematical model of an harmonic oscillator to an actual working watch is what makes technical watchmaking endlessly fascinating.

There is, in fact, an almost tragic quality to the aspirations of a watch – it strives to approximate the ideal as much as possible, but all it can do is approach it, more or less asymptotically. You can get close, but by definition you can never get there. Things like magnetism and temperature are foes that can be battled, but strive though you might you will never defeat the laws of thermodynamics, and entropy will as surely defeat your most heroic attempts at precision as it will cause the heat death of the universe.

Secondly, watches are intimately intertwined with human history. Let's take, for instance, the evolution of great seafaring empires in Europe. Before the development of practical marine chronometers, international trade and exploration was often a matter of staying relatively close to shoreline landmarks, combined with dead reckoning and the use of a compass. This meant that crossing long distances over the open ocean could be very dangerous as these methods often yielded inaccurate results. With the invention of marine chronometers it suddenly became possible to know your position to within a few miles. If you didn't have marine chronometers, you didn't have a real blue water navy and you didn't have a blue water merchant marine, either. Even today, when the boxed, gimbaled ship's chronometer has given way to GPS, you still need accurate clocks – behind the GPS system are atomic clocks that keep the whole thing working

Thirdly, watches are deeply connected to culture through their evolution in design, as well as the decorative arts that have been lavished on them. The list of crafts which have been applied to watches is almost endless – engraving, relief engraving, marquetry, all the different forms of enameling, gold- and silversmithing, and even more modern techniques like laser engraving. And lest we forget, there is gem cutting and setting – horological gem setting is usually unappreciated by many self-described collectors and enthusiasts but it has its own unique set of techniques and challenges, well-worth understanding (to say nothing of the enormous amount to learn about precious and semiprecious gems and minerals).

And lastly, behind the watches are always people.

There are, as a general rule, easier ways to make a living than making watches. As in every other field of human endeavor, you can find cynicism, intellectual laziness, venality, and unimaginative risk-averse decision-making in watchmaking, but you can also find a disproportionate number of people who care, very deeply, about what they are doing. The wildly imaginative work of people like Max Büsser, the obsessive perfectionism of people like Philippe Dufour, the patient repetitive work a craftsman puts into making heat-blued steel hands at Grand Seiko, are just a few instances of just how much watchmaking is an activity that connects us, through timepieces, to people of enormous dedication and talent, even if we never know their names.

If you want to write about watches, you should have a solid grasp of classical mechanics and how the laws of physics have shaped the efforts of watchmakers over the years. You need to understand practical mechanics, and you need to have a general familiarity not just with the history of watchmaking in Switzerland, but also around the world, as well.

You need to understand the evolution of calendars and timekeeping, a grasp of basic naked eye astronomy doesn't hurt, and neither does knowing something about basic chemistry and nuclear physics so you can understand how things like quartz watches and atomic clocks work. It helps to have an eye and ear for both past and contemporary cultural trends and venues in which watches play an important role, and it's very helpful to know something about the history of art, as well – and, God knows, the history of luxury and what it means.

And on top of all that (and that list is hardly comprehensive), if you want to write about watches, you have to understand that writing about watches is, like any other kind of writing, a craft which takes, by and large, an enormous amount of practice and sometimes very unpleasant self-analysis if you want to get good at it. Oh, and by the way, being able to take a decent photograph doesn't hurt either (and neither does speaking a second language. Start with French).

So that's why I love watches and love writing about them. Writing about watches is writing about culture, and science, and history, and art … and human nature, too. You can do it for a lifetime and never get to the bottom of the subject, and the only limit to the richness of the experience of being a watch writer or enthusiast, is your curiosity."]]></description>
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