Rolls Royce has just showcased their latest Coachbuild model overnight, the La Rose Noire Droptail. Whilst only 4 Droptails will be built, this is the first one commissioned by a very discerning and wealthy couple, call La Rose Noire, named after the Black Baccara Rose.

Needless to say, the price on this will be astronomical, and some suggestions are upwards of AUD $40M. The car is spectacular to say the least, and Alex Innes, Rolls-Royce’s Head of Coachbuild Design explains that every detail on this car has been done to exacting standards – both that of the couple who commissioned the car, and the designers and builders at Rolls-Royce.

Included as a part of this unique build, is an Audemar’s Piguet Concept Split Seconds Chronograph GMT Large Date inserted into the facia panel of the car itself. Rolls-Royce worked with Audemar’s Piguet to produce this piece specifically for the car and it’s owners. Not only is this in the fascia panel, but the clients also requested that the watch had to be wearable, and therefore be able to be removed from the car.

The 43mm Royal Oak Spilt Second Chronograph GMT has been designed to fit perfectly into a clasp that retracts back into the panel when the owners are not wearing it. The Rolls-Royce Coachbuild team worked with Audemars Piguet to colour match the piece as well, ensuring that the very specific red called “True Love”, was incorporated into the timepiece, so when it’s inserted into the fascia, it blends seamlessly with the aesthetic of the car.

The Split Second Chronograph GMT is one of Audemars Piguet Grand Complications, and whilst this particular version is a 43mm piece, developed specifically for the 4 Coachbuild Rolls-Royce Droptails, Audemars Piguet produces a version of this complication in two of it’s exclusive variants. A white ceramic and a black ceramic, both 44mm is size, and both pieces reserved for VIP AP customers, the white being a piece unique.

When the watch is being worn, the cradle has an engraving of the Black Baccara rose, the flower that the La Rose Noire Droptail gets it name and colour from, so the spot in no way looks empty. Another nice touch from Rolls-Royce, but would you expect anything less from them?

Whilst we report on all things watches, we still love our cars, so it would be remiss of us to not mention a few of the mind blowing facts about the Rolls-Royce La Rose Noire Droptail.

• The name La Rose Noire comes from the Black Baccara rose, which is only found in France and was loved by the Mother of the commissioning couple. It has a very unique black and red colour to it’s petals, which is reflected in the car itself.

• So unique is the colour, it took the Rolls-Royce Coachbuild team 150 iterations to create the exact colour specified by the commissioning clients.
• The parquetry woodwork in the car was designed as per the wishes of the client, or as Alex Innes describes it: “The Simple request of the client was to create the impression of floating roses, as if they had been scattered across the interior by hand” This simple request was met and the result is a stunning piece with “True Love” red triangles interspersed into the wood to represent rose petals in a modern form.

• This parquetry comprises of 1603 individual pieces, and is the result of 3 years in design, development and craftsmanship that you see in the final piece in the car.
• Whilst Rolls-Royce doesn’t disclose the price, or what the client’s paid for a car such as La Rose Noire, some have reported it to by upwards of $32M USD, or £25M. However, given this is a completely commissioned build,

For more details, images and descriptions of the Rolls-Royce La Rose Noire, head to Rolls-Roycemotorcars.com

Watch brands, especially Swiss brands are looking into their past more than ever before. The trend of vintage inspired and vintage re-issues isn’t slowing down, and for many watch enthusiasts, this is a good thing. Smaller case sizes, pieces that have legitimate history and designs that are more classic than contemporary, mixing vintage style with modern technology and materials.

So it’s not surprising that many brands now have Heritage Directors, or similar roles with similar descriptions, and these roles are fast becoming some of the most important in the business. The person who is essentially in charge of looking back into the archives, and working out which of these pieces, designs or styles will be the next big hit with watch buyers world wide. It’s both an envious and daunting position!

TAG Heuer is one of these brands. It’s no secret that TAG Heuer has had its share of ups and downs over the years, but in recent years, TAG Heuer has really re-focused its efforts on what it stands for, where it’s future lies and taking lessons from the past. A large part of this is thanks to people like Nicholas Beibuyck – TAG Heuer Global Heritage Director.

Nicholas is one of the most down to earth humans you will meet, and this is quite refreshing in the world of luxury watches. For someone who has a position that is charged with digging into the brand’s history and heritage, looking for cues and inspiration that can help drive the brand forward, Nicholas seems to remain calm, collected and chilled.

Like most of us, Nicholas got into watches as a youth, and his journey with TAG Heuer started long ago, again, not too dissimilar to many of us who first look at getting a nice, Swiss luxury watch. From trying to buy his first Heuer watch at an auction and not winning it, to when he was able to pick up his first piece, TAG Heuer and vintage watches has always had a place in his heart.

Watch Advice sat down with Nicholas for a long talk over several coffees last month, and we got so engrossed in conversation that our interview almost took a back seat. But that is the beauty of this hobby and possibly a testament to the type of guy Nicholas is.

On The Brand

Nicholas is fortunate to have turned his love of watches, and for TAG Heuer into a career. But whilst he has a deep rooted love for the brand, he’s not under any illusions that TAG Heuer hasn’t had its share of challenges. “The fact is 99% of the time when someone walks into one of our boutiques, they’re not saying they want a Heuer or a TAG Heuer, they say I want a TAG, ‘cause that was the brand that was built through the 1990’s and gave us huge, huge visibility, so most people have become familiar with the company since 1990 effectively.”

“So as a result, what you think of is the series 2000, the series 1000 and in the modern times, a bit of Carrera, a bit of Monaco. But you understand that ‘96/’97 relaunch, but you don’t understand what that meant in the historic bit. You might go back and learn about it, and there’s been more story telling around that…But there’s a lot more education to do around this space.”

He goes on to talk about the brand’s potential, and now at this current time in the watch industry TAG Heuer could and should be up there with the likes of Rolex or Omega, and how this inspires him to do the role he does.

“I always said I’d never join a brand, but when you see a brand at the, you know, at the very bottom when it should be compared to the Rolex’s and the Omega’s of the world you feel kind of obligated to come and do something, and that’s the reason I push for projects like Only Watch, some of the future fine watchmaking things that are to come in the future…Also to work with the likes of Carole Kasapi or Edouard Minon, great to have resources like the TAG Heuer Institute, we’ve a really great team internally who have a passion for watch design and development, engineering, production – it’s great, great fun!”

Story telling is also a major part of the watch industry. For many people, the story and the heritage of the brand can give one brand higher perceived credentials over another. It’s one reason people buy a brand, especially if that story is linked with something else a person is passionate about. Asking him about this point regarding TAG Heuer, he agrees and reiterates his previous point.

“I mean the fact is we have so, so many stories to tell, I mean you can see from last night [referencing the TAG Heuer Carrera Heritage Dinner in Melbourne we attended] I spoke for about 30 or 40 minutes, I can speak for hours on any topic, you know, not because it’s something I know particularly well, it’s the fact that we have so many stories to tell, they keep going.”

“The other thing I always say is that watches are a vehicle for education. Things I know around finance, economics, world history, politics this and that, it’s all come from watches. They’re just there as a vehicle for education, to learn about these things. And for us, to position ourselves not only as Heuer or TAG Heuer the brand, but how we fit into the eco-system at that particular moment in time, and how we fit in around the whole global situation at the time. It’s super, super, super important”. Perhaps he’s right.

On The Australian Watch Customer

We in the watch industry can sometimes be somewhat removed from the average watch consumer. As journalists and enthusiasts, we scrutinise brands and watches to the finest detail. However, we often forget that the average watch buyer is just that – buying a watch, usually their only watch to wear each day, and they’re not looking at the ins and outs of the watch, the movement, finishing, what era that vintage throwback is associated with etc. They are buying it because they like the brand, hold it in some sort of esteem and because they simply like the watch.

The newly released TAG Heuer Carrera Skipper and earlier this year, the TAG Heuer Carrera Glassbox are prime examples of this. They were launched to much acclaim at both Watches and Wonders in late March, and the Skipper last month which is based off the Carrera Glassbox platform, similar praise mostly due to the design, style and sizing. We in the watch community love that, but is it what the Australian watch buying public want?

Nicholas weighs in: “It’s a good thing to discuss as at the end of the day what we want to be as a brand, and who we want to be selling to, vs where we have been historically and who we’ve historically sold to are quite far apart. It’s very easy for us to sit around as enthusiasts and say 39mm is the perfect size, but I can tell you the amount of people who walk into the boutique and say I love the watch but it’s too small proves the fact that the critic for the industry plus the enthusiast space is a very small part of the market place!”

“When you look at the Australian public, and look at who’s wearing our watches it’s understandable they’d be interested in something bigger. As an example, we did a workshop with some collectors in Sydney earlier in the week, and yeah a lot of the younger guys were like “39mm is perfect for me” but then there was almost like a generational shift where older guys were “I love 42, I wouldn’t wear anything smaller than that.” So finding this kind of balance is kind of another step we have to get through”

This last point he makes is an interesting one, and one that the industry and the brands within does need to tackle: The critic vs the consumer. Just like a movie that is made to win Academy Awards and hailed by critics is quite often not a huge box office success, the box office blockbuster is a fun filled action flick like The Avengers or Fast & The Furious. Some are made for the enthusiasts, others are made for the wider public!

But Nicholas sees this as an opportunity for TAG Heuer.

“I think we’re in such a unique position as a brand with TAG Heuer we can appeal to a very wide market segment. If you look at the Carrera now, the smallest size is 28, then we go up to a 32, then we go to 36, then we go to 39, then to 42 and up to 44 and 45. So you can see in that stretch from  28 to 45, clearly there’s a massive segment that we can appeal to with that spread, and particularly when you look around the centre – from 36 to 42, so many good options”.

“So for us, to continue to leverage that, and we know there’s a big gap in the Carrera line up that been a hot commodity for a long while, which is the extreme sports with the open worked dial, so that will see a re-emergence in the not too distant future. It means we can have this more classical aesthetic and this more contemporary aesthetic that balance stuff out.”  

A Balancing Act

Mixing classic, vintage, the past and modernity is not easy when it comes to watch design, and blending this with consumer wants and needs then adds another layer of complexity to this. We spoke to Nicholas about this balancing act, and how he and TAG Heuer achieve it.

“The good thing is it’s not binary, it’s very much a sliding scale, many shades of grey between two extreme points, and it’s really about us iterating and considering the design. I mean the number of 3D prints we would do, the number of renders we would do is huge! That’s the bit that no one ever sees, is kind of how the sausage is made.”

“At the end of the day it’s totally subjective. I’m not the oracle deciding what watches to spit out as at the end of the day, if you make watches for one person…I mean it’s not specific to TAG Heuer, but you see watches that were clearly made for one person, because the CEO insisted on it, but they were total commercial failures. As the moment you try to appeal to a very narrow market segment they have very, very limited commercial appeal about it. All you can try and do is create something that has, not say that the brand becomes so diluted it becomes grey porridge, you have to create something with enough character that speaks to who you are as a brand but at the same time, resonate with a very, very broad spectrum of people”

When you think about this, mass, commercial brands do need to address this. Small independents, especially those that are in the high horology market have the luxury to an extent of designing what they want, and due to the watchmaker, like an F.P Journe, or Rexhep Rexhepi,  they can make tens of watches at a high price point and there will be a market for these. When you talk about brands like Omega, Breitling and of course TAG Heuer, this isn’t something they can really entertain. When you’re making hundreds of thousands of watches each year, you need a certain formula that people know and will buy.

“When you get to our end of the spectrum, it’s hundreds of thousands of watches. So, how many people we have to appeal to, and  even engaging with new clients and existing clients to buy more watches from us, that’s a very different conversation to flying around the world, or even inviting people to Switzerland to tell them one specific story vs do a marketing campaign with Ryan Gosling which is seen by 22 million people on YouTube, we’re not even talking about the same industry.”

It’s a complex problem to have. But TAG Heuer seems to have a decent handle on how they can take the words mass and luxury and blend them together, even though to Nicholas’s own admittance, they’re still very much on a learning curve in this area.

“The fact is as a brand we’re still learning to do that in a better way. We were so marketing driven as a company, we were so focused on these big high level sponsorship agreements and ambassadors that actually we didn’t talk about our Savoir Faire, we didn’t talk about our know how, the institute, the lab, the manufacturing side of it. We didn’t communicate about all these topics that make TAG Heuer and the product what it is today.”

Surprisingly, this is one of the main issues we hear about TAG Heuer, and refreshing to hear that TAG themselves understand this and are putting things in place to help rectify this. Talking to Nicholas the night before, he does mention that TAG Heuer have really stripped back their commercial sponsorships and partnerships by somewhere in the realm of 70%-80% and are now looking at how they communicate their story and craftmanship with the watch buying public.

“You can talk about or competitors in our rival group, the fact is they talk about making their own stuff. Well the fact is they have a centralised production facility for a lot of their movements, but we genuinely have, particularly with the TH20 and the Heuer 02, it’s made in Chevenez. We have full flexibility. Yes we work with AMT, Le Joue Perez and Kinissi for three of our movements, but the chronograph is so important to us, that is exclusively for us, that is not for anyone else. And to have these kind of expertise at our disposal is very, very special! “

The Future

Looking at where TAG Heuer is heading, you get sense that they’re on the right course. As a brand, they have some big hurdles to overcome, and a fair bit of negative brand sentiment from staunch watch enthusiasts from their heavy marketing days of the 90’s and 2000’s. But this is a problem they are tackling head on, and as a starting point, they are letting their watches do much of the talking – Breaking new ground with new pieces they’ve never done before and just putting their money where their mouth is, they’re are slowly changing the narrative.

“How we communicate that to a broad market that historically didn’t even care what movement is inside an Aquaracer, that is a big, big shift for us and that’s something that’s going to take a few years to achieve and with Only Watch, we now have this kind of Trojan Horse to break through this space and open it up and prove that we are a legitimate high end watch maker. When you look at the nuts and bolts of what we have as a business it’s just so, so impressive, we just need to open the door a little bit and have that conversation and share that.”   

And when you look at their entry into Only Watch later this year, you can see this in the metal, or the Titanium as it were! The Only Watch Monaco Split-Seconds a first for TAG Heuer – an automatic split-seconds chronograph, one of the most complicated chronograph complications on the market today, housed in a re-designed case inspired by the original 1969 model constructed from texturised Titanium and a fully skeletonised movement made from Titanium as well. This was a piece that was two years in the making, and went through multiple design and prototype phases, developed by TAG Heuer at the TAG Heuer Institute.

“We poured a preposterous amount of resources into the project. It was so much fun! We were very fortunate that we had senior management that were supportive of this passion, you know they could see it. So when it eventually came out and you’re physically holding the piece, they were like this is insanely cool. Even if you don’t understand fine watchmaking, when you hold this watch in your hand, you’re like holy shit, this watch is cool!”

TAG Heuer’s entry to Only Watch is a clear indication of where the brand is heading, a blend of heritage, honouring this and those pieces that made both the Heuer and TAG Heuer brand famous, with both innovation and pushing the envelope on where the brand can head. Nicholas sums this up well:

“We have to be very respectful of, very protective of the legacy of the brand and these icons, so we have to bare that in mind, but at the same time, innovation is in our name – Techniques D’Avant Garde. We are an Avant Garde manufacturer, so we have to balance these things together and that’s really what’s driving us further forward right now.“

“The Only Watch is the perfect example of this, or even the new Glassbox Carrera, we’ve taken all these fantastic codes and foundations we’ve had in the past, whilst integrating the very latest in manufacturing technology. And what we’ve done at the TAG Heuer Institute is blend this in a progressive balance.”

“You look at the Glassbox Carrera, you’ve got the blue, you’ve got the reverse panda. One is more modern, one is contemporary. You look at the Monaco, you can still go out and buy your Steve McQueen look alike, but you can also go out and buy a Titanium skeletonised version as well. So to be able to have this broad spectrum is what is so powerful for us as a brand. And I can genuinely say hand on heart, no other manufacturer can do what we do in that capacity.”

This last point sums it up perfectly for TAG Heuer, and you can see this eventuating over the past few years and with the releases that they are bringing out, like the new Carrera Glassbox, and the newly released Skipper. But this is what the watch enthusiasts want. The general buying public maybe not so much, when you think back to Nicholas’s earlier point. But then this is why TAG Heuer still produce those bigger pieces, and can appeal to this market segment, and maybe why Australian’s gravitate towards the brand more so here than in other countries – they have something for almost everyone.

When you talk to people like Nicholas, who are one of the pivotal people driving the business and brand forward globally, and people like Van Mulryan, GM of TAG Heuer Australia, leading the brand’s charge locally, you get a strong sense that TAG Heuer will keep pushing and evolving for the better. They’re on a long journey, and this is just the start.

As you may know from previous articles we’ve written on Bremont and its founders, Giles and Nick English, you no doubt be aware of their love of aviation, and the reasons for starting up Bremont over 20 years ago. If not, then you can get brought up to speed in our interview with Giles here. So it’s no surprise that when they were designing their H1 series of watches with the Bremont assembled movement (the first for the brand) that one of these pieces had to be a pilots inspired watch.

The Fury was that piece in both a blue and black colourway, designed to be a contemporary take on the classic aviation watch. I first saw this piece in person when I caught up with Giles back in April, and liked what I saw. So needless to say it was one of their pieces that I immediately wanted to put on my wrist to see how it wore and looked as I went about my day to day. When asked which colour I wanted, I was torn, as the black looked nice and classic, but the blue was just something a little different, plus I like blue watches, so this is the variant I put through its paces.

The Design

The Fury as mentioned is a contemporary take on the classic pilot’s watch. This comes through in spades when you first look at it, and Bremont have then given it their unique style with the Trip-Tick® case, now iconic in most of their models and collections. Everything from the hands, to the large onion screw down crown to the leather strap is all aviation in style, so when you’re wearing this, there’s no mistake where the inspiration came from. But, as aviation as it is, Bremont have fused the classic with the modern on this piece.

The dial is perhaps the star when it comes to the Fury. Bremont have given it a wonderfully textured look, that in the light really comes alive and makes the whole watch pop. The blue isn’t an in your face blue either, so it really plays down the watch, which I feel is a benefit as it’s not designed to be overly showy. In low light, it’s subtle and subdued, perfect for evenings out or for more formal occasions as there is little light to catch the texture on the dial. In these situations, it makes it almost look either black or very dark blue and smooth.

Bremont have given the face a little more character with the addition of the power reserve indicator at 6 o’clock. At first, you may think it’s a small seconds sub-dial, but then you realise it’s the power reserve indicator, letting you know just how much of the 65 hours of fuel you have left. It is a nice touch, and moving the watch around, or winding the crown and seeing it power up was a bit of a novelty.

The hour markers and numerals are printed onto the dial, and are highly legible due to the bright white contrasting on the dark blue dial. However, most of these are not lumed, so this was one area I felt that Bremont could have improved upon. Instead, the triangle at 12 o’clock, and markers at 3, 6 and 9 are lumed in blue Super-LumiNova®, and the Fury has small lumed indicators on the very outer track of the dial in between. The hands are well lumed however, so checking the time at night isn’t too bad as you instinctively know how far past the hour it is at every 15 minute interval.

The case is Bremont’s Trip-Tick® design, meaning the case is built in three parts, with the middle part being a PVD treated case barrel, giving the watch less of a dress or formal look. This is something you don’t normally see everyday on dress or sports watches, and something unique to Bremont. It does give the watch more character when you contrast the black with the rest of the case’s high polish, which is also a part of it’s appeal.

Whilst this is one way is a benefit, I also felt it left me wondering is this more of a dress watch or a sports watch? Could I wear this to dinner or with a suit, or would this be better suited to everyday casual attire? Maybe this is just a personal idiosyncrasy of mine, but I did struggle to work this out. Giles says this is designed to go from the beach to the boardroom, to be dressed up or down, and maybe I tend to agree here. It’s not quite sports or dress, it’s somewhere in between and almost a chameleon watch of sorts.

Continuing on this train of thought, the leather strap does accentuate the pilot’s styling on the Fury. The blue leather with white stitching does match the dial perfectly, and allows this piece to be worn in multiple occasions without the need to change it. However, there were two small things that did bug me slightly. The blue strap seems to have less texturing than the black variant, and whilst it’s a nicely designed and made strap, part of me wanted some more character. The other thing I felt was having a rubber strap as standard to go with this piece would alleviate my prior concerns on where the Fury sat in terms of dress or sports. The leather isn’t really designed for water, even though you get 100m water resistance and a screw down crown on the watch, so a blue rubber strap would go along way to really make this a highly versatile piece.

How It Wears

For me, the Fury is almost a perfectly proportion watch. At 40mm in diameter, just under 13mm thick at 12.9mm and with a lug to lug of 49mm, it sits pretty well on my wrist, which is around 17cm in circumference in winter. The taper of the lugs helps with this as they angle down allowing the strap to sit flush with the wrist and not flare out any. This also helps to position the watch on the wrist too, and if worn snug but not tight, means you don’t get a lot of movement on the wrist like you can with some watches on leather.

The leather strap is fairly comfortable, and was pretty flexible and not too stiff at all in the bottom half. I’ve said on numerous occasions that new leather straps shouldn’t be too stiff, even when brand new. This all comes down to the type of leather used, and how the strap is made and if it’s a single layer, dual layer, how much bolstering there is in the upper strap etc. I feel that Bremont have struck the right balance with this, having a decent amount of bolstering at the top where the strap joins the lugs, but then tappers and thins out, allowing the leather to give around the wrist, making it comfortable from first wear.

After wearing the Fury for a couple of weeks, the issue I raised earlier – is it better dressed up or down still wasn’t resolved, so I did wear this with more casual clothes on the daily basis, but also dressed up in a suit to see how it would look on the wrist, fit under a shirt and jacket cuff etc. The watch does sit nicely under a standard dress shirt and jacket, so no issues there on sizing, but I did feel the blue lent itself to less formal occasions. The black would most likely pair better with a suit or for more formal occasions, but would also dress down just as easily too I feel. Perhaps something to consider here when considering a purchase.

Dressed down, you do get a sense you’re being a little more classy with the Fury on. It’s a different style to a steel sports watch, and a piece you would wear to make it look like you’ve gone to some effort. Admittedly, wearing the Fury with a t-shirt and jeans, or a Polo shirt and a nice pair of shorts does dress your outfit up a little, and when I think about scenarios in which would be perfect to wear it, an afternoon in the sun having drinks with friends at trendy outdoor bar, or a nice lunch with your partner or friends comes to mind.

The Movement

Bremont have equipped the Fury with their ENG300 series movement, now all assembled in house at The Wing. Bremont have been making the ENG300 since 2021 after bringing a majority of the manufacturing process in house and the firm’s in-house technical team has re-engineered 80% of the base calibre, including making a number of design improvements, in order to build a proprietary movement to the brand’s unique specification.

Inside the Fury is the ENG365 calibre. You can see this through the sapphire case back, and Bremont have done a great job with the finishing and look when you consider the price point. They’ve added in a skeletonised tungsten rotor that is rhodium plated, so it shows off the movement with the gold plated bridge clearly. Bremont have also used a combination of fine brushing, striping and graining on the movement, so there’s plenty to admire when it’s off the wrist.

The ENG365 calibre is an automatic movement with a 65 hour power reserve – meaning you’ve got almost 3 days worth in the tank, more than enough if this is your daily wearer or you’re wearing it several times a week. The ENG365 powers up quickly too. I found that when you wind the crown or move the watch around to increase the power reserve, it does so fairly quickly. The 65 hours is pretty on the mark as well. I wore this around and had the watch at full power and let it run down strategically to check on the accuracy of this and it had just over 65 hours by my measure.

As with all Bremont watches, the movement is manufactured to be chronometer standard, but Bremont takes their H1 series further with their own in-house H1 Timing Standard. According to Bremont, this is is directly comparable to the ISO3159: 2009 Chronometer test but is then tested with the movement fully assembled and rotor attached to ensure it’s accuracy and performance in real life conditions. Testing the accuracy whilst having the watch, it ran to approximately +3 seconds per day over a week with normal daily wear, falling within the Chronometer rating easily.

Final Thoughts

The Bremont Fury was a good watch to wear and test on the daily basis. This being the first piece I’ve had from the brand to really get hands on with, and wear like I do every other watch, I have to say, it stood up to my lifestyle perfectly. It’s a nice wearing watch, that can be worn in a variety of circumstances and whilst I had it, enjoyed wearing it.

The dial was probably my favourite aspect of the watch, and being a watch photographer, I loved taking pics of the watch and capturing the texture on the dial. It is one of the more photogenic pieces I’ve had the pleasure of wearing this year, and I had fun taking pics for both the review and just for the fun of it.

The only downside of testing it out in Winter is that I wasn’t outdoors as much as I am in the warmer months, so I can’t comment on how this would go at the beach and pool. However talking to Bremont, you can get a rubber strap that you can fit so it’s more readily a sports watch for outdoor use, so if you’re considering this watch, then consider adding a rubber strap as well that you can change out for the warmer months.

Overall, the Bremont Fury is a great option for those wanting an aviation or pilot’s inspired watch, especially if you’re after a piece with the feel of a pilot’s watch without being too hardcore pilot’s. It a good everyday watch that you can dress up or down, or maybe it dresses you up or down depending on what you’re wearing. At AUD $9,750 it represents decent value for money based on my experience with it, compared to other pilot’s watches on the market, like IWC or Breitling or Zenith to name a few which are all now over $10,000 for many of their pieces in the aviation style. For those that are looking for something a little different, and a well made and engineered British watch, then the Fury may just be right for you!

Reference: Bremont Fury Blue

Specification

• Case: 40mm, 12.9mm thick and 49mm lug to lug
• Case Material: Polished Stainless Steel Bremont Trip-Tick® case construction with scratch resistant PVD treated case barrel.
• Dial: Grained metal dial with white printed Arabic numerals. Markers at 3, 9 & 12 Hour position printed with Super-LumiNova® (Blue emission).
• Crystal: Domed anti-reflective, scratch resistant sapphire crystal.
• Water Resistance: 100m (10ATM)
• Movement: Bremont 11 1/2’’’ ENG365, pivoting on 22 Jewels with a Silicon escape wheel, free sprung hair spring with inertia weight timed balance and KIF shock protection and beating at 25,200bph (3.5Hz). H1 Timing Standard Certified
• Power Reserve: 65 hours
• Strap: Blue leather strap with polished stainless steel pin buckle.

Availability: Available through Bremont’s Collins Street Boutique in Melbourne, Hardy Brothers in Sydney and Brisbane and online at Bremont.com

Australian Recommended Retail Price: AUD $9,750