This week, Audemars Piguet released the Royal Oak Perpetual Calendar Openworked limited edition (reference 26585CM.OO.D301VE.01) in collaboration with Cactus Jack, a music label founded by artist Travis Scott. The Cactus Jack "takeover" of Audemars Piguet's NYC Boutique. It was in this space that the most recent collaboration was released. The timepiece is priced at $201,000 with a 41mm case in brown ceramic. There are various bold design elements at play in this timepiece. For example, the "stitchmarks" on the moonphase complication are an embellishment that evokes the Cactus Jack "Smiley Face" emblem (they're also reminiscent of the animated character Jack Skellington in Tim Burton's movie A Nightmare Before Christmas ). The dial of the AP X Cactus Jack collaboration, note the "smiley face" moonphase and the handwritten style of dial typography. An additional distinguishing design element is the dial's typography. It h
Over the past two days I've heard rumblings of a somewhat unprecedented event when it comes to watch auctions. A screengrab Instagram stories and a WatchPro forum discussion revealed that a Christies auction in Geneva started an hour late. The auction in question involved timepieces from a single owner: consignor Mohammed Zaman. When bidding began, the reserve price for watch lots was reset at a higher level, spreading confusion among participants. Hodinkee's Tony Traina has a pretty good discussion of the controversy which includes official statements from Christie's. (Note to readers: this post is a little light on imagery because the material below deals with some fundamental finance issues). I'd like to translate the "Christie's surprise" from the language of the auction world to the language of finance. Yes, you may now point back to my prior post about how watches are too often treated like financial instruments when they are not. But in thi