This site uses cookies to help us customise your experience. Learn more about our Cookie Notice.


Thursday January 25 2007 / MB&F


Gimmo Etro founded Etro in 1968. It is a real family affair with all four of his children working there: Jacopo
(fabrics division and Home collection), Kean (men's collection), Ippolito (Finance) and Veronica (women's collection).


The primary purpose of the Etro/MB&F bag is to carry the Horological Machine No1 Wenge presentation case; however, it is of course to be used as the owner wishes! We chose a variety of high-end fabrics (pin-stripe, herringbone and flannel) to symbolize the gathering of all the Friends. The black and purple leather trim adds a touch of playfullness which fits the philosophies of both brands. A discreet plaque inside says it all in three words: Etro for MB&F.


This hand-crafted bag will be only delivered with the Horological Machine No1 and, like the watch, only 100 pieces will be crafted over the next three years.

I enjoy using my bag every day!

Etro's website is very well designed to give you a good feel for the company and we have included an amazing video clip of Kean Etro explaining Etro's philosophy in 2003 while he is dressing... and undressing ! It is a fun video (in Italian) well worth looking at.

etro video<%image(|||)%>
Please click here for the video for PC or here for a QuickTime file

Maximilian Büsser

Saturday December 16 2006 / Horology

Yes, this is the real thing! Romain not only designed and developed his own beautiful and innovative mechanical movement, he also machined practically all of the parts himself working nights and week-ends on borrowed CNC machines.


And did I mention that at only 31 years old, Romain is now taking on the watchmaking world with the introduction of his own brand? What he may lack (at present) in commercial, marketing and PR connections, he more than makes up for with vision, drive, talent, passion and having his feet planted firmly on solid "Vallée de Joux" ground.

Every year a smattering of new watch brands appear... and, as quickly, disappear. Most are simply opportunistic business ventures with no soul.


What Romain Gauthier has already achieved is remarkable and speaks for itself; this is what high-end horology should be about. To discover more about this remarkable young man, please click here to read Ian Skellern's article on Romain and his first wristwatch collection.

Maximilian Büsser

Sunday November 26 2006 / Science & Technology

A couple of months later, Tony invited me over to see and try out the car for myself and I just couldn’t resist. I jumped onto a plane and drove up to Warwickshire to learn more about their operation and their cars.

While in the world of watchmaking it is still (just) possible to innovate and sustain a brand with relatively little means and much talent, this scenario has long disappeared in the world of motoring. Practically all small independent car-makers have gone bankrupt or were forced to sell out to major conglomerates.

Blue Marcos

The prohibitive costs of homologation, security and technology are practically impossible to sustain without humongous investments. Today, virtually only a handful of rebel entrepreneurs are still bold enough to dare the system, and practically all of them are in the UK: Ascari, Noble, TVR and Marcos. Names many of you may never have heard of; however, names capable of creating some of the most thrilling driving machines in the world.

Inside Marcos

So, when a young successful entrepreneur like Tony Stelliga decides to not only reinvest a large part of his recently made fortune, but also to dedicate his life into reinventing Marcos, we might all salute.

For more information about Marcos, please visit their website

For an interesting New York Times article on Marcos, please click on the image below to download the pdf file.


Maximilian Büsser

Sunday November 26 2006 / Art & Design


Vidya Gastaldon

My girlfriend told me about a young artist she had just discovered with elation in her voice so I was most interested to learn more about her. That is how my relation with Vidya Gastaldon began.

What struck me when I first discovered Vidya’s work was its prodigious imaginary dimension. I was nearly overwhelmed with emotion when I realised the depth of talent in her work.

We acquired some of Vidya’s oeuvre, in order to live daily with the worlds she suggests and to give them time to reveal themselves in their own time. My enthusiasm grew and grew; it is the sort of artistic work which discloses its many facets when one takes the time to contemplate it over slowly.

Vidya Roue Karmique

Due to the choice of the media used, the light plasticity seen is inversely proportional to the strength emanating from Vidya’s work. That is what makes it a real artistic gem. The best way I can define her art is elegance; when the characteristics of elegance are delicacy, coherence and simplicity.


Coherence does not only exist as an intrinsic part Vidya' art, but also between her personality and her work. It is this that gives the latter its great sincerity.


I cannot say here what this work brings me: that is far too intimate. I can only recommend that you take the time to look at Vidya's art for yourself. Let it fill you and reveal itself.

Here are a few of Vidya's favourite quotes:

Chaque mouvement particulier était une variante du mouvement universel; chaque forme, le symbole du rapport que noue avec le cosmos l'être que cette forme définit. Le même mouvement se répercutait comme l'écho du Fiat Primordial a travers la multitude innombrable des formes. Et ce mouvement était la pulsation de cet effluve dont le nom humain était joie. Charles Duits " le pays de l'éclairement "

La plupart des gens qui cherchent l'expression de soi sont en réalité absorbés par l'intérêt pour soi. L'artiste célèbre ou non, appartient à cette catégorie. C'est le soi qui est cause de la fragmentation. Quand le soi est absent, il y a perception. La perception est action, et c'est cela la beauté. je suis certain que le sculpteur qui a sculpté Mahesta Murti a Elephanta l'a crée par sa méditation.
Avant que vous ne mettiez la main a une pierre ou a un poême, l'état doit être celui de la méditation. L'inspiration ne doit pas venir du "je".
La beauté, c'est l'abandon total du soi, et avec l'absence totale du soi, il y a "cela". Nous, nous essayons de saisir "cela" sans l'absence du soi; dés lors, la création devient une chose vulgaire.
Krishnamurti " Tradition et Révolution" 29 dec 1970.

"All things are ready, if our minds be so. "King Henry V" William Shakespeare


For more information please check out