Conventional watch-snob wisdom – usually based on little more than photos somebody posted to the internet – says that the Girard-Perregaux Laureato looks like the Audemars Piguet Royal Oak and Patek Phillipe Nautilus had a baby.

But I’ve seen the baby. I’ve tried the baby on. And I can tell you that I do not share this sentiment.

The Girard-Perregaux Laureato watch, like all watches, deserves to be judged on its own merits.
The Laureato was born in 1975, three years after the Royal Oak and one year before the Nautilus. Let’s call the Laureato “Stainless Steel with Integrated Bracelet Icon Watch Number Two.” (I would turn that into an acronym but SSIBIWNT is never gonna stick.) For context, let’s recall that the IWC Ingenieur was released in 1976 and the Vacheron 222 followed in 1977. Now that we have placed all of the heavy hitters on a timeline, it’s obvious to see that these timepieces (three of which were designed by Genta) were all made in the same trend bubble.

As HODINKEE’s new Style Editor, I am here to tell you that this is very normal behavior not only in the fashion world, but also in the broader design field. It’s standard for existing products to be variations on a theme, in dialogue with one another, and in this way the bulbous steel sports watch is to the 1970s what the dad sneaker is to the 2020s. They all look the same and, simultaneously, not. It’s the same in watches. You don’t see anybody calling out AP for using exposed screws on the bezel, a design feature that started way back in the beginning of the 20th century with the Cartier Santos Dumont.
If we look to the runway as a comparison, I could name 10 brands off the top of my head that copied Yves Saint Laurent, and nobody would even bother chastizing them because those designers are talented in their own right – they’re simply iterating. It’s human nature to look to the cultural zeitgeist for inspiration, but callout culture is par for the course in 2022. You may or may not be familiar with the Instagram account @dietprada; its entire raison d’être is to call out brands for “plagiarizing” other people’s work and ideas, it has 3.2 million followers. One might say that certain WIS comments sections serve this purpose in our world.

In any case, skeptics should remember that Girard-Perregaux Laureato made waves way back in 1971 for the GP-350 Caliber, the quartz movement that set the universal market standard for frequency, which is a pretty big feat. The GP-350 was the caliber used in the very first iteration of the Laureato, a feature that set the watch apart from the other SSIBI watches. The quartz movement also made it possible for GP to create a super slimline case. The 1975 Laureato had a very thin profile and even thinner integrated bracelet; it was the predecessor for many ultrathin quartz (and later mechanical) watches, a category I like to call “The Skinny Legends.”
Back to the new model, ref. 81010 in green, which in my mind is a serious contender in the luxury sports watch category. Even though it has a 42mm case, it sits extremely comfortably on my six-inch wrist. The shape of the lugs are super angular and they taper into the bracelet nicely, which makes the watch appear smaller than the dimensions would suggest. The H-link bracelet also tapers nicely and features a double folding clasp. The green ‘Clous de Paris’ dial certainly stands out on this model, but what appeals to me more is the contrast between the color of the dial and the black PVD-treated, baton-style hands and hour markers with thick strips of white lume. It’s reminiscent of freshly painted white lines on a grass tennis court – how British of me!

The Girard-Perregaux Laureato dial is framed with a contrasting black flange which echoes the shape of the circular disc behind the bezel; this seems to soften the harder lines of the octagonal shape. The case and bracelet, like many watches of this variety, have juxtaposing polished and satin-finished surfaces. There is a sapphire crystal caseback allowing you to admire the finishings on the in-house GP01800 movement, which is nice if you, like me, find holding your watch up to the light to admire the oscillating rotor to be a soothing activity.
The Laureato was conceived during a period of great optimism in design. It was a time for experimentation and self-expression; aesthetic trends ranged from high-tech architecture to Op-Art-inspired supergraphics. Design across clothing, homeware, and jewelry was all about soft geometric shapes and curved edges. It was bold and playful. So is this watch.

My real interest in GP started with the infamous Casquette, which was released in 1971 and then re-released earlier this year. At the time of its release, the Casquette was every bit a symbol of futurism and has since become a symbol of ’70s watch design. If there’s one thing Girard-Perregaux knows how to do, it’s shapes. And if I look closely at the most recently released series of Laureatos, the ever so slightly domed sapphire crystal makes me think of the windows in Pierre Cardin’s bubble houses. But maybe I’m just a ’70s nostalgia freak.
Put in straightforward terms, the Girard-Perregaux Laureato green is a legit steel sports watch with a surprising value proposition. While the green-dial version comes in at $14,300, which is rather spendy, it’s still considerably less money than anything comparable from the Holy Trinity. You’ll also have a much easier time getting hold of one, and you won’t be afraid to wear it while indulging in your your deepest Saturday Night Fever disco fantasy.

GIRARD-PERREGAUX Laureato 38 mm Copper Diamond Bezel

Afew weeks ago, we got to attend an event with our friends at Girard-Perregaux and go hands-on with some incredible upcoming pieces. You’ll see them all in due time, but the first release of the bunch brings a small change to an existing platform: the Girard-Perregaux Laureato 38mm Copper Diamond Bezel . The Laureato 38mm is the midsize of the brand’s signature integrated bracelet model, currently only available with a copper dial or in the infinite green of the Aston Martin LE. New for 2024, the Girard-Perregaux Laureato 38mm Copper Diamond Bezel sees the Copper model’s bezel carved out and set with an array of diamonds in different sizes.
The new diamond-set Laureato takes its cues from one of the early quartz chronometer Laureatos of the late 1970s, seen above. That two-tone model looks downright chintzy compared to the modern incarnation, but it serves as an excellent reference when the two are placed side by side. The new model is built on the Laureato 38mm Copper and is exactly the same except for the diamonds. With that in mind, I encourage you to head over to our hands-on review of the Copper model, as this review will only give a brief overview, instead focusing on what’s new (the diamonds). The case on the new model remains 38mm wide and 10mm thick. Water resistance is still 100m. You still get the octagon-on-circle bezel. The bracelet is still integrated and there’s still a combination of brushed and polished finishing. The dial is still that copper tone with the Clous de Paris pattern and the gold GP logo and seconds hand. That entire package worked well when it was first released, and it works well here, too. No surprises. Except for the diamonds! The octagonal layer of the bezel is now set with 56 diamonds totaling around .90ct. Unlike the original model, the diamonds continue all the way around the bezel instead of being interrupted by beading. It’s a far more refined use of gems than the original but still comes off a bit like a piece of vintage or even costume jewelry (perhaps baguette-cut gems are the way to my heart). To my eye, there’s always been something dated about pavé-set diamonds. There are other reasons I don’t think this implementation quite works. The texture created by the diamonds clashes a bit with that of the dial, and I wasn’t ever exactly sure which should be grabbing my attention. Looking the other way, the polishing of the lower bezel detracts from the diamonds’ sparkle, as you have two reflective surfaces competing for your attention, instead of the eye being drawn to just the diamonds. Perhaps brushing the top and leaving the side polished would have resolved the issue while still creating separation from the main case. The movement also remains the same: the in-house automatic caliber GP03300-2034. It gets a 46-hour power reserve at 28,800 vph and features basic finishing like striping, perlage, and blued screws, along with an 18k pink-gold rotor. Again, no surprises and no complaints.
I don’t think enough thought was given here. The Girard-Perregaux Laureato 38mm Copper Diamond Bezel already have diamond-set bezels, and one wonders what the impetus was to add them to this model. This would’ve been a great opportunity to introduce a new dial that is attractive but lets the diamonds stand out, perhaps borrowing one of the sunray motifs from the Absolute or Eternity models. Or one could lean the other way and completely cover the dial with diamonds (and maybe even the center links on the bracelet). As it is, I was left a bit unsure about the execution, confused as to whether it needed more or less.

Girard-Perregaux Laureato Green Ceramic Aston Martin Edition

The Aston Martin Formula One team has turned it around for the 2023 season. The F1 car is operating at a consistent pace, only surpassed by current champions, Oracle Red Bull Racing. That’s also considering that one of its drivers, Lance Stroll, broke his wrists two weeks before the inaugural race, and the other driver, Fernando Alonso is now in his forties. Maintaining a fitness and focus level this far into an F1 career is a challenge, but Alonso still managed a podium position at the first race in Bahrain. This upward spike in popularity and support for the Aston Martin F1 team has undoubtedly raised the profile of its timekeeping sponsor Girard-Perregaux. To kick the season off, GP unveiled new Laureato models with a full-ceramic bracelet and case in 38mm and 42mm diameters.
This year marks Girard-Perregaux’s third consecutive season as a timekeeping sponsor for the Aston Martin Formula One team. Coincidentally, it’s also Aston Martin’s third year competing in the top echelon of motorsports. However, the team has been around since the ‘90s, initially under the Jordan Grand Prix marque. The team still bases itself trackside at Silverstone, Britain’s famous race circuit. But rebranding to Aston Martin provides a cachet to the team thanks to the prestige and heritage of Aston Martin’s road cars. With the performance gains over the winter break, Aston Martin looks particularly punchy if testing and the first race are anything to go by, so Girard-Perregaux is keen to showcase its new Laureato Green Ceramic.
This is the first time that Girard-Perregaux has used the Laureato three-hander for an Aston Martin collaboration. Previously, GP unleashed its iconic Three Bridges model, limited to 18 pieces, which was perhaps too high-end for the partnership. During its launch, I even stated, “That’s why with the announcement that Girard-Perregaux was striking a deal with Aston Martin, my mind immediately conjured the sporty Laureato.” GP soon followed the Three Bridges with two Laureato timepieces, the Chronograph and Absolute Chronograph editions. Both watches feature the Aston Martin signature cross-hatch across the dial, seen on the seat stitching of classic Aston Martin cars. The same goes for the new Laureato with an entirely ceramic green case and bracelet.
GP chose ceramic as the material is very long-lasting and scratch resistant. Ceramic is also lightweight and used in motorsports as brake discs due to the high-temperature tolerances. Despite the delicacy of machining the material, GP still applies distinct finishes, from satin brushing on the top surfaces to polishing the edges and accents. Achieving the trademark British racing green was another challenge, which GP workshopped through various metal oxides to accomplish the specific hue. The color symbolizes Britain’s racing pedigree and is part of Aston Martin’s heritage. The story of the British racing green began at the birth of motor racing. Typically, nations raced in their flag colors, but motor racing was illegal in England. The English instead went to Ireland to go racing. Once the ban was lifted, the green became a symbol of gratitude to Ireland’s emerald isle.
Another nod to Aston Martin’s branding is the subtly integrated “side-strike” on the central seconds counterbalance. This grille is a crucial detail from the DB4, DB5, and DB6 classic cars to modern-day vehicles. The Laureato is considered the hero watch of Girard-Perregaux, and forming an all-green ceramic Aston Martin edition solidifies the partnership between the icons of each industry. Whether green is your thing or not, the execution across the length of the watch showcases the dual branding most overtly thus far. While the F1 team appears prominently in the marketing thanks to its emerging performance, the watch celebrates Aston Martin, including the automotive division. It’s also great to see Girard-Perregaux satisfying all wrist sizes with a 38mm and 42mm option.
The limitation of 388 pieces for the 42mm version is slightly higher than that of 38mm model due to the more considerable popularity. But don’t sleep on the latter, which is a very wearable size and even more limited at 188 pieces. The 42mm version uses the manufacture GP01800 movement, which is visible via the sapphire case back with Aston Martin’s logo laser-etched onto the glass. The oscillating rotor provides automatic winding, with the caliber operating at 28,800vph and offering 54 hours of power reserve. The 38mm uses caliber GP03300 with a slightly lower reserve at 46 hours but the same beat frequency.

Girard-Perregaux La Esmeralda Tourbillon “A Secret” Eternity Edition

Girard-Perregaux, the prestigious Maison from Girard-Perregaux La Chaux de Fonds has a long history of making tourbillons and other expressions of Haute Horlogerie. Recently, the Manufacture unveiled its La Esmeralda Tourbillon “A Secret” Eternity Edition, a watch that combines the brand’s legendary three gold bridges with an array of artistic crafts. Join the US-based journalist, Meehna Goldsmith, as she explores the composition of this remarkable creation. For its 230th anniversary, Girard-Perregaux pulled out all the stops with the creation of the La Esmeralda Tourbillon “A Secret” Eternity Edition. To understand this piece of wrist art, we need to delve into the brand’s history. In 1867, Constant Girard proved his prowess in chronometry by winning first prize at the Observatoire of Neuchâtel competition for his pocket watch outfitted with a tourbillon, detent escapement and three nickel silver bridges. He presented this same watch at the ‘Exposition Universelle’ held in Paris the same year, where the watch was awarded a medal. The three bridge construction, which is both a functional and artistic element, has been passed down as a defining characteristic. When you see those three horizontal bridges on a watch, you can immediately identify it as a Girard-Perregaux.

Girard took the model of his award-winning pocket watch to showcase precision as well as artistry for the ‘Exposition Universelle’ in 1889. This time he housed the movement with a tourbillon and detent escapement in a lustrous pink gold 56mm case with three gold bridges to match. In addition, the case featured intricate engraving by Fritz Kundert. After winning a diploma and gold medal at the Exposition, Girard decided to sell the award-winning piece through a jewellery retailer with stores called ‘La Esmeralda’ located in Paris and Mexico. The pocket watch caught the eye of Mexican president Porfirio Diaz (1830-1915) who purchased it. La Esmeralda stayed in the Diaz family until 1970 when Girard-Perregaux acquired the acclaimed pocket watch for its museum. To recognise and honour its roots, Girard-Perregaux released the Girard-Perregaux La Esmeralda Tourbillon “A Secret” Eternity Edition in November of 2021. Doffing its hat to the original, this 21st century rendition offers a modern interpretation that exhibits the brand’s array of talents.

When you first lay eyes on her, La Esmeralda Tourbillon “A Secret” Eternity Edition is a lot to take in. (Let’s call her the LETASEE for short.) Although there’s an overwhelming feast of detail, it’s one where you’d be missing out if you didn’t take a seat at the table. Like its predecessor, LETASEE uses pink gold as a motif for its 43mm case and bridges. And wow, those bridges! Over the years, the three bridges have evolved to become more refined and used as a platform to demonstrate finishing finesse. Here you’ll find a particular treat. Usually, bevelling is rounded or flat and done at a 45° angle. In this case, Girard-Perregaux has created a concave bevel that plays delightful tricks in the light: the shade of the gold changes and sometimes the surface will appear convex, offering an added dimension for the eyes. And then there are the sinewy horses, sculpted to depict them in motion. They are incorporated as part of the bridges anchoring the tourbillon and winding barrel. As magnificent as they are, what possessed Girard-Perregaux to choose horses instead of say penguins or giraffes? The answer (somewhat) lies on the back case of the 1889 La Esmeralda, where there are horses engraved. Still, the reason for why they appear on the original remains a mystery. The barrel and mainplate offer up the artistry of traditionally applied guilloché patterns, applied by an artisan operating a lathe. Thereafter, they are dressed in Grand Feu enamel, providing a wonderful contrast with the pink-gold, dauphine-type hour and minute hands journeying around the dial. Not to be outdone, the case is elaborately engraved with a leaf motif in a bow to Kundert. You see the rich blue on the side and flanks? That’s enamelling also, which carries over to the back cover of the watch, along with the equine theme. Enamel outside the dial is practically unheard of, but Girard-Perregaux expands the canvas for this technique. Nice thinking out of the box, or, in this case, the circle. As for the movement, pressing the pusher on the crown opens a “secret” cover that reveals the in-house produced calibre GP09600-1506, impeccably decorated, and that’s saying a lot coming from my admittedly critical eye. The pink gold motif continues with the motion-work bridge and marking plate, whose finishing reflects the shape of the Gold Bridges. While Girard-Perregaux puts on display its virtuosity with handiwork, it also wants you to know its cutting edge technical capabilities. Indeed, an example can be seen with the mainplate, which is milled to incredibly small tolerances with a CNC machine. Girard-Perregaux isn’t usually mentioned in the same breath as Vacheron Constantin, A. Lange & Sohne or Greubel Forsey. With Girard-Perregaux La Esmeralda Tourbillon “A Secret” Eternity Edition, the brand makes a strong statement that it belongs on the same podium. Perhaps the watch might even reveal the mystery of the horses to its owners.

Girard-Perregaux Laureato 42mm

This is the Girard-Perregaux Laureato 42 Automatic. And it’s something of a unicorn. By which I mean it’s a luxury steel sports watch. On an integrated steel bracelet. From a reputable brand. With decent heritage. But which the internet is not losing its mind about. As a result, it actually trades at below retail on the secondary market. Not by much mind you. Still, you can see how it might be more attractive than paying over four times retail for a competitor. But does it deliver the same bang for your buck? Let’s get into it and find out if the Girard-Perregaux Laureato 42 actually is a great buy.
Like all good luxury steel sports watches, the Girard-Perregaux Laureato 42 traces its origins to the 1970s. 1975 to be specific. Three years after Gerald Genta and Audermars Piguet created the genre-defining Royal Oak. As I’m sure you’re already aware, Genta was also responsible for the design of the Patek Nautilus. Although that came out the year after the Laureato. As did the Vacheron Constantin 222, which was the work of a young Jorg Hysek.
A celebrated watch designer wasn’t behind the design of the Laureato though. Instead, Girard-Perregaux chose to work with a Milanese architect for the design. That’s not a knock mind you. It’s clear he did a fantastic job. But I do wonder if this in some way impacts collectors’ perceptions of the Laureato. The name of which was suggested by GP’s Italian distributor. It translates to the Graduate in English. Someone was a Mike Nichols/Dustin Hoffman fan it seems.

The case design is at once familiar yet unique. And very fitting for the period. There’s the combination of octagonal and round shapes for the bezel. The slim case profile. And of course, the integrated bracelet. But what sets the Laureato apart is the way the sides of the octagon slope down. And the clever use of convex and concave surfaces. It makes everything look more, well, architectural. Genta drew inspiration from old-fashioned diving helmets for his creations. GP’s architect meanwhile looked to the dome of the famed Florence Cathedral.
There’s something else that set the Laureato apart from its peers at the time though. And which may go part way to explaining why it’s not viewed in the same light today. While AP et al all opted for slim mechanical movements, GP chose to debut a new quartz movement instead. But not any old quartz movement. The new Calibre 705. An in-house developed chronometer that was progressive for its time. Something that could deliver both accuracy and reliability in a slim package.
It may surprise you to learn that GP played an important role in developing quartz movements. In 1971, the company released the GP-350. The first movement to have a quartz crystal vibrating at 32,768 Hz. The frequency that would go on to become the industry standard. At the time, its accuracy was without parallel. One minute’s error per year!
Viewed in that light, the choice of quartz movement makes a lot more sense. This sleek and modern timekeeper was popular with the younger crowd it was targeting. Much like the Rolex Datejust OysterQuartz that followed two years later. And so, it was almost 20 years before GP decided to add in a mechanical movement. The new (at the time) manufacture calibre 3000. As part of this upgrade, GP redesigned the case of Laureato. It needed to be bigger to accommodate the new movement, albeit with a slimmer profile. To keep everything in proportion the bezel was also made thicker. And the links of the integrated bracelet took on the “H” shape we see on the current model.

Further iterations would follow with GP changing the case and movement again in 2003. It got even bigger – 44mm – and introduced a strip of rubber in-between the case and the bezel. Akin to the Royal Oak Offshore. But evidently it never found its mark and GP ceased production on the Laureato a short while later.
After a long hiatus, it seems GP was ready to reintroduce the world to the Laureato once again. But the brand wasn’t sure how the market would receive it. So, it devised a clever ploy. The year 2016 marked GP’s 225th anniversary (!!). The perfect opportunity to debut several special models to mark the occasion. Among them was the Laureato Ref 81000. A limited edition of 225 pieces in each of two dial colours (blue and silver).

This new model did not pick up where things left off back in the mid-2000s with the EVO3 though. Instead it marked a welcome and refreshing return to something resembling the original. Smaller case (41mm). Slimmer profile (10.1mm). And attractive if plain dials with a lovely clous de Paris (hobnail) pattern. This was much more in the vein of the luxury steel sports watch we’re used to.
Inside was the GP caliber 3300-0030. A decent, in-house self-winding movement delivering a 46 hour power reserve. Although at 25.6mm in diameter it must have been swimming in the 41mm case. There was also the issue of price. At US$14,300, this limited edition Laureato was venturing into Royal Oak territory. (At that time, at least!) A bold bid by GP but one that the watch itself couldn’t quite back up. There was also the small matter of the GP 1966 40mm Automatic in steel.

GP had debuted that watch a year earlier. A clean and attractive dress watch on a leather strap or matching bracelet. So, why does that matter to the Laureato? Well, the 1966 used the exact same movement and offered the same functionality. But it cost US$8,200 on a bracelet. There’s no doubt the case of the Laureato was more complex. And it was a special edition. But watch enthusiasts still had a hard time swallowing the $6k price difference.

This wasn’t a crash and burn situation so to speak. Far from it as the model definitely got people’s attention. But there were lessons to learn. And credit to GP for paying attention to the feedback. Rather than mothballing the Laureato again, they went back to the drawing board.
The next year, GP launched the Laureato as a full collection. Among the new models was the Laureato 42 Automatic. A subtle evolution of the anniversary edition. The case gets a little bigger at 42mm. And was available in steel, titanium and titanium/pink gold. Although GP later changed to steel only. And added a full black ceramic version. It also got a new movement in the form of the upgraded GP01800-0008 automatic. Not only did it do a better job of filling the case, but it also increased the power reserve to 54 hours.
In the eyes of collectors, the Girard-Perregaux Laureato 42 suffers from something of an identity crisis. As does GP as a whole for that matter. Patek and AP and the like tend to keep their classic luxury steel sports watches very uniform. For the most part, there is a clear thread carried through from each model’s origin until today. GP meanwhile has opted to go more for the Hublot approach. Meaning lots of variation on the same theme. Hi-tech case materials. And a hearty helping of ‘special’ editions. It doesn’t help as well that GP couldn’t seem to get the formula right in the past. Meaning lots of evolutions of the collection over the years. Not all of it pretty.
There’s nothing wrong with a bit of variety, of course. And there’s nothing that says GP has to follow the traditional blueprint for integrated steel sports watches from the ’70s. That said, it does mean the Girard-Perregaux Laureato 42 will never get the title of a collectible watch. Does that matter? Depends on what you’re looking for, I suppose. Is it a great watch? With an interesting and well-executed design? From an integrated manufacturer with serious history and a top reputation for quality? The answer is yes, yes and yes!

A lot of people still sleep on GP because the brand has not marketed itself as well as its competitors. Its pricing has sometimes – ok, a lot of the time – been a little out of kilter. And it’s made some made poor decisions in the past about product mix and design. Regardless, they still know how to make high-quality watches. And well-regarded in-house movements.

So, let’s put the mixed (troubled?) past of the Laureato aside for the moment. Instead, we’ll judge it only on its merits today. (What a novel concept!) What you get is a stylish, well-constructed luxury steel sports. With a manufacture movement. And an integrated steel bracelet. For around US$10k. Assuming you buy on the secondary market. Or get a discount from your AD. And make no mistake, you can actually buy this watch. There are no ridiculous waiting lists. Or insane premium pricing. Those things alone are worth giving the Laureato a second look. Aside from the fact that it’s also a pretty decent watch in its own right.

Girard-Perregaux Laureato Absolute

The inaugural version of the Girard-Perregaux Laureato was released in 1975. From the outset, it embraced a new, highly original design language. Indeed, the masterful play with shapes, such as juxtaposing the octagonal bezel with circular forms and straight lines, infused the model with a distinctly sporty appearance, albeit with a sizeable quotient of elegance. With the advent of the Laureato, a legend was born.

In 2019, Girard-Perregaux Laureato Absolute released three contemporary novelties, with a very familiar look, forming what is now known as the Laureato Absolute sub-family. Each version was an evolution of the original Laureato, albeit with an overtly muscular torso and presented in a shade of brooding black. The models were suited to an adventurous lifestyle, manifest with their impressive water resistance of 300 metres. Now, the Manufacture has continued to develop the Laureato Absolute offering, releasing the Laureato Absolute Gold Fever. Once again, Girard-Perregaux has combined two seemingly disparate elements, day-to-day practicality with deliciously decadent pink gold components.
Often a watch is sporty or elegant, but seldom both. However, the Laureato of 1975 set aside this notion with its distinctive and legendary appearance. Indeed, Girard-Perregaux has always had a remarkable capacity for uniting two contrasting characteristics. The Laureato Absolute Gold Fever blends bold styling and practicality with a useful chronograph complication and luxurious touches of pink gold.

Measuring 44mm in diameter, the Grade 5 titanium case proffers much wrist presence but with a welcome absence of mass. The case is suffused with black PVD and encompasses a blend of straight and circular satin finished surfaces along with polished edges. Unusually for a watch that is not dedicated to diving, the model has an impressive water resistance of 300 metres. The caseback is secured with six screws and engraved with the Laureato Absolute logo, a characteristic found on the first models launched in 2019.
Consistent with several other Girard-Perregaux Laureato Absolute models, the Gold Fever incorporates a sandwich dial. Where many watches have indexes applied upon the main dial membrane, the dial on this watch adopts a more unusual approach. The black upper dial has cut-out baton-shaped indexes and subdials, affording sight of a lower plate formed from 18K pink gold. By adopting this design, the dial masterfully plays with depths, augmenting visual interest while at the same time delivering impressive readability. The use of 18K pink gold extends to the hour and minute hands as well as the applied GP logo and the three counters gracing the dial.

Currently celebrating its 230th anniversary, Girard-Perregaux is a company rich in history. However, it has never shied away from exploring cutting-edge technology. In this instance, the Manufacture has endowed the Laureato Absolute Gold Fever with an innovative high-tech rubber strap, made of Girard-Perregaux Rubber Alloy suffused with pink gold for the first time. Made from FKM rubber, the strap is injected with 18K pink gold and features a fabric effect appearance. Consistent with the company’s no-compromise attitude, the FKM rubber delivers greater suppleness and resistance than conventional rubber. Moreover, the specification of the strap with its addition of noble metal bestows a sumptuous look and tactility. Similar to the Laureato of 1975, the strap affixed to this model is integrated, smoothly flowing into the case. The strap is fitted with a titanium folding clasp equipped with a micro-adjustment system which allows the wearer to fine tune the size, thereby granting the perfect ergonomic fit.
Patrick Pruniaux, CEO of Girard-Perregaux, remarks, “The Laureato Absolute Gold Fever wonderfully showcases a marriage of materials and plays with depths to deliver a sublime combination. Furthermore, by working with Revolution and The Rake, we are extending our innovative spirit to the distribution of our products, what’s more, directly to their audience of connaisseurs that is clearly “in the know”. We have known Wei Koh, the founder of both platforms, for a number of years and he was an obvious choice for this partnership.”

Wei Koh, founder of Revolution & The Rake, added, “My Laureato Crystal Rock has made me into a Laureato convert, and I immediately asked the Girard-Perregaux team to let me know of any other cool launches they might have planned. That’s when they approached me about a collaboration on their latest model, the Laureato Absolute Gold Fever. What I like about it is the dynamic contrast to the 44mm blacked-out titanium case represented by the very targeted use of pink gold. The GP logo, the hands, the indexes and the counters are all 18K pink gold, and the dial’s multi-level sandwich construction creates a really nice sense of depth. And while, in absolute terms, this is not a lot of gold, the overall effect is one that endows the Gold Fever with a kind of louche, seductive opulence.”

The Girard-Perregaux Laureato Absolute Gold Fever is a limited edition of 188 pieces and will be sold exclusively by Revolution and The Rake on their respective e-commerce platforms as of 15 November 2021 for a period of two months. Thereafter, the model will be available in all authorised Girard­ Perregaux retailers and on the brand’s e-commerce site.

Girard-Perregaux Laureato Automatic

Watch collectors had been awaiting its return. After a lengthy hiatus, which saw almost 30 different references, Girard-Perregaux Laureato Automatic finally brought the Laureato back into its collection in 2017. It had already made its comeback one year earlier with various limited editions commemorating Girard-Perregaux’s 225th anniversary. One of the latest models to join the family is this blue-dialed take on the fourth-generation Laureato, which we recently had the opportunity to spend some wrist time with. A look back leads to the 1970s, a decade when the watch industry was responding to a demand for sporty and elegant timepieces that had a distinctive aesthetic and could be worn for every occasion. Girard-Perregaux Laureato Automatic commissioned a Milanese architect to design the Laureato, which translates as the “graduate.” He placed an octagonal component atop a ring, thus joining a polygon and a circle. To create specific reflections of light, the sides of the octagon traced gently flowing lines rather than sharply defined edges, combined with convex and concave surfaces. The fluid transition from the case to the integrated metal bracelet followed both the taste of the time and the transformation in watch technology that Girard- Perregaux celebrated inside the Laureato in 1975: the first appearance of an uncommonly slim and compact quartz movement. This caliber defined the international standard with a frequency of 32,768 Hz. So it’s no surprise that quartz watches belong to the current Laureato collection.

Nor is it surprising to hear some sharp-tongued rogues mutter that the Laureato’s latest incarnation looks even more like Audemars Piguet’s Royal Oak, which Gérald Genta designed in 1972. With a brawny bezel and visible screws, Genta’s brainchild borrows some details from an old-fashioned diving helmet. With this timekeeping creation, the famed Swiss designer with Italian roots transformed the watch world at a time when the Milanese architect likewise followed the zeitgeist and sketched his own designs for Girard-Perregaux Laureato Automatic , which are more reminiscent of the dome atop a Florentine cathedral. The Laureato underwent its first revision in 1984. It encased a mechanical movement for the first time in 1995, when manufacture Caliber 3000 began ticking inside its case. The Laureato EVO2 was larger, its bezel broader and the links of its integrated stainless-steel bracelet shaped like the letter “H,” as are their counterparts on our contemporary test model. The case, which was formerly only available in stainless steel, now also comes in a titanium and gold version. The traditional stainless-steel bracelet is still available, but rubber straps and leather wristbands have been introduced as alternatives. In 1998, the legendary “Tourbillon Under Three Bridges” appeared in a Laureato model, proving that Girard-Perregaux’s unconventional mechanism is sturdy enough for use in a high-complication watch.

The third-generation Laureato, the EVO3, was available as a chronograph and with complications. Its lines have become gentler when compared to their counterparts on the EVO2. The interplay between satin-finished and polished elements can be seen in both the stainless-steel bracelet and the butterfly clasp with push-button closure. For the first time, the octagonal bezel is satin finished on top, while its sides and its underlying ring have a high-gloss finish. The case’s compact middle piece is brushed matte all the way to the points where it transitions into the wristband. Glossy finishing shines on the screwed back, which has a window of sapphire crystal. All these characteristics, including the case’s pressure resistance to 10 bar (100 meters), likewise distinguish our test watch, the fourth-generation Laureato. It updates its ancestors’ genetic code with a somewhat narrower bezel and a case with a slightly more angular middle piece and finely polished steps, thus assuring that this Laureato preserves its identity.

Despite the undeniably large diameter (42 mm) of its stainless-steel body, the Laureato Automatic is a mere 11 mm tall. This thinness assures that this sporty timepiece can be worn under the close-fitting cuff of a dress shirt when it accompanies its wearer on an evening at the theater. And that’s not all: The gentle lines of the case and the softly flowing feel of the linked bracelet make the Laureato a sporty and elegant companion to wear on many diverse occasions. The model is available with three different dial colors: silver, slate gray and blue, whereby the last-mentioned color, which characterizes the dial on our test watch, marks an unexpectedly long-lasting trend. The dial is decorated with a waffle-like clous de Paris pattern composed of numerous tiny pyramids, all neatly arranged in regular rank and file order. At first glance, this admittedly leads one to suspect that the Laureato has come a bit closer to the Royal Oak. But appearances are deceiving: this clous de Paris pattern is significantly different from the petite tapisserie embellishment on Audemars Piguet’s dials. Raised, luminous, hour appliqués and large, baton-shaped, glow-in-the-dark hands enhance the Laureato’s charm as a sports watch and simultaneously guarantee good legibility under all lighting conditions. The only blemish: the easy-to-read date display at 3 o’clock is black, a hue that doesn’t entirely harmonize with the blue dial. The date can be quickly reset by pulling out the well-screwed-down crown, which is easy to grasp, to its middle position and giving it a little twist. The crown’s styling emphasizes the Laureato’s character as a sports watch. But beware: even if you have observed the six-hour curfew before and after you rapidly reset the date, the date display sometimes jumps to show a wrong number when you pull the crown into its hand-setting position. Moreover, a bit of unwanted play is also noticeable in the seconds hand when the crown is in this extracted position for precise adjustment of the hands. Fortunately, this little wiggle doesn’t interfere with to-the-second time setting because the seconds hand races back to its zero position as soon as the crown is released, but the phenomenon is nonetheless unusual.

The time display is powered by automatic manufacture Caliber GP01800-0008, which has only been on the market since 2017 and is celebrating its debut inside the 42-mm models of the Laureato collection. The intention here is obvious: Caliber GP01800-0008 is 30 mm in diameter, more than 6 mm larger than the basic movement in the GP3000 series, so it fits well inside these new and larger watch models. The GP3000 was installed inside 36-mm cases when it premiered in the 1990s. And for a short time, it seemed like it almost lost itself in the Sea Hawk’s spacious 44-mm case. It is indeed a lovely sight to peer through the window of sapphire crystal, which six screws securely hold on the back of the 42-mm Laureato, and see how completely Caliber GP01800-0008 fills the interior of the case. The movement’s styling is essentially in accord with Girard-Perregaux Laureato Automatic characteristic attributes, but its design differs in a few noteworthy details. Although the rotor is ball borne, it adheres to the brand’s philosophy and winds the mainspring in only one direction of rotation (counterclockwise). The large barrel looks very handsome under a bridge of its own. A Triovis system is no longer used to finely adjust the balance: it has been replaced by an index system with an eccentric screw. This caliber was designed, fabricated and assembled in its traditional and meticulously crafted versions entirely on the brand’s premises.

As such, it delivers well-balanced and reliable performance inside the Laureato. When fully wound, it gained 3.6 seconds per day on our timing machine and 4.7 seconds per day on the wrist. All in all, these are commendable statistics for a luxury timepiece, assuming that one important number is generously overlooked: namely, the high price that Girard-Perregaux asks for this three-handed watch.

Girard-Perregaux Tourbillon with Three Gold Bridges Ruby Heart

Girard-Perregaux unveiled the Tourbillon with Girard-Perregaux Three Gold Bridges Ruby Heart that is inspired by the union of a Swiss watchmaker from the 19th century Constant Girard and his wife Marie Perregaux. The watch features an 18-carat pink gold case, and a dial carved from a ruby heart. Limited to 3 pieces, it is embellished with numerous precious stones.
Constant Girard’s most famous watch, the Girard-Perregaux Three Gold Bridges Ruby Heart , is still fabricated today in modern versions by the Swiss watch manufacturer, Girard-Perregaux. This year, the company introduced a new chapter in the brand’s story, the Tourbillon with Three Gold Bridges Ruby Heart. Its dial is carved from a ruby heart, a natural material formed within the center of a zoisite stone. Carefully selected for its quality and appearance, the ruby heart is cut into thin plates, shaped, and polished to the desired thickness.
To suit the new watch, the Girard-Perregaux Three Gold Bridges Ruby Heart were reshaped. Each bridge is hand-finished and hand-polished. They sit beneath dauphine-type hour and minute hands. The upper bridge, located at 12 o’clock, straddles the barrel, itself decorated with a hand-engraved white gold disc. Located beneath the central bridge, the wearer can see the hour wheel. The final bridge, positioned at the base of the dial, spans the tourbillon. Upholding Girard-Perregaux tradition, the tourbillon features a lyre-shaped tourbillon cage that includes 79 components and weighs only 0.3g. The low mass of the cage mitigates power consumption, contributing to the model’s impressive power reserve of at least 50 hours. A blued steel hand is affixed to the tourbillon cage and serves as a small seconds display.
The Calibre GP09600-1620 is a self-winding movement using a micro-rotor located behind the barrel. Each part is polished, chamfered, and carved out by hand to 1/100mm (the average diameter of a human hair) according to the finest traditions in watchmaking.
Formed of 18-carat pink gold, the case measures 38mm in diameter. The bezel and upper lug surfaces are set with 56 brilliant-cut diamonds ~1,25 cts. The bezel is decorated with 18 brilliant-cut rubies ~0.36 ct which are positioned adjacent to the red alligator strap. The watch is affixed to the wrist with a folding buckle presented in pink gold and set with 18 brilliant-cut diamonds ~0.20 cts. The crown is fitted with a cabochon formed of polished ruby heart.

Girard Perregaux Laureato Chronograph Aston Martin Edition

The partnership first revealed in early 2021, and indeed, genuine friendship formed between Girard-Perregaux and Aston Martin has led to the creation of a new timepiece, the   Girard Perregaux Laureato Chronograph Aston Martin Edition . Its styling masterfully plays with shapes, textures, and light, tailored to those who appreciate luxury and performance. Collectively, the two companies have over 330 years of amassed know-how, something that is evident when appraising both firms’ creations. However, while they respect their heritage, they share a resolutely forward-thinking outlook.

Back in the early 1900s, various colours were assigned to racing cars to distinguish the different nationalities of the teams. As a result, French cars were presented in blue, Italian cars were famously red, Belgian cars were yellow, German cars were silver, and British cars were dressed in British Racing Green. As a British marque, Aston Martin adopted green as its racing colour with the most famous example being the Aston Martin DBR1 that won the 24 Hours of Le Mans in 1959. From that car to the modern day Formula 1

 car, Aston Martin’s racing colour has remained green.

The   Girard Perregaux Laureato Chronograph Aston Martin Edition  is the latest creation from Girard-Perregaux, made in collaboration with Aston Martin. Its dial is suffused with a delightfully decadent application of what is now known as “Aston Martin Green”, achieved by painstakingly applying paint twenty-one times to the dial, forming seven distinct layers of paint as a result. The automotive influences also encompass cross-hatching, a diamond-like pattern first seen with the ultra-luxury car manufacturer’s ‘AM’ logo (1921 – 1926). This motif was also inspired by the quilted seats found in the British brand’s numerous high-performance sports cars.

Patrick Pruniaux, CEO of Girard-Perregaux, said, ‘Our Manufacture has a long history of collaborations, beginning with our founder Jean-François Bautte who brought different “établisseurs” together under one roof, effectively creating one of the first Manufactures as we know them today.  Not only has our partnership with Aston Martin yielded two exceptional timepieces, it is indeed a meeting of the minds and marks the beginnings of a true friendship between both brands and our teams. The Laureato Chronograph Aston Martin Edition is evidence of that mutual understanding and shared philosophy.’

Marek Reichman, Aston Martin Executive Vice President and Chief Creative Officer, added: ‘As Aston Martin and Girard-Perregaux strengthen our partnership, the same is happening with our common design ethos, geared towards discreet luxury. Evidence of it continues to appear in subtle touches throughout the watch, for instance, in its partially openworked hour and minute hands, which have been purposely designed to evoke thoughts of racing cars, eschewing extraneous material to deliver superior performance. Likewise, the central chronograph seconds hand features a counterweight that resembles the sides strakes first seen on the 1958 Aston Martin DB4.’
Three counters grace the dial, two chronograph registers and a small seconds display. Each counter features a partially openworked hand, perpetuating the design of the hour and minute hands. The central section of each counter is snailed. A date display is positioned at 04:30, completing the inventory of functions.

Sporting an octagonal bezel, the profile of this model honours the watch brand’s iconic Laureato of 1975. Upholding Girard-Perregaux’s design philosophy, the case masterfully plays with different shapes. Moreover, the numerous curves, facets and lines, along with satin-finished and polished edges, collaborate, delivering a wonderful play with light.

A pane of sapphire crystal, positioned to the rear of the watch, affords sight of the automatic, Manufacture movement, the Calibre GP03300-0141, marking the first time a Laureato Chronograph features an open caseback. This movement, based on the highly regarded Calibre GP03300, is endowed with Côtes de Genève, in both circular and straight forms, polished sinks, thermally blued screws and perlage. The movement also bears the eagle emblem, signifying it is an in-house calibre.

The watch is housed in a 42mm 904L stainless steel case. This particular grade of steel is less common than 316L and is costlier, the relative benefits of which include superior corrosion resistance, improved scratch resistance and a much brighter, luxurious appearance. The use of 904L stainless steel extends to the bracelet which is enriched with a satin brushed finish.

When appraising the composition of the   Girard Perregaux Laureato Chronograph Aston Martin Edition , its profile encompasses different shapes, finishes and hues. Its design delivers functionality and beauty. Furthermore, it celebrates the past while simultaneously embracing the future. It is this approach that resonates with both companies, reinforcing the rationale for the ongoing alliance between the two prestigious marques.

The Girard Perregaux Laureato Chronograph Aston Martin Edition, a limited edition of 188 pieces, is immediately available worldwide in all authorised Girard-Perregaux retailers.

Girard-Perregaux Tourbillon with Three Flying Bridges

In 1867, Girard-Perregaux unveiled the ‘Tourbillon with Three Gold Bridges’ and an icon was born. Unusually, the bridges, three functional parts typically hidden from view, were made an aesthetic element. By taking this decision, the Manufacture became known for making the invisible visible. This approach has been employed on several subsequent Girard-Perregaux models. With the advent of the new Girard-Perregaux Tourbillon with Three Flying Bridges with Three Flying Bridges, the Maison perpetuates this design philosophy but with a few fascinating twists along the way.

This year marks the 230th anniversary of Girard-Perregaux Tourbillon with Three Flying Bridges . As part of its celebrations, the Manufacture is revisiting its iconic models and releasing a number of new creations, often infused with a dose of modernity. The Tourbillon with Three Flying Bridges is endowed with three Neo Bridges formed of pink gold, the first time all three Neo bridges have been made from this noble metal. Interestingly, after releasing the Free bridge in 2020, the release of the new Tourbillon with Three Flying Bridges will be the final subfamily to join the company’s Bridges collection.
The Girard-Perregaux Tourbillon with Three Flying Bridges not only support the geartrain, barrel and tourbillon, they also act as the mainplate. The result is that the bridges appear to float in mid-air, seemingly untouched by gravity. This unusual construction required the Maison to affix the indexes to the flange which in turn is attached to the case.

The upper and lower surfaces of the pink gold bridges are dressed in black PVD coating. They are the very antithesis of conspicuous consumption. Only the slim, vertical flanks of each bridge are exposed, providing a clue to their noble composition. Indeed, the bridges can be described as ‘super discreet luxury’ where only those in the know are aware of their precious nature. Each bridge is painstakingly chamfered by hand using a small piece of boxwood, a technique employed for hundreds of years. It takes a time-served artisan one full day to achieve a perfect finish. While the Tourbillon with Three Flying Bridges appears contemporary, it still upholds many of the traditional techniques synonymous with Haute Horlogerie.
Patrick Pruniaux, CEO of Girard-Perregaux, remarks, “We wanted to create a watch that provides a bridge to our past but also demonstrates our vision for the future. It draws on the talents of our artisans and watchmakers, pairing traditional methods with innovative techniques. The Tourbillon with Three Flying Bridges embraces three-dimensional architecture, allowing the wearer to see many parts typically hidden away. Since its inception, Girard-Perregaux has made the invisible visible, something I expect it will continue to do for the next 230 years. However, where our team has chosen to add a slight twist is by making the bridges from gold and then shrouding them in black PVD, save for their sides. It seems wonderfully indulgent, a trait synonymous with luxury, that will remain a secret to most people, except for those in the know.”

A notable characteristic of this timepiece is that it plays with three dimensional forms, positioning various dial elements at different heights, a characteristic shared in common with some of the world’s finest architectural structures. Despite its complexity, the dial remains clean, uncluttered and simple to read, with the barrel, gear train and tourbillon arranged along a north-south axis. The barrel is positioned in the upper portion of the dial and sits above a white gold micro-rotor, harnessing energy from the motion of the wearer’s wrist. The vertical sides of the rotor are engraved with the watch’s model name, a subtle detail which perfectly demonstrates the Manufacture’s obsession with the minutiae.
The tourbillon is positioned to the base of the dial. Its cage is lyre-shaped, a historical design dating back to the 19th century, albeit in this instance it is made of ultra-modern Grade 5 titanium. A blued hand on the cage rotates 360° every minute and serves as a small seconds display. The tourbillon cage is comprised of 79 components and weighs a mere 0.25 grams. This remarkably low mass mitigates energy consumption, thereby contributing to the movement’s impressive power-reserve of 60 hours (minimum).

The sapphire crystal, positioned atop the dial, has gently sloping sides that curve downwards to the outer edge of the case middle, hence the model eschews a conventional bezel. To achieve this eye­ catching aesthetic, it takes between four to five times more material than a regular sapphire crystal. It also necessitates much expertise to polish the crystal box to a flawless conclusion. Surprisingly, having expended much effort making this upper sapphire crystal, the time-served craftsperson has to repeat the exercise and make a similar crystal box to shroud the underside of the watch head. By equipping the Tourbillon with Three Flying Bridges with upper and lower crystal box sapphire crystals, the Manufacture has imbued the model with a harmonious degree of symmetry.

The Tourbillon with Three Flying Bridges is immediately available worldwide in all authorised Girard­ Perregaux retailers.
To commemorate its 230th anniversary Girard-Perregaux is announcing a new take on its well-regarded “Three Bridges” movement architecture. This week, during Geneva Watch Days, the brand released the new 18k rose gold 44mm Tourbillon With Three Flying Bridges – a futuristic take on a Victorian-era invention.
The three bridges have been a mainstay for the brand since the mid to late 19th century. GP was effectively the first brand to pluck the bridges from obscurity (they are generally a hidden component of the overall movement) and make them a spotlight design feature. Late 1800’s iterations of the three-bridges had them made from platinum. The brand has used all manner of precious metals in the past, but for the first time, all three bridges on the front are fashioned from pink gold – with the upper and lower surfaces coated in black PVD (the three bridges on the back are PVD coated titanium).
Aside from the the literal function the bridges provide in supporting the gear train, barrel, and tourbillon, they also act as the mainplate which is where the touches of futurism come into play. Each of the bridges achieve a level of optical illusion as they appear to be floating freely. Adding to the space-age aesthetic are the markers, which are attached to the flange (outer dial) which, in turn, is affixed to the case.

The tourbillon is positioned toward the bottom of the dial in a lyre-shaped cage featuring a blued hand that moves in a 360 degree rotation, thereby acting as a small seconds indicator.