Loupe. Issue 22. Summer 2021.

The magazine of Christopher Ward Issue 22. Summer 2021

Produced in collaboration with Blue Marine Foundation (BLUE)

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Contents

Loupe.

Features

The magazine of Christopher Ward

Welcome to a slightly different edition of Loupe, which I’ve had the great pleasure to guest-edit. Connection is something that humanity has struggled to maintain during these last, the most challenging of years.

But the thing that connects us all, globally and in perpetuity, is the ocean.

Covering 70 percent of the world’s surface it has always fed and transported us, but only now are we waking up to the fact it sustains the very fabric of our existence.

Put more simply, it supports life on earth as we know it.

In this issue we explore its role in mitigating against climate change as well as highlighting some of the devastating impact humans – particularly the commercial fishing industry – are having on it.

For if we save the ocean, it will in turn, save us.

Charles Clover, co-founder and executive director, Blue Marine Foundation

The clock’s ticking With the 26th United Nations climate change conference (COP26) scheduled for November in Glasgow, and with time running out for the world to avoid the worst consequences of global warming, we felt an urgent need to do our bit by bringing attention to what seems like a pivotal moment in our planet’s future.

With the two feature watches for this 22nd edition of Loupe, the C60 #tide and C60 Anthropocene GMT, already having strong sustainability links, it struck us that we could focus the entire magazine on the environment and asked our friends at Blue Marine Foundation (BLUE) if they would edit and contribute to this issue.

Under the expert guidance of BMF’s founder and executive director, Charles Clover, our two teams have created a magazine that exceeds anything we could have hoped for.

Informed, compelling and sometimes disturbing, if this issue of Loupe helps any of us redouble our own sustainability efforts it will have succeeded.

Mike & Peter

Guest Editor: Charles Clover Editor: Helen McCall Art Director: Jamie Gallagher Designer: Sam Burn Photography: Peter Canning

12 – 17

Paradise lost

Plastic pollution and FADs are choking the remote paradise of Aldabra Atoll. We talk to April Burt who co-leads the team tackling the problem

18 – 27

Tide time

Swiss company #tide upcycles ocean-bound plastic waste – with a social conscience – and CW has found new applications in the new C60 #tide

28 – 33

Carbon and the sea

34 – 37

O-pinion A bounty of reviews from the BLUE and CW teams in this issue, ranging from wild salmon to iPad painting.

Polar gear

38 – 43

New CW Challenger Tom Hicks shares his north-bound ambitions – and the icy new C60 Anthropocene GMT

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12 — 17

Tide time

18 — 27

Carbon and the sea

28 — 33

Regulars 6 – 11

45 – 50

The Brief

Insight What we do and why we do it.

Sustainability in watchmaking is examined by new Loupe columnist and veteran watch aficionado Ken Kessler, while we strike a pose with Madonna’s watch collection

We go cycling with new Challenger James Hayden, sneak a peek at the drawing board and get killer stats from a new report on the British watch industry. Plus: recycled component art

Contributors

Charles Clover is the co-founder and executive director of Blue Marine Foundation (BLUE). He made his name as an author and environmental journalist, writing principally for The Sunday Times and The Telegraph for which he was

1 Park St, Maidenhead, Berkshire SL6 1SL

Paradise lost

Our planet’s greatest carbon sink is on the ocean floor. Loupe 22’s guest editor, Charles Clover of BLUE, raises our awareness

Charles Clover

Cover: C60 #tide

christopherward.com

environment editor for 22 years.

His book The End Of The Line and the award-winning documentary film that it inspired raised overfishing as a global problem and was the driving force behind BLUE’s inception 10 years ago.

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Anthony Teasdale

Ken Kessler

Tony is Christopher Ward’s senior copywriter – responsible for the brand’s communications. In this issue he writes about Madonna’s long-time love affair with watches.

A horological expert for over 40 years, Ken Kessler has written for Revolution, GQ, Esquire, FT, The Telegraph and over 100 other newspapers and magazines.

State of the nation

Sweet charity CW has donated a one-off C60 Trident GMT prototype watch to raise funds for the epilepsy charity Dravet’s Syndrome UK (DSUK). Christopher Ward Enthusiasts (CWE) Facebook group admin Mark Humphreys raffled the watch on a livestream via the CWE page. “The syndrome and the charity mean a lot to us as a family and any awareness for others is definitely a positive,” said Mark. The ‘one of one’ prototype, which was 38mm with a red bezel, was raffled for those affected by Dravet syndrome, a rare neurological condition that encompasses treatmentresistant epilepsy, intellectual disability and a spectrum of associated conditions.

News, reports and innovations.

This issue: A new watch, a new challenger and more from The Alliance of British Clock and Watchmakers

New to

Helen Evans of DSUK said, “The money you raised will help us fund much-needed research with Great Ormond Street Hospital, to raise awareness and improve understanding of the condition among clinicians, and provide support to families with seizure monitors and so much more.

Many thanks from everyone here at DSUK.” Great work, Mark!

For more: dravet.org.uk

Here’s one he made earlier

TV chef Matt Tebbutt is now a proud owner of a blue-dialled C60 Trident Bronze and was spotted wearing it to host the live cook-along show Saturday Kitchen. The watch was identified by watch-spotters on the Christopher Ward Forum, as one of a collection worn on the show, alongside a TAG Heuer Monaco and others. The sand-, or was it meringue-?, coloured Le Creuset cookware didn’t escape scrutiny, either.

The C60 Sapphire Orange continues the success of the ever-popular C60 Sapphire, lending a third colourway to the range. In the great tradition of orange dive watches started by Doxa in the 1960s, it’s a hot dive watch for cool summer adventures.

Available now at christopherward.com from £795 / $950 / €995

For more: britishwatchmakers.com

ccc

For more: christopherwardforum.com

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The Alliance of British Clock and Watchmakers has released its first ‘bellwether’ report on the UK watch industry, the first time such a comprehensive study has ever been undertaken. KPMG, the firm tasked with compiling the report, spoke to more than 50 brand members of the Alliance to gather data about the size and nature of the resurgent British watch sector.

“What’s particularly encouraging is that we can see a sector with enormous, as yet untapped, potential,” said Alistair Audsley, director of the Alliance. The report discovered over 100 British businesses currently making over one million watches (and clocks) per year, as part of a £100m+ sector. “That’s a great – and eerily symmetrical – statistic, isn’t it?” said Alistair.

“The real work begins now to look behind the numbers and decide on the best way forward to achieve our original objectives – growing our market, building supply chain and creating jobs,” Roger Smith OBE, chair of the Alliance, agreed.

“Above all, the quality of information is so important and I’m particularly grateful for so many of our trade members taking the time and effort to complete such an indepth survey. This first bellwether for British watch - and clock - making is a great foundation on which we can all hopefully work together to build our future."

The Alliance also hosts a series of events for brands and club members alike.

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Drawing board

There’s a new, two-wheeled member of the Christopher Ward Challenger programme. James Hayden is an ultra-endurance cyclist who races in some of the most inhospitable conditions on earth. In May, he took part in the Highland Trail 550, a bike-packing race covering 550 miles of Scotland’s most rugged and remote terrain.

He finished third, with a provisional time of 3 days, 18 hours and 58 minutes. James aims to be the fastest, best ultra-endurance cyclist out there – and has a busy year ahead, with lots of races in pursuit of his goal. CW will be supporting him every step – or crank – of the way.

For more: christopherward.com/cwchallengers.html

Esther Evans is a 16-year-old artist who uses old, broken, watch components to hand-craft ornate and unique animal designs, and has recently begun a new series of artworks using Christopher Ward parts. Esther will be studying engineering at university while launching her art business and selling her pieces online. “We have sent Esther some broken and spare watch parts for her sculptures,” says Andrew Henry, technical manager at Christopher Ward. “Recycling parts helps us to be more sustainable, and it helps provide Esther with the materials she needs to create her artworks.”

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Christopher Ward’s watch designers are an enigmatic bunch.

One minute they’re sharing a coffee with you in the staff kitchen; the next, they’ve disappeared into their studio to work on the next grand projet. Recently, they’ve been acting more mysteriously than ever. Which can only mean one thing: exciting plans are afoot.

The same spirit can be found in this as-yet-unnamed timepiece. But what makes the watch unique is the combination of haute-horlogerie design and boundarypushing movement modification. A modification that will add a (literal) note of wonder whenever the watch is worn, and sound as good as it looks. If this ‘chimes’ with you – well, you’re on the right track.

With a release sometime in late 2022 pencilled in, there’s a long way to go. Sketches are at the most rudimentary level (and details are, well, sketchy), but the goal is to create a calibre modification that will delight both eyes and ears.

For too long, the audio element of timekeeping has been the preserve of the digital giants and the esteemed horologists of yesteryear.

We think it’s time contemporary watchmaking made a play for your ears as well.

And doesn’t that sound good?

The general gist is this: teams in Maidenhead and Biel have begun proprietary work on a watch aimed squarely at ultra-discerning horologists. A watch that will not only stop you dead in your tracks with its beauty. But make your ears prick up, too (more of this in a minute).

While much of Christopher Ward’s recent output has been centred around sports and diving watches, they're still devoted to traditional horology, and the possibilities it offers. In the past, this has materialised in the ‘JJ calibres’ – a series of bespoke watches powered by ingenious modified movements.

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Insider

Insider

With CW logistics manager, Matt Thomas

If you’ve recently received a package ‘incoming’ from Christopher Ward, it will have passed through Matt’s hands. Here, he gives us the Insider’s view…

The sound of obsession At Christopher Ward our designers are a little, well, obsessive. Take the C60 Trident Pro 600 as proof. So determined were the design team in England to get the ‘click’ of the rotating dive bezel just right, they secretly recorded other brands’ bezels for reference. Then sent the recordings to our ingenious Swiss engineers – and told them to do their best. The result is a bezel with a click that beats all other brands, bar one: Rolex. Next time, we’ll go one better.

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christopherward.com

Hi, Matt. What first brought you into the watch industry?

Before injuries got the better of me, I was a full-time, professional rugby player for Wasps and England – still, it doesn’t stop me playing whenever I can!

I spent three years in Australia where I picked up new logistics skills in businesses.

I’ve always had a love for watches, so when a role came up to work in the industry, I jumped on it.

I began as a stock controller at Bremont and worked my way up, doing all sorts of training courses, from Lean Six Sigma (an organisational method) to forklift driving. After five years, I was ready for a change and moved to Christopher Ward.

Smooth operations

What’s your role now?

I’m CW’s logistics manager. The move to the company has been great for me – I’m continuously learning and developing, but I’m also passing my experiences on to my new department. One of the most rewarding bits of my job is developing processes: the operational side of how watches are handled and moved in, out and around the business is fascinating.

Where are you planning to be in five years’ time?

I see myself evolving my skills and knowledge in the watch industry and hopefully developing into a head of operations role.

Where do you think the watch sector will be then?

I think it will continue to grow. It would be great to see some more of the smaller micro brands break through and develop. As demand for home delivery soars, logistics and operations departments will continue to be central to business growth. Bringing in new and correct stock management processes will always be a vital part of the overall running of the operational part of any retail business.

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What kind of challenges can you see coming up?

With my consumer hat on, we always want something different don’t we? But it has to be affordable. CW is leading from the front on this. Development and growth are the goals but keeping the brand’s authenticity is vital, too. In operations, it’s a challenge keeping up to date with the latest technology but it’s imperative.

Who are your ‘ones to watch’? What’s the most exciting thing happening in the industry right now?

I do like the concept of a luxury digital watch – Hublot has developed one called the ‘Big Bang E’ which I like. The line between digital and mechanical is beginning to blur, and watches will be created for multi-purpose use. Saying that, every watch brand is on its own path, creating new and exciting things all the time, so it’s hard for me to pin down the most exciting!

Hi-tech waste

The remote Aldabra Atoll is a haven for wildlife that’s rapidly disappearing under a tide of plastic pollution from industrial fishing.

Can solutions be found before paradise is lost?

Conservationist April Burt

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lost lost 13

“Drifting FADs cause up to one million silky shark deaths per year”

The remote Aldabra Atoll is an idyllic tropical paradise in the Seychelles archipelago. Sandwiched between two major current systems in the southwest Indian ocean, it’s a UNESCO World Heritage site, famous for its near-pristine ecosystems and bountiful high densities of seabirds, fish, sharks and turtles. Unhappily, it’s also become famous for being covered in trash, with one of the highest densities of accumulated marine plastic litter worldwide. The converging ocean currents, which give the island its fabulous flora and fauna, also bring an inescapable tide of marine plastic pollution, which washes up on the shoreline in dirty waves.

Local data collection in Seychelles quantifies pollution by amount and type, as well as where it’s found. The plastic waste is mainly from industrial fishing with hundreds of tonnes of nets, ropes and lost or discarded hi-tech Fishing Aggregate Devices (FADs), which end up wedged in mangroves, tangled in coral reefs and washed up on beaches. It’s what happens to these little-known tech devices after the catch that outrages environment-watchers worldwide.

Enter conservation biologist April Burt of the University of Oxford, who co-leads the Aldabra Clean Up project and researches the impact of marine pollution, particularly FADs, in the Seychelles.

“Seychelles is a developing state with 115 islands. Its people are intrinsically linked to marine ecosystems,” says April. “Under colonial rule, Aldabra was exploited. It’s only since independence in 1976 that it became a UNESCO site, and there are competing pressures to develop the economy as well as to protect the island. It’s an unfair situation. They’re the most impacted

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by threats of pollution, while doing the least to pollute themselves. The colonial dynamic still affects them; foreign powers are polluting and pillaging the region with no consequences to themselves.”

Meanwhile, there is simply an unacceptable amount of marine waste, including FADs, arriving on Aldabra. In 2019, April co-led a large-scale clean up where 25 tonnes of waste were collected and removed from Aldabra’s coastline – but that 25 tonnes dealt with just five percent of the annual waste problem.

“We extrapolated data that showed over

500 tonnes of waste has accumulated on Aldabra Atoll alone, and more is arriving all the time. Eighty-three percent of the total plastic waste we cleaned up had come from industrial fishing – lines, ropes, nets and of course, FADs.” You can think of a FAD as a ‘connected buoy’, which beams its location back to the ship that deployed it via satellite. Fisheries use FADs to attract fish, who circle beneath (fish will naturally circulate under anything that’s floating), making them more convenient to catch. It’s a fishing method that’s considered ‘dolphin-safe’ and therefore widely used to catch tuna. But FADs are incredibly dangerous to certain species, such as the silky shark (carcharhinus falciformis), which can get trapped underneath the device, unable to escape. For this single species alone, FADs cause 500,000 to one million deaths per year.

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But it’s not just at the surface, or on the coastline, that plastic waste problems occur. As this pollution is caught on coastal reefs and rocks, it breaks down further, releasing microplastics into the marine environment with every high tide.

We already know from wider research that microplastic harms coral health, and images of plastic-choked coral are horribly familiar from media reports. But plastic has all sorts of dramatic known and unknown further effects on ocean ecosystems. April explains more. “Plastic particles accumulate in the same ocean slicks as larval fish, and are often mistaken for prey by high-value, ecosystem-rejuvenating species such as tuna. If a fish like tuna ingests plastic particles, it can have far-reaching effects on the fish’s development, survival and fertility – and therefore that of the entire marine ecosystem.”

With the attention of the world’s leading academics focused on the subject of marine pollution and FADs, the problems

are well defined. The route to a solution, however, is less clear-cut. The issues of marine plastic pollution don’t end with collection and removal; the Seychelles government is left with the cost and responsibility of transporting waste to landfill. The cost alone is staggering; from the 2019 clean-up data, April and her colleagues were able to estimate a total of $16m US required to safely dispose of the 1,800 tonnes of waste that has washed up on the whole of the regional Seychelles’ marine coastline.

As yet, the funds simply don’t exist.

The EU contributes just $209,000 US per annum “for the purpose of environmental management”, despite the value of the fish sold in global markets being hundreds of times this price.

“The main international convention covering prevention of pollution of the marine environment by ships from operational or accidental causes

(MARPOL) has been in place since 1973,” says April. “But it’s widely flouted or ignored. Following the ‘polluter pays’ principle, the companies which make vast profits from Seychelles tuna should be paying more as an environmental recompense. “Still, even if costs were covered, no amount of money could repair the damage FADs have already caused, and the yet-to-be discovered impacts still to be understood.”

Having regulations in place is one thing – enforcement is another. “Policing is extremely difficult,” says April. “What happens at sea, no one sees. Single ‘observers’ on ships are under extreme pressures.

There is no deterrent for ships discarding or abandoning FADs and plastic trash into the ocean; no prosecutions for breaching MARPOL. Seychelles is already pressurised to police a huge geographic area with very limited resources against poaching, piracy and pollution.”

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A high financial and environmental cost then, when industrial fishing methods are indisputably polluting marine and coastal ecosystems while simultaneously destroying the rejuvenating potential of valuable species like tuna; it’s a vicious cycle with no end, save for intervention.

“It’s maddening because in defining the problem, we have only scratched the surface; it’s a hugely tangled web and calling the problem out is just the first step. The only solution is the complete removal of the use of drifting FADs,” says April. “It’s the fishing industry’s responsibility to start looking after the ecosystem on which it relies.”

C60 #tide

Tide 18

Time 19

Deep in the island archipelagos on the Andaman Sea and along the southwest coast of Thailand, lives the Moken tribe.

Indigenous sea gypsies, these people’s ancestors have lived as nomads on the sea for centuries. Following the destruction caused by the 2004 tsunami, increasing red tape surrounding conservation efforts by the Thai authorities has meant they’ve had to struggle to keep their families, quite literally, afloat. New employment opportunities are scarce. Meanwhile, the problem of plastic waste washing up on nearby shores is rapidly mounting.

Enter Christopher Ward’s newest supply partner, Swiss-based company #tide ocean material®, which upcycles oceanbound plastic waste and converts it into a premium raw material, that CW have harnessed for a new #tide strap collection showcased on the impressive new C60 #tide.

Seeing the connection between the rising tide of plastic waste filling the Andaman, and the needs of local people like the Moken and other sea nomad tribes across Asia, #tide connected with Thai and

Philippine social enterprises to pay fishermen to catch not fish, but plastic waste.

“Our solution makes ecological and social sense. These people are facing big threats,” explains Marc Krebs, co-founder of #tide.

“Overfishing has made it hard for them to catch fish, and plastic is killing marine ecosystems and endangering the people's way of life. Now we train and pay fishermen to collect, sort, process and transport oceanbound plastic.” #tide then works with the Swiss University of Applied Sciences to engineer a process to extrude the ocean material into granules, yarn and filament, for varied applications, from 3D printing to bikinis. “It’s fantastic to see brands like Christopher Ward pioneering the use of #tide for watch straps,” says Thomas Schori, the entrepreneur behind #tide. “CW was one of the first with the courage and determination to change the material and change its perspective.

It proves it’s possible to create a luxurious strap with a social and environmental value.”

“We worked with #tide last year to create a one-off strap for the astonishing sold-

out C60 BLUE limited edition, for the Blue Marine Foundation,” says Mike France, Christopher Ward’s CEO. “The success of that watch taught us two important things: our team gets inspired by environmental concerns, and our customers want to see us do more with eco materials.” A new accessory range, #tide strap collection and an openseries watch collaboration – the new C60 #tide – were the logical next steps.

The C60 #tide is, like the rest of the C60 Trident line, a powerhouse of a dive watch. Undeniably rugged, but with characteristic elegance, the C60 316L steel case with its flowing Light-catcher™ lines looks as good under a shirt cuff as it does with a rash vest – and is watertight to 600 metres. Differences here though, are discreet, yet distinctive and plentiful – and that’s before we get to the bracelet, hybrid Cordura® and #tide strap options.

Continuing the story of CW’s preeminence in the art of sapphire dial- making, here we have a dial that looks 3D in nature, thanks to its organic wave pattern, wrought in lines of Super-LumiNova® Pantone 2189c BL Grade X1. Like bio-lumi-

A member of the Monken tribe

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difference”

can make a

small changes

“We believe

nescent algae, or a monster from the deep, the watch shines in darkness, yet maintains a cool and discreet look in daylight. Like the entire Trident line, of course, it has a full-lume ceramic bezel, which adds to the coruscating effect.

None of this was achieved without considerable technical expertise. “The SLN self-colour dial was a real challenge to achieve with sapphire,” says Will Brackfield, CW watch designer. Colour-matching between dial, bezel and lume colour was challenging, too. “The polycarbonate wafer that gives our sapphire its deep blue hue is just 0.2mm thick, and the sapphire disc is strong, yet brittle to machine,” explains Will. “There’s a lot that can go wrong between concept and reality.”

The overall effect of the dial is captivating; shimmering like water, yet with the chronometer movement’s mechanics just visible in the depths.

On the case back, the 3D trident typical of the range is replaced with a deepstamped #tide mark and a second blue ring of #tide material. Thanks to #tide’s flexibility as a raw material, it colour-matches to Pantone® references; in this case, the iconic blue of the C60 Trident Pro.

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It’s in the extended range of strap options, now encompassing #tide variants in blue, black and orange and one with the dial’s wave patter woven into its fibres (specifically created for this watch) that CW reveals its strongest statement of intent. “We wanted to rethink our use of materials by creating uniquely designed #tide straps available across the whole CW range,” explains Adrian Buchmann, CW’s head of design. “We started with the C63 Sealanders and extended across the entire collection.”

The open-series C60 #tide will be powered by a Sellita SW200 COSC movement, making its accuracy and reliability as unshakeable as its materials. “Like a COSC-certified movement, #tide ocean material® is rigorously tested,” says Adrian.

“It’s sun-, rain- and weather-proof. Much like the watch itself.”

This symbiosis of the technical and the material highlights the urgency of the cause the watch supports. “Solutions are urgently needed, or otherwise the ocean will contain more plastic than fish by the year 2050,” says Thomas, who also runs Braloba, CW’s longest-running watch strap supply partners.

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#tide patterns

#tide straps are now available across the CW collection, and the customer response is undeniable. “We now have the widest selection of ecologically-produced watch straps on the market,” says Mike. We believe small changes can make a difference.”

Together, CW and #tide will donate £5 from every strap that’s sold – either on a watch, or individually – to Blue Marine Foundation, to support its vital work in marine conservation.

The C60 #tide is available now, christopherward.com

1. The #tide supply chain trains and incentivises fishermen across several islands in the Andaman Sea and the Philippines to catch plastic trash, not fish, from the ocean and along the coastlines.

2. Even sorting, washing and shredding the waste for processing is a social enterprise; a significant part of #tide’s revenue benefits coastal regions where the social and ecological impact is greatest.

C60 #tide Diameter: 42mm Height: 14.10mm Lug to lug: 49.32mm Case: Sainless steel Light-catcher™ Crystal: Sapphire Depth rating:60 ATM Movement: Sellita SW200 COSC Timing tolerance: -4/+6 seconds per day Functions: Hour, minute, central seconds, date Power reserve: 36 hours

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From £895 / $1,095 / €1,150

3. Back at the Swiss University Of Applied Sciences, the raw material is processed and upcycled. #tide ocean material® is produced as granules (for plastic injection), yarn (for textiles) or filaments (for 3D printing). CW has had #tide granules injection moulded for use in the C60 #tide; both as inlays to the caseback design, and as a strap material.

4. In wear, #tide ocean material® is comfortable and durable, whether wet or dry. And it looks great.

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From the Andaman Sea to the watch straps of CW: here’s the #tide journey

Report

‘Blue carbon’ stored on the ocean floor presents a new way of tackling climate change, but it’s under threat Guest editor Charles Clover investigates.

Look up stories about climate change on Google and you will find they are illustrated with pictures of flaring gas from rigs or steam from coal-fired power stations – or even wide-bodied jet aircraft lumbering into the sky. What you will not see are trawlers.

Yet belatedly we’re realising that it is not just fossil fuels or the loss of forests that are warming the planet. Another major factor in the build up of carbon in the atmosphere is dragging heavy nets and trawls across the sea bed or cutting down the undersea forests on the sea floor. A recent scientific paper in Nature said that the carbon emissions from trawling were likely to be equivalent to the global aviation industry.

Until recently, scientists only counted the carbon in the fuel that fishing vessels burned. They had not looked at what the process of trawling was doing to carbon in the sediments, which have often been there for thousands of years, and to bottom-

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living organisms which grow on the sea bed.

The ocean floor is the world’s largest carbon storehouse. So if we disturb it we exacerbate climate change – and acidification of the sea. Some of this carbon gets emitted back to the atmosphere – we do not yet know how much. Some of it is dissolved back into seawater, making it harder for the sea to absorb carbon dioxide which it already does in vast quantities.

Until around a decade ago scientists just worried about emissions from felled or burned forests and from soils as they were cultivated. Then scientists begin to start totting up just how much carbon was stored in the ocean – so-called ‘blue carbon’ – and figuring out that there were ways of enhancing the ocean’s capacity to act as a sink for carbon dioxide emissions.

The first things they looked at were mangroves – which are essentially coastal forests, only they are estimated to soak up twice as much carbon every year as a tropical rainforest. Mangroves are being lost globally at a rate of two percent a year, especially in southeast Asia, but they can be regenerated or replanted.

Seagrasses, mostly found in shallower water, are impressive too. Posidonia, the Mediterranean variety, is estimated to absorb 15 times as much carbon as tropical forest per year. Posidonia is also in decline. Salt marshes, which are important for coastal defence, are capable of hoovering up astonishing amounts of carbon – at far higher rates than terrestrial ecosystems.

Stopping the loss of these habitats tops the list of what have come to be called ‘nature-based solutions’ to climate change. But so far there have been relatively few attempts to include blue carbon in countries’ carbon budgets or “nationally determined contributions” under the UN Framework Convention on Climate Change. The projects there have been chiefly mangrove, seagrass and saltmarsh because those are the ones where the flows of carbon in and out have been quantified.

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Yet the potential is huge – ocean-based solutions are capable of taking care of a fifth of the carbon we need to tackle to keep global warming to an average of 1.5 degrees centigrade by 2050. As Jane Lubchenco, of Oregon State University, now an adviser to President Biden, put it when she co-chaired a high-level panel that said that two years ago: “For far too long, the ocean has been mostly absent from serious policy discussions about reducing carbon emissions.”

Now there is more interest, there is more work to be done. Scientists are looking at the carbon retained by seaweeds, such as the Sussex kelp forest that has just been protected from trawling between Brighton and Worthing. Kelp is a bit of an enigma, though, as nobody can work out where the fronds go when they die back.

And nobody has yet fully quantified the effects of trawling on the sediments at the bottom of the sea – thought to hold twice the carbon held by terrestrial soils.

Where are the places that you could save the most carbon by catching fish by other methods or just set aside those places as reserves?

It’s complicated: there are animals and plants growing on the seabed today and stores of carbon from previous ages, like the peat bogs that once grew on the Dogger Bank in the North Sea when it was dry land – raised by Professor Callum Roberts of Exeter University at a recent Blue Marine Foundation conference.

“Ocean-based solutions are capable of taking care of a fifth of the carbon we need to tackle to keep global warming to an average of 1.5 degrees centigrade by 2050”

The exciting thing, as the Nature paper authored by Dr Enric Sala and 25 other scientists said, is that there could be a kind of triple win: a win for climate, a win for biodiversity and a win for fish stocks, which could rebound if trawling was removed from large enough areas.

There is so much still to learn but one certainty so far. We’ve begun to talk about trawling in the same breath as smokestack industries like coal – and that awareness is likely to change the world one of these days.

The protected Sussex kelp forest

Charles Clover is executive director of Blue Marine Foundation (BLUE)

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O–pinion brings you picks from the Christopher Ward universe – and with this issue under the guest editorship of Charles Clover, Executive Director at BLUE, from the world of marine ecology, too.

Feedback? Let us know at @chriswardlondon

Not On My Watch:

focus on their behaviour

by Paul Naylor

Biologist Took On Governments and Industry To Save Wild Salmon by Alexandra Morton

By Tom Appleby, chief legal affairs adviser, Blue Marine Foundation.

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Exposure: Lives At Sea

See the world through a seafarer’s

lens – visit the free exhibition at the

Fourth edition with special

How A Renegade Whale

It is tempting to see Alexandra Morton’s book through the lens of an individual taking on the might of multinational corporate salmon farms. But this beautifully written exposé of environmental harm by salmon farms in British Colombia does more than that. The book reads like a travelogue (though Morton stays where she is) and it’s clear that Morton’s exceptional energy derives from concerned people in her community. She is a participant and observer. She does not just tell a story of

Great British Marine Animals

the dangers to the natural world of a simple disruptive (in the worst sense) business model, she also chronicles a deeper wrong being committed to the Canadian First Nations and their intrinsic connection to wild salmon stocks. Stocks which have mysteriously collapsed since the advent of open-pen salmon farming.

And like all good tales there’s even hope of redemption.

By Charles Clover, chairman, Blue Marine Foundation and Loupe guest editor

This is a triumph of a book with appeal far beyond the islands in question. It gets better with every edition, not least because Paul Naylor has incorporated 500 new pictures of the amazing creatures that live beneath our unpromising waves.

If you want to be entranced by individually-recognisable tompot blennies, with their little head-tentacles like antlers and their sneaky mating behaviour, or find out how octopus eat crabs, or learn more about the lives of highly intelligent and colour-changing cuttlefish this is the place to do it. This book has occupied pride of place on my shelves since the first edition but this one has even better pictures, from stunning sunset cup-corals and corkwing wrasse to the ‘driller killer’ dog whelk, complete with more stories about what they do. Highly recommended.

National Maritime Museum

By David Tudor, projects director, Blue Marine Foundation A captivating new photography exhibition, Exposure: Lives At Sea, at London’s National Maritime Museum explores differing perspectives of life around the ocean.

The images include those from Dr Octavio Aburto, who uses photographs to record the changes local communities in Mexico have made to conserve ocean resources. A very different aspect of the ocean is portrayed by Peter Iain Campbell, who documents his industrial surroundings on a drilling rig in the North Sea.

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The hulking twists of metal and steel have a forlorn beauty and seem both completely out of place in the natural environment whilst being suited to it.

The most captivating photographs are

by Corey Arnold, a commercial fisherman from Alaska. All of Arnold’s images strike a chord, and his quote emblazoned on the wall above his photographs gives hope: “I support science-based management even if I’m not always happy with the fishing restrictions. In the long game, we all win.”

al o Arriv

Small Is Beautiful

– E.F. Schumacher

Review by Mike France, CW CEO

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Royal Academy of Arts Until September 26, 2021 Painter-turned-draughtsman, printmaker and set designer, Yorkshireman David Hockney RA has never been afraid of rolling up his sleeves and trying out a new medium – oils, acrylics, inks, paper, canvas, sometimes all together in the same work – and now notably, digital.

Hockney first picked up an iPhone to draw in 2007, and graduated to an iPad and stylus back in 2010, so his latest exhibition of digitally-wrought ‘paintings’, The Arrival Of Spring, Normandy, 2020 is an evolution of his work in digital.

With all the typical obsession for process that we would expect of Hockney, these images of the unfurling of spring in northern France are first ‘painted’ on the iPad, then printed in large sizes.

This show was made in a frenetic bout of activity during the first wave of the coronavirus pandemic. There’s a very ‘lockdown’ feel to all the outdoorsiness; minute daily shifts of season were the changing canvas

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My A-level economics master, Ernie Roome, probably didn’t realise it at the time but his suggestion that I read E.F. Schumacher’s book, Small Is Beautiful in preparation for my Oxbridge entrance exam turned out to be an inspired one. I failed to get into Oxford but discovered in Schumacher’s book of essays and lectures on an approach to “economics as if people mattered” a philosophy that had a transformational impact on my own thinking.

One that seems even more relevant today than even it did back then.

‘Fritz’ Schumacher was a Anglo-German statistician and economist who fled Nazi Germany for England in the mid-1930s. After winning a Rhodes scholarship to Oxford, he was championed by his friend from university days, David Astor, who, as editor of The Observer, was promoting a leftward shift in British society during the war, publishing articles by some of the best and brightest left-leaning intellectuals of the time like Schumacher and, most notably, George Orwell.

ndy , 2020

behind many people’s experience of spring 2020. But this isn’t an everyman’s view – it’s special, not least by dint of being painted by a revered artist at the end of a long and venerable career. And then of course, there’s the controversial iPad medium.

Rendered through the triage of a screen, amplified by the large format printing method, each line and brushstroke is revealed in all its naked intention.

Yet the artificial marks and strokes make visible the hand of the machine, as much as the hand of the artist. The iPad’s luminous colour palette meets and marries with Hockney’s own, lending an extra dimension to his already hyper-real bright colours.

The intercession of the operating system between the artist’s intention and the final outcome constantly blares its presence, in every pixel, line, and colour.

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While the outdoors was for many a solace in lockdown, the other panacea we plugged into during the pandemic was our devices. What else could Hockey have shown us, with the world closed down, than what can be viewed through the tiny window of a screen?

For more, visit; royalacademy.org.uk/ exhibition/david-hockney

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After joining the National Coal Board as economic adviser in 1950, Schumacher began to see the future quite clearly and, having become “completely submerged in COAL” he would devote the rest of his life to environmental issues. Small Is Beautiful, published only four years before his untimely death aged 66 in 1977, was the apotheosis of his philosophy that the “natural capital” of the earth’s resources is irreplaceable and that global capitalism, which squanders fossil fuels, therefore threatens our civilisation.

The book addresses the challenge of how to change man’s relationship with the planet, suggesting that two apparently irreconcilable concepts of “freedom and order” need to be mobilised and that the best way to achieve this means “lots of small, autonomous units committed to the indivisibility of peace and also of ecology”.

With society still grappling with how to reconcile the beyond urgent advance of global warming with the all-powerful vested interests of global capitalism, we need Schumacher’s wisdom to inspire us more than ever. It’s my turn to suggest you read Small Is Beautiful – Oxbridge entrance exam or not!

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C60 Anthropocene GMT

Christopher Ward isn’t prone to hubris.

Faced with a global challenge such as polar ice melt, all are aware that any action, individual or collective, however small, makes a difference. “We’re supporting new CW Challenger Programme member Tom Hicks, as he prepares to reach the North Pole,” says Mike France, Christopher Ward’s CEO. The CW Challenger Programme helps people with exceptional talent, but lessthan-exceptional bank balances, to achieve their goals. Tom has been involved in the development of the new C60 Anthropocene GMT alongside his preparations for an unsupported last-degree trek to the North Pole, where he will measure Arctic snow depths and melt rates, and support the David Shepherd Wildlife Foundation (DSWF), which funds key conservation projects in Asia and Africa.

“The ‘big off’ to the Arctic is in April 2022,” says Tom. “We’ll do a 10-to-12-day expedition to Greenland this October as a dummy run, then I’m going to the Alps in January 2022 for a final check that I’m alright with the equipment and the equipment is alright with me. I’m preparing

with intensive training and nutrition; coldwater swims and pulling tyres to simulate the sled.” Tom highlights the importance of mental resilience, both in his endurance attempt, but also in our collective attitudes to climate change.

“I’m doing this because I believe everyone has the potential to do something positive. Our individual and collective power to change is greater than we know,” explains Tom, who’s also a school sports coach. “The name of the new watch, the C60 Anthropocene GMT, triggers a conversation about mankind’s impact on the planet, and anything that gets people to look and act can bring about change.”

‘Anthropocene’ means the era during which human activity has been the dominant influence on climate and the environment. This period has already been marked by one CW watch, the C65 Anthropocene Limited Edition, which highlighted the plight of the climate crisis, and fêted the then-new Scottish Opera Anthropocene, composed by Stuart MacRae. Now, CW’s latest release in the Anthropocene family is a new look, openseries C60 GMT, and like its predecessor, it both turns our attention toward, and supports, environmental concerns.

Evocative design underpins the C60 Anthropocene GMT, with further exposition of CW’s growing expertise in sapphire dial-making. “We were looking for a way to move the Anthropocene message on from the Limited Edition,” says Adrian

Tom hicks in training 40

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Buchmann, CW’s head of design. “So it was important to us to find a way to integrate frosted sapphire – which looks like Arctic ice – into the watch design.”

The new, upgraded Sellita SW330-2 GMT movement – available for the first time in a C60 case – is indeed faintly visible under the white ‘pack ice’ of the dial’s frosted sapphire. “We’re excited by the functionality and reliability of this new movement from Sellita,” says Adrian.

“The functionality of the GMT hand and the upgraded power reserve make an appreciable difference.” A choice of steel bracelet, hybrid Cordura® or #tide straps adds to its versatility.

With the upgraded movement encased by theLight-catcher™ lines of the C60 case, and with its directional orange GMT hand, the new Anthropocene is a watch built for global – or polar – adventure.

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Indeed, CW will be showing their support of Tom’s goals by contributing five percent of watch sales to DSWF for the duration of Tom’s two-year membership of the Challenger Programme. “I’m fundraising throughout my expedition prep to support DSWF,” says Tom. “The Arctic is the most vulnerable region for climate change. I’ll be sharing Arctic snow melt data from the expedition to highlight that climate change is real, and it’s happening now, to galvanise people to act.”

More info: davidshepherd.org / christopherward.com/challengers The C60 Anthropocene GMT is available now, christopherward.com

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C60 Anthropocene GMT Diameter: 42mm Height: 14.30mm Lug to lug: 49.32mm Case: Stainless steel Light-catcher™ Crystal: Sapphire Depth rating: 60ATM (600 meters) Calibre: Sellita SW3300-2 Timing tolerance: +/- 20 seconds per day Functions: Hour, minute, central seconds, GMT, date Power reserve: 50-56 hours From £995 / $1,195 / €1,250

Great watches

The queen of pop Madonna is many things. Precocious New York dancer. Eighties pop princess. Global megastar.

Ex-wife of the bloke who directed Lock, Stock And Two Smoking Barrels.

maybe the only ‘grail’ watch primarily associated with women. As someone whose obsession with style is evident, Madonna would have been aware of its heritage – and its popularity with icons like Jackie Kennedy and Ingrid Bergman.

And collector of elegant watches.

Ready for anything Forged carbon fibre is a remarkable substance.

Made from chopped carbon fibres infused with resin, it’s both super-tough and ultra-light. Perfect for the dial of the C60 Lympstone – a watch inspired by the Royal Marines’ motto of ‘Per Mare, Per Terram’ – by sea, by land. And even if you’re not a Marine, the chronometer movement, inner compass bezel and water-resistance to 600 metres make it the ideal companion for life in the field.

christopherward.com

There’s a myth that the Tank is named after the Renault FT-17 tank (and Cartier has done nothing to discourage this), but it’s more likely it was a nickname that appeared as jeweller Louis Cartier sought to create a follow-up to the Santos-Dumont. While the Santos was made for daredevil pilot Albert Santos, the Tank was unashamedly a fashion piece, crafted so the strap and watch head were in harmony.

For Cartier, a watch was no longer just an instrument for telling the time, but a fusion of art and engineering that defined the wearer’s style and status. Influenced by the clean lines of art deco, the Tank’s angular silhouette mirrored the purity found in contemporary architecture and design. Its dial was just as iconic, consisting of two blued hands and circled by Roman numerals.

By the time Madonna had adopted it in the 2000s, the Tank (in its various iterations) had been worn by the likes of Duke Ellington, Catherine Deneuve, Diana, Princess of Wales and even Muhammed Ali.

While Madonna – call her ‘Madge’ and we can never be friends – is rightly known for bona fide dance classics like Holiday, Hung Up and La Isla Bonita, she’s measured her success with a selection of fine timepieces. And though her style, particularly in the ’80s, was more ‘Swatch’ than ‘Jaeger LeCoultre’, her taste in watches is as classic as her music.

When it comes to timekeeping, Ms Ciccone favours rectangular models that recall the art deco designs of the 1920s. While she’s worn timepieces by Philip Stein (famously gifting one to Oprah Winfrey), Rolex (Cosmograph Daytona) and Hermès (Cape Cod), the brand she’s most associated with is Cartier.

In the 1990s, she wore the Cartier Panthère, a watch perfectly in tune with the pared-down look of the decade. Launched in the 1980s, it takes its name from the flexible bracelet, which, Cartier says, “echoes the movements of the Maison’s emblematic animal”.

More significant is the watch she wore during her imperial Confessions From A Dancefloor period of the mid-2000s: the Cartier Tank.

Launched in 1919, the Tank is perhaps the most famous ‘fashion’ timepiece ever – and

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In short, it was already the quintessential 20th-century watch. And thus perfect for the quintessential 20th-century pop star.

Column

Watch aficionado Ken Kessler turns the clock back to find sustainability in watchmaking is nothing new.

It’s never simple: like all good causes, the drive for sustainability has unforeseen effects and considerations. It’s not just a case of using materials which are renewable, and thus crowing about how one is doing one’s part. I’m reminded of one of the arguments presented by vegetarians and vegans to carnivores, when they say that giving up meat does more than save animals' lives. Who knew cows contribute more greenhouse gasses than cars? If we reduce herd sizes globally, we all benefit.

Forgive any seeming cynical slant, but sustainability is precisely the sort of virtue-signalling which can manifest itself in the actual product, or better still, how the product is perceived, unlike, say, boasting about whether or not a manufacturer uses only electric vehicles. It is an umbrella that embraces recycling and the use of renewable materials, energy or other resources, but also supporting ventures of an ecological nature. What old hands know, however, is that this is nothing new, and that the watch industry has been at it longer than most. Sustainability in the watch biz did not arrive with hipsters wearing tattoos up to their Adam’s Apples.

For the watch industry, sustainability is yet another complication – the real meaning of the word, not the Swiss misuse of it to describe a timekeeping function – to add to a litany of modern concerns which includes diversity, gender recognition, equal pay, and all those other things that make being an employer in the 21st century about as much fun as root canal surgery. One cannot function as a modern manufacturer of anything and remain aloof to the subject. It’s now part of what was once called “civic duty”.

But there is an upside: use of the ‘S’ word denotes a caring, sharing company, something that’s hard to convey when hawking £130,000 tourbillons to people with private jets and carbon footprints the size of Gargantua’s.

Without turning the clock back too far – I have no idea if Breguet or Harrison or Mudge or Arnold were particularly green – one can cite, for example, the Rolex Submariners and Blancpain Fifty Fathoms supplied to Jacques Cousteau and crew during the diving expeditions of the 1950s, undertaken for a better understanding of the seas. This was the start of the aquatic obsession which carries on to this day, with nearly every manufacturer of diving watches finding a maritime cause, charity or project to support.

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Indeed, so popular is the concern for sea-life that it is hard to find brands not connected to some underwater venture. From Certina and its participation in the Sea Turtle Conservancy (STC) to IWC and involvement with the Galapagos Islands, Omega’s partnership with the GoodPlanet Foundation and the preservation of coral reefs, and Blancpain’s Ocean Commitment to Christopher Ward supporting Blue Marine Foundation (BLUE), which seeks to protect the oceans by combatting over-fishing, one would rightly suggest that watches and good causes are a natural fit, as these timepieces are the tools that environmentalists require if marine life, and thus diving, are involved.

water. Panerai’s works, for example, have been designed to reduce carbon dioxide emissions to zero, while incorporating devices for energy saving and the recovery and reuse of waste materials. Greubel Forsey’s radical HQ looks like a wedge of cheese – amusingly and appropriately Swiss – which benefits the watchmakers within who operate under ample natural light. Indeed, any new factory – beyond the latest building regulations – will be conceived with green credentials as part of the brief.

Timepieces are the tools that environmentalists require if marine life, and thus diving, are involved

All watch brands are taking the matter of sustainability seriously, irrespective of the commercial benefits. IWC, as but one example, has publicly stated on its website a list of nine operational targets for 2022. It includes not just human resource-related aims such as doubling the share of women in management positions, but sustainability goals including the purchase of 100-per-cent renewable energy globally, the developing and implementation of a green IT strategy and the phasing out of the purchase of non-FSC (Forest Stewardship Council)-certified forestry products.

Simply supporting such noble causes is the sizzle, which alerts the consumer to the brand’s integrity. As for the steak, this can include the use of completely recyclable packaging, recyclable case materials, a plethora of new environmentally-friendly strap materials, or other green traits which make a new watch a more attractive proposition to the customer concerned with the planet’s woes. It even goes so far as the development of super-green, super-efficient factories, despite most customers remaining unaware of this aspect of a brand’s sustainability.

Ultimately, though, there are watches to be made and sold, and there’s no harm in declaring one’s contribution to the green cause. Christopher Ward's new C60 #tide comes with a high-quality fabric strap of #tide ocean material®, made from plastics fished from the ocean, like certain mineral water bottles, bags-for-life and other applications.

Typical of the most modern of manufactures are those of Greubel Forsey and Panerai, which have addressed everything from the air filtration systems to the reuse of

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Certina’s logo is a turtle, and it predates the company’s ecological concerns. How so? The creature was chosen as the Certina symbol because the company’s novel DS case promised the structural integrity of a turtle’s shell, just as Rolex opted for an oyster.

must be dealt with during the current concerns about sustainability, such as manufacturing practices and respecting environmental issues. But there is almost a bizarre denial or forgetting of one immutable reality: mechanical watches are among the most environmentally-friendly objects humankind has ever produced.

Ulysse Nardin – also with a long history in the creation of marine chronometers and diving watches – has used material recovered specifically from abandoned fishing nets to produce the strap for its celebratory Diver Lemon Shark, launched to mark World Ocean Day on June 8, 2021.

This 300-piece model, a classic diving watch, is the manifestation of Ulysse Nardin’s support of the United Nations’ guidelines for 17 sustainable development goals (SDG) to be met by 2030. The aim is to reduce marine pollution by integrating materials retrieved from the ocean whenever possible into its new products. And sharks are as meaningful to Ulysse Nardin as turtles are to Certina, as the caseback shows.

But watches? They can, with only a few exceptions, be made to last for as long as there are watchmakers.

Until plastic and rubber infected the watch industry, all watch straps were cloth, canvas, or leather – each and every one a biodegradable material – while bracelets were metal, either base or precious metal, both recyclable.

Somewhere in between the breast-beating and the self-flagellation – and apologies to the dozens of brands involved with sustainability which I didn’t name-check – much has been forgotten about the most fundamental element of the wristwatch. It is an element that completely transcends any guilt-tripping about sustainability. Yes, there are aspects beyond the watches themselves that

And who ever threw out an expensive wristwatch? Nobody – that’s who, aside from jewellers during the immediate post-WWII decades, when watch cases were melted down due to a shortage of metals (the unforeseen consequence being watch repair shops full of uncased movements). So it’s like the famous advert says: You never actually own a Patek Philippe. You look after it for the next generation.

Mechanical watches are among the most environmentallyfriendly objects humankind has ever produced

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How so? Cars wear out and are discarded unless museum-worthy.

Clothing wears out. All electrical goods have finite lifetimes. Computers, smartphones and tablets have less of a lifespan than their physical forms provide because they become operationally obsolete; they’re dumped before they wear out.

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Timespan

The Florida Keys – a string of islands 120km off the southern tip of the US state of Florida which conjures up images of easy-living in the tropics. Days spent in the sun, sailing, fishing, eating Key lime pie and drinking large cocktails; the islands call writers (Hemingway and Capote), designers (Calvin Klein and Ralph Lauren) and even an ex-president (Harry Truman) among their residents, and over the decades its sun-burnished reputation for leisure fishing has grown.

What has shrunk alarmingly, however, is the size of the fish in the average angler’s catch, according to new research by Professor Callum Roberts, a leading British marine conservation biologist.

Sea fishing is one of the Florida Keys’ favourite pastimes, but from post-catch photographs taken over the decades, we can see a stark change in the sizes of the fish that have been caught in Keys waters. The shrinking of the Florida Keys grouper – a key species in the local marine ecosystem – reveals how overfishing for sport has spawned a deadly downward trend for these once majestic fish.

Overfishing isn’t just a problem caused by industrial fisheries. Data from the Florida Keys reveals the extent of the problems sustained leisure fishing and angling can inadvertently cause. The Goliath Grouper, now listed as Critically Endangered by the IUCN, had been slowly growing in numbers in recent years.

Sadly this year, the Fish And Wildlife Commissioners bowed to pressure from the angling community to reopen a limited fishery for this species, despite strong objections from scientific and conservation bodies.

Since the report published in 2007, some conservation efforts in Florida – notably ecological reserves and sanctuary protection zones in the Florida Key National Marine Sanctuary, both of which are ‘no-take’ – have led to a progressive recovery of many species of fish.

The good news is that strong protection works. Our mission at Blue Marine Foundation is to ensure better protection for marine life worldwide.

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A fine example of English tailoring One day the gang will split up. You won’t see each other so much. A drink every year if you’re lucky. But when you order a bespoke watch from Christopher Ward – you’ll have a constant reminder of your unbreakable bond. A reminder that also happens to be a precision-engineered Swiss timepiece, tailored to your specifications – and carrying the logo of your organisation. Isn’t it time you went bespoke?

For more, email: bespoke@christopherward.co.uk

Return Address: Christopher Ward (London) Limited 1 Park Street Maidenhead Berkshire SL6 1SL United Kingdom

With special thanks to

Blue Marine Foundation (BLUE)

#tide Ocean Material®

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