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Chronograph measuring elapsed time from 10 minutes down to 1/100th of a second
Ref. CT2 - Centigraphe Case and bracelet in Gold, also available in Platinum or Titanium Manual winding movement in 18 K rose Gold Geneva made
“I invented and made it”
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“I invented and made it”
INVENTED AND MADE FOR THE PAST FOUR DECADES, FRANÇOIS-PAUL JOURNE HAS BEEN CREATING INNOVATIVE WATCHES THAT MARRY HIS DEEP KNOWLEDGE OF THE HISTORY OF CHRONOMETRY WITH MODERN INGENUITY TO CONQUER AGE-OLD HOROLOGICAL CHALLENGES.
The F.P.Journe Manufacture building
The Maison F.P.Journe Miami
François-Paul makes it a point to use his unmatched technical skills to create watches that honor traditional processes and craftsmanship with ultimate precision, performing many tasks manually and assembling each watch individually- not in a production line. Each watch is completed entirely by one watchmaker, from assembly through testing. While this isn’t the most cost or time efficient process by any means, it creates a direct relationship between each watch and its watchmaker and this traditional way is the only way François-Paul sees fit to complete his watches. Every day, FrançoisPaul himself is at his bench, creating the next F.P.Journe innovation. Because of the intensive manual work performed on the watches and the one-to-one production method, F.P.Journe produces fewer than 900 pieces per year.
The striking mechanism watchmaking atelier
While creating never before seen avant-garde movements, F.P.Journe keeps traditional assembly techniques and philosophies alive, including the ultimate goal of chronometry- precision. François-Paul Journe remains the designer and master watchmaker of his eponymous brand along with being the majority owner and president, giving him freedom and independence to create and release the watches he, the watchmaker, desires. Along with fabricating 95% of all watch components, the Manufacture owns their own dial and case-making facilities, further controlling and integrating the process from conception to production. Beneath the F.P.Journe logo on each watch is the line ‘Invenit et Fecit’, Latin for ‘Invented and Made’. Through FrançoisPaul’s extensive control and the full integration of the production process, F.P.Journe confidently states that their watches are entirely conceived and created in the Geneva workshops.
Yet François-Paul manages an impressive innovation streak: 26 distinct calibers have been released in the 20 years since the company’s founding! Of these, 7 have won awards at the Grand Prix d’Horlogerie de Genève (GPHG) including 3 Golden Hands, the most coveted prize and the most of any watchmaker. F.P.Journe exists in a state of balance between history and modernity, art and horology, with all four being important and indivisible from the watch. François-Paul has said he does not wish to create what has been produced before, but his watches have authentic historical ties. The innovations reimagine the function, design, and purpose of the watch. By starting the conceptualization of a watch with a design of the dial, design garners an importance comparable to technical excellence.
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FPJ_GioJour_Edito_431,8x279,4.indd Toutes les pages
VERTICAL ENDEAVORS IN 1977, A 20-YEAR-OLD FRENCH WATCHMAKER EMBARKED ON AN ATYPICAL QUEST — TO CREATE HIS OWN TOURBILLON, NOT TO SELL OR SHOW, BUT TO PROVE TO HIMSELF THAT HE WAS ABLE. NEARLY SIX YEARS LATER FRANCOIS-PAUL COMPLETED THIS FIRST WATCH, A TOURBILLON POCKET WATCH WITH A SPRING DETENT ESCAPEMENT. IN 1999, THE 1ST WATCH BEARING THE NAME F.P.JOURNE IS, A TOURBILLON NATURALLY, THIS TIME FITTED WITH A CONSTANT FORCE MECHANISM, THE REMONTOIR D’ÉGALITÉ. THE PURPOSE OF THE REMONTOIR IS TO MEDIATE THE POWER DELIVERY FROM THE MAINSPRING TO THE ESCAPEMENT BY RELEASING ENERGY ONCE PER SECOND TO THE ESCAPEMENT, AVOIDING THE INEFFICIENCIES OF A WOUND SPRING.
20 years after, François-Paul revolutionized the tourbillon by rotating it 90 degrees. Mounted perpendicular to the rest of the movement, the 30 seconds tourbillon remains true to the original concept of the tourbillon, to counteract the concept of gravity on the escapement. In a pocket watch, a traditional tourbillon performed this task, however, on the wrist, the most common positions of the wrist leave the tourbillon operating horizontally. By being placed vertically, the functions of the tourbillon remain
constant with equal amplitude whether the watch lies flat with a pin buckle or is placed on its side when fitted with a folding clasp. The tourbillon rotates in 30 seconds, faster than the usual time of one minute, making the technical prowess even more visually astonishing. Surrounding the cage, a cone-shaped mirror-polished ring concentrates light, reflecting the tourbillon cage. A second reflector was created on the movement side to provide light around the tourbillon cage.
— THE 4N ROSE GOLD BRIDGES THAT FORM THE DIAL ARE DECORATED WITH “CLOUS DE PARIS” GUILLOCHE F E A T U R E S A N 48 - H O U R P O W E R RESERVE AT 12 O’CLOCK AND SMALL SECONDS AT 6 O’CLOCK; THE REMONTOIR D’ÉGALITÉ IS LOCATED AT 7 O’CLOCK. THE 42 MM CASE IS AVAILABLE IN PLATINUM OR IN 18K 6N GOLD. LIKE ITS PREDECESSORS, THE VERTICAL TOURBILLON FEATURES A REMONTOIR D’ÉGALITÉ FOR CONSTANT FORCE AND A TIME DISPLAY AT 3 O’CLOCK IN GRAND FEU ENAMEL TO REMIND THE VERY FIRST F.P.JOURNE TOURBILLON POCKET WATCH.
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This issue is a labor of love and our first published issue since the pandemic hit. It’s filled with incredible people who are doing even more incredible things in life. From Academy award winners Helen Hunt & Adrien Brody to supermodel Alessandra Ambrosio. So many incredible actors and talents make up this issue. We also have a portfolio of fashion images from a group of talented young photographers that was shot on magical Capri. We will continue to produce each issue with excitement, passion and enthusiasm. We hope you enjoy what we created for you!
Gio
ISSUaE No. 7
Until next time, John Russo Founder/ Creative Director
CREATIVE DIRECTOR------------------------JOHN RUSSO EXECUTIVE EDITOR-----------------------RACHEL HILL PHILANTHROPY DIRECTOR---------- IRENA MEDAVOY
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PHOTO BY { JOHN RUSSO
LETTER FROM the FOUNDER
To say it’s been a crazy few years would be an understatement. But hey that’s life, unpredictable and changing every day. All we can do is roll with it and make the best of each day. It’s been 3 years since we started the Gio, 3 years filled with heartache, happiness, triumph, travel and uncertainty. Happiness and travel seem to go together so I’m going to focus on them. I had the opportunity to travel the world with my best friend. We jumped in a sprinter van and traveled throughout the US exploring the National Park system. It was a life changing experience and something we will never forget. And if that wasn’t enough we decided to spend the the next summer in Italy on the island of Capri. I can’t even tell you how enriching and fulfilling it was to leave all of the worry of life behind and just explore the world, eat incredible food, swim in the sea and meet new people. I spent the last 25 years working my ass off only to a get a bigger house, more cars and more pressure. In the end, all we have are our memories. I want my memories to be of the experiences I had with the people I love, not the material possessions I accumulated. Ahh the things we learn about ourselves.
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CONTENTS 7 FEATURES
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PHOTOS BY { JOHN RUSSO
TABLE OF CONTENTS CONTENTS
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7 .................. A TREMENDOUS AMOUNT OF GRATITUDE: .................................................................ADRIAN BRODY 17 .................................................. SPOT ON: HELEN HUNT 25 ........................ ART IMITATING LIFE: JESSICA COLLINS 27 ....... THE SHAPE OF THINGS: KATHERINE MCNAMARA 37 ........................... ALWAYS IN THE GAME: KEVIN BACON 47 .............CATCH ME IF YOU CAN: MATTEO BERRETTINI 59 .............................................. NEW BLOOD: JULIA JONES 63 ...................... TRUST YOUR INSTINCTS: ZACHERY LEVI 73 ........HOLDING OUT FOR A HERO: RONEN RUBINSTEIN 81 ...................RAY OF SUNSHINE: KRISTIN CHENOWETH 85 ...............................ALL GOOD THINGS TO REMEMBER: ............................................................. KYRA SEDGWICK 93 ....................... A PLACE IN THE SUN: MICHAEL YERGER 111......................A DROP LIKE NO OTHER: PAULA CROWN 115............... ON HIS “A” GAME: PATRICK MOURATOGLOU 121............................... A HELL OF A RIDE: HENRY PORTER
LOOKINGgood
133 ...... THE ART OF FASHION: ALESSANDRA AMBROSIO 143 ................................................ IN THE SPIRIT OF ASPEN
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LIVINGgood
157 ................ THE RIGHT NOW: MONTAGE HEALDSBURG 167 ................................................... THRILL OF THE HUNT 175 ................................................................DIVE IN: CAPRI
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Gio ISSUE No. 7
A D R I E N BRODY
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GRATITUDE
RUSSO
BURNEY FOR THE WALL GROUP STYLING BY { JENNIFER AUSTIN FOR OPUS BEAUTY LOCATION { LOS ANGELES
TREMENDOUS PLACEof
INTERVIEW & PHOTOGRAPHY BY { JOHN GROOMING BY { RACHEL
a
Academy Award winning actor, Adrien Brody, shows that art really does imitate life in the French Dispatch
Take me back to playing, Władysław Szpilman, in The Pianist. Could you have ever imagined such an incredible career at that point?
patience for our differences, and joy and a sense of
Szpilman, was such a tremendous task. I poured every
a degree of autonomy that allows me to create works
Taking on the responsibility of playing Wladisaw
ounce of my being to the project and, in turn, gained an enduring sense gratitude and appreciation — and also a great deal of love and respect from the world. That shift and feeling of connection to so many human beings was so profound that it triumphs the concept of it merely being about an acting career. It has been truly life changing in so many ways and continues to awe and humble me.
You have played so many different roles in your career. Which roles have stood out for you as the most challenging to play and why? Obviously, portraying Szpilman in The Pianist took
the greatest responsibility and discipline of the many roles I’ve played. I felt a great burden to represent that horrible time. It was essential to approach the work with truth and to respect and honor the tremendous loss and suffering of the Jewish people, and for all
for a whole production. I work feverishly when I’m inspired, I rest when I can’t work and work when I can’t rest.
I thought your performance as Dmitri Desgoffeund-Taxis, in the Grand Budapest Hotel was quite Oscar-worthy. What is it about Wes Anderson’s quirky and sometimes bizarre films that brings out some your best work? Thank you, that is very kind of you to say. I am so
happy to have gotten to play and collaborate with Wes on so many occasions, and lucky to be lifted up by his greatness. He is such a visionary Director. His work is so unique and funny and precise. I love the strangeness and charming, insightful moments of all his films.
something strong within the genre. I have been a long
required an intense physical transformation. There was quite a bit if pressure to honor the awesome stage presence and technical mastery, and fearlessness of Harry Houdini. Recently I had to embrace a haunted madness to portray Charles Boone, in Chapelwaite, and the pressure is on now as I step into the shoes of the Iconic Pat Riley, in the HBO project I’m working on now about the Los Angeles Lakers.
ISSUE No. 7
that speak to me and at my pace. There isn’t a need
A conficted outsider named Ritchie, in Spike Lee’s
Summer of Sam. Royce, in Predators , which also
Gio
such a gift for me. It affords me a creative outlet with
come to mind are:
I have had many other challenging roles. A few that
FEATURES
sharing each other’s inspiration. Painting has been
You are set to executive produce and star in Chapelwaite, based off of the Stephen King short story Jerusalem’s Lot. What was your research process for the role? Did you read the short story?
of humanity.
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peace and purpose in the beauty that comes from
In addition to acting, you’re also an artist. How does creating art help you in your life? Does it create balance? Are you planning any new exhibitions of your work? I believe all forms of creative expression help us find our way — as individuals, and as society as a whole. We commune through art in all of its many forms. We find purpose for suffering, understanding for loss,
I am really honored to have an opportunity to do
time fan of Stephen King and horror films are a guilty pleasure. Jerusalem’s Lot is such frightening and foreboding tale and the evolution of King’s material into Chapelwaite gave me a chance to play a heroic father fighting against demons in all forms to protect his family. He, and the story, is utterly relatable and remarkably contemporary even though it is set in the 1850’s. I can’t wait for people to get to enjoy it.
You’re no stranger to the horror genre with films like The Village and Predators. How was the process of adapting and filming the supernatural horror elements in this series?
On Chapelwaite we were supported by believers and professionals. It began with great source material the producers assembled a team of fantastic special supervisors, strong actors and great writing. None would be possible without the tremendous support from the Michael right, the head of Epix, and his team.
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ISSUE No. 7
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