close-up photo of SPMTE color bars

close-up photo of SPMTE color bars

By Dylan Jones

A LUX x ROSEWOOD COLLABORATION

Portrait of GQ editor Dylan Jones

Dylan Jones

I remember the very first time I met Jonathan Ive [Apple’s chief design officer], 15 years ago, at the old Design Museum near London’s Tower Bridge. It was a winter’s evening and we were sipping entry-level sauvignon blanc and eating overly complex finger food as we stared across the Thames and compared notes on how our respective companies were working together.

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We were talking about the need for creatives to work more collaboratively with those in the emerging tech sector, and, obviously, why it was imperative that ‘tech-heads’ (his term, not mine), should seek out more creatives. A decade and a half later, the penny finally seems to be dropping.

I have long been involved in discussions with creatives about how the big tech companies still think they can get away with treating content providers like serfs, but not only does this situation look as though it is slowly changing, but also it seems that far more people in tech are now reaching out to the creative industries. Not because they still desperately need content, but more importantly because they understand that in order to build long-standing editorial propositions, it is vital for both sectors to work hand in hand. Which means that the creative sector as a whole needs to be more responsive, and perhaps even more proactive in reaching out to tech, in order to start building for the future. It is no use pitching editorial against delivery systems, as they both need each other, more so now than at any time in the past.

Almost unbelievably, there are still those on both sides of the divide who think that one can work without the other. But more fool them. The future is bright and the future is exciting and the future is right here under our noses, but there is little point in trying to embrace it alone.

Six ways to get creative:

1. Build a proposition that partners can co-own.
2. Never clip your own wings.
3. Be transgressive as well as transformative.
4. Listen more.
5. Ask more questions.
6. Own the data.

Dylan Jones is the editor in chief of British GQ and menswear chairman of the British Fashion Council.

This article was originally published in the Winter 2019 issue.

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yellow sportscar manufacturing process in workshop with engineer working on engine
still life image of Richard Mille watch with black strap and large rectangular face

The RM 11-03 McLaren watch

It costs as much as a McLaren 570S and will turn just as many heads. We love the RM 11-03 McLaren Automatic Flyback Chronograph with a desire that is almost unhinged – this is why you will too. 

1. It feels like a supercar.

Unlike many high-end watch-car collaborations, where a motoring logo is stuck onto what is basically an existing watch design, the 11-03 was designed jointly by McLaren Design Director Rob Melville and Richard Mille Engineer Fabrice Namura. It uses the same materials and coatings used by the British high-performance car brand, and while big, is incredibly light.

2. It looks fabulous.

Collaborative watches can be hit and miss; at worst, a mish-mash of two completely different design philosophies. The 11-03 is actually beautiful, a tough achievement for a big watch.

yellow sportscar manufacturing process in workshop with engineer working on engine

The production facility at McLaren in the UK

3. You’ll not see anyone else wearing one.

Only 500 are being made, worldwide, and the first ones are only available to McLaren Ultimate Series clients; afterwards, they’ll be available at Richard Mille stores.

4. It’s not a Patek Philippe.

If you buy one of these, you’re likely to have at least a couple of Pateks as well, just as a McLaren P1 owner is likely also to have a few Ferraris. But, just like buying a P1, or an F1, purchasing a 11-03 shows a certain breezy panache and originality.

detail photograph of watch manufacturing process

The manufacture of the RM 11-03 McLaren watch case

5. It’s wearable.

You may have a platinum dress watch also costing as much as a high-end sports car, and you’ll wear that a couple of times a year under a dinner jacket, for fear of scratching or bashing it. The 11-03 is not just lightweight; it’s made with hi-tech materials like top-grade titanium, and you can wear it to play tennis, fish on your boat or hike in Alaska. And it’ll be fine.

6. It’s beautiful.

Did we say that already? But it just is.

For more information visit: richardmille.com

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