Much like their main rivals in haute horology, Patek Phillipe, Vacherons in steel are fairly uncommon, as both manufactures preferred to work in precious metals and still do to this day. This 6308 is also characterized by its full sized 36mm case diameter and an absolutely stunningly symmetrical dial layout.
Inside this peerlessly elegant watch beats the heart of a champion — a JLC-derived manual caliber P454/5b with sweep seconds, 18 jewels, a whopping 8 original adjustments and stamped with two Geneva Seals, an attestation of particular horological achievement somewhat above and beyond the usual Chronometer certification.
Coming with both its rare original USA-made brick link bracelet and a perfectly suitable thin black lizard strap, this Vacheron 6308 ticks all the boxes for the man of style and substance. With the Holiday Season just about to hit full stride I can think of no better wrist companion than this beautiful dress VC to accompany you to all your finer festivities.
It’s the last day of October and what better match for Halloween that this Tudor Snowflake Submariner with amazing pumpkin patina? This rugged beauty is all original, unpolished and dates to 1970. It’s a first generation Snowflake dial as you can tell by the exceedingly rare SWISS-only signature below “6.”
This 7016/0 Tudor Sub, a reference which started with Rose dials before transitioning to Shield Snowflake dials like this one, is obviously no safe queen and seems to wear every one of its years on this planet with a well-earned mark or nick to its Oyster by Rolex case. These first generation Snowflake dials were also prone to a “bubbling” effect to the surface due to a reaction between the paint and the plate, which you can clearly see on this example. While the wabisabi on this devil won’t be to everyone’s tastes, I love it because it just shouts unmolested vintage authenticity. Ad isn’t that really what its all about?
Top all that ugly beauty off with period correct bezel with fat font insert, Tropic 19 domed crystal and even the original no-dots big Twinlock crown and you have an amazing 48-year-old survivor that was clearly used like a toolwatch should be. And did I mention that stunning deep orange patina? As unique as a many-times sharpened hunting knife, this Tudor Snowflake is ready for its next adventure. Only this time it’ll be on your wrist as you impart your own unique history to this already great and long-lived Submariner.
As October speeds along and we inevitably face those frantic Holiday-filled final few months of the year it’s time to take a quick pause before the action begins and consider a truly beautiful and special vintage timepiece — this mid-1970s IWC Yacht Club with stunning blue dial on original bracelet.
Now the blue dial alone is reason enough to catch the savvy collector’s attention. But then there’s the fact that it also comes with its original box and a raft of matching paperwork that has survived the years along with this stunning watch. These bits of history include the original guarantee and even the sales receipt from Spandau, Germany dated 1976, among other records. That kind of hard-to-find provenance really puts this piece into solid investment grade “collector’s set” territory.
Of course you can’t wear the box and papers no matter how nice those goodies are to have. Where this Yacht Club really shines is on the wrist, its perfectly balanced 36mm “C-shape” case all flowing lines and making the dial really pop. And underneath the hood is a recently serviced caliber 8541B, the ultimate development of IWC’s wonderful in-house automatic calibers at the time.
On land or at sea, this blue Yacht Club is a watch guaranteed to make a fantastically stylish impression — make it yours before the gift giving season heats up and someone else snaps it up!
Just as the leaves change colors this time of year so too does vintage watch lume over time — one of the things that makes pre-Luminova 20th century timepieces so attractive & collectible. And to start October I’m offering one of the prettiest patinated watches that I’ve ever owned — this wonderful late 1950s Omega Seamaster “Special.”
With its original eggshell dial having acquired a lovely off-white cream tone from the years and the Radium-filled luminous markers and hands aged to a wonderful biscuity tone this classic Omega Seamaster checks all the vintage boxes.
Named the “Special” in Omega’s database perhaps due to an Olympic connection this example is the first of its line, as evidenced by the 2975-1 reference number, and dates to circa 1958 (an Olympic year, by the way). Inside is the excellent caliber 500 full rotor movement originally adjusted to 2 positions, an uncommon upgrade, and recently serviced.
If its perfect flowing lines and that gorgeous dial are not enough for you this beauty also comes on its rare original Beads of Rice bracelet with highly uncommon ratcheting clasp system for size adjustments without need of a tool, a very cool curiosity.
Throw in its desirable big logo caseback and beautifully proportioned all-steel case, this Seamaster truly lives up to its model moniker. For cutting edge vintage style suitable for any special Autumn event, what more could you ask for?
The death of Burt Reynolds at the age of 82 a few weeks ago has been a real bummer. Burt was one of our heroes here at MFL, so much so that no one could bring themselves to write the tribute. Looks like I drew the short straw…
If you grew up in the 1970s or ’80s Burt Reynolds was about as close to a vicarious favorite uncle as you could get. With his swagger, hairy chest and mustache, not to mention a varying assortment of ever-changing custom toupees, Reynolds dominated the box office through a series of increasingly Dixie-centric action films that featured fast cars, hot & spicy women and real stunts. If the plots were a little less than Mensa-level they were redeemed by Reynolds’ knowingly wry performances, bemusedly observing some of the more ridiculous antics in a self-depricatingly humorous way that rarely failed to connect with his audiences. All Burt had to do was let out one of those high, hyena-like laughs and you knew that he was having as much fun making the movie as you were watching it.
Reynolds had a very long career and was already a known, working actor in the 1960s and at the dawn of the ’70s, with prominent parts on TV in Riverboat and Gunsmoke leading to title roles on the short-lived police dramas Hawk and Dan August. Somewhat burdened by his physical resemblance to Marlon Brando in his early career it took his performance as a macho businessman on a rafting holiday gone horribly wrong in 1972’s Deliverance to sear a distinct screen identity into the national culture and catapult Reynolds to the top of the Hollywood A-list. That role cleverly exploited the limits of the self-styled man of action when faced with uncontrollable circumstances and the shifting nature of the alpha-male within a small group under siege. The film itself, directed by that keen observer of male codes and primitivism, John Boorman, has gone down as one of the all-time classics, if a grim one. As if to undercut the somberness of his career-defining role in Deliverance, Reynolds became equally famous that year for posing semi-nude on a bearskin rug in Cosmopolitan magazine. Although he never failed to mention how much he regretted the publicity stunt even in the last interviews of his life there is no doubt that it gave a major boost his overall popularity if not his standing as a serious actor (and if he regretted it so much why did he also put out a risqué paperback called “Hot Line” that featured him bottomless in a football jersey among other playful beefcake photos?). His Cosmo centerfold in all its hirsute glory became one of the most iconic and subversive images of the ’70s, right up there with Joe Namath posing in pantyhose.
That was always the yin-yang with Burt Reynolds. He was the ultimate crowd pleaser but yearned to be taken seriously, capable of expounding on his personal foibles in unvarnished detail and then prowling around a studio audience of middle-aged ladies like a sex panther. Beginning with White Lightning(1973) and then its sequel Gator (1976), the first film he directed, Reynolds perfected the reliable screen persona of a good old boy out to stick it to the man, one that drew on his southern roots and proved enormously appealing to moviegoers both above but especially below the Mason-Dixon line. This character and formula found its apotheosis in the immensely successful Smokey and the Bandit, which was second only to Star Wars in 1977 box office gross receipts. Smokey and the Bandit brilliantly tweaked the Reynolds man-of-action character with a more comic slapstick approach and fused it with a host of ’70s zeitgeist touchstones like trucker CB culture, contraband Coors beer, Jerry Reed’s killer theme song “Eastbound and Down,” a feisty young Sally Field and Burt’s black and gold T-top Trans Am all while being pursued by a fat, tan and uproariously foul Jackie Gleason. But enjoyable as his redneck gearhead protagonists were, Reynolds most interesting work was often in more challenging and uncategorizable movies, parts more in the Deliverance vein that were propelled by some inner hurt within Burt that he worked so hard to gloss over most of the time.
He was particularly productive with director Robert Aldrich, another keen observer of flawed macho behavior, with the morally ambiguous and very moody L.A. neo-noir Hustle (1975) and even better as the footballer behind bars in The Longest Yard(1974). His Paul “Wrecking” Crewe in Yard is one the best roles Burt ever had, funny, cocky, sensitive and rebellious in all the best ways, outwitting the guards and a corrupt warden by whipping his misfit cons into a cohesive football team and cleverly finessing a seemingly no-win situation. His background as a serious amateur ballplayer was put to good use again in Michael Ritchie’s Semi-Tough(1977) alongside Kris Kristofferson and Jill Clayburgh in a very funny and very ’70s send up of football, its wealthy patrons and the patently ridiculous self-realization craze of the time. Other notable films of this era are Hooper & The Cannonball Run, more antic action frolics helmed by Bandit director and Reynolds’ pal Hal Needham, the ace stuntman & his former housemate; and The End directed by Burt about a man with a terminal prognosis determined to end it all in ineffectively hilarious fashion with the unwanted and homicidally zealous aid of Burt’s frequent sidekick during this era, Dom DeLuise.
Despite the star-studded guilty pleasure success of Cannonball Run, Burt was essentially running both the car chase genre and his grinning good ol’ boy persona into the ground due to a series of weak sequels — Cannonball Run II, Smokey and the Bandit II & III — finally bottoming out with the poorly received Needham-helmed stock car farce Stroker Ace in 1983. He had ridden this particular wave as far as the public wanted it to go and it had broken. He had also tried diversifying his screen persona with relationship comedies like Paternity (1981) and the very good Starting Over (1979). And he also explored relatively humorless tough-as-nails cops in the Clint Eastwood vein in crime thrillers like Sharky’s Machine (1981) and Stick(1985), both of which he also directed, as well as the rather more tepid Heat (1985). But even though those films hold up well now for the most part the reception at the time was decidedly mixed. The public was suffering from Burt Reynolds fatigue.
Worse still for Burt he was injured during the making of the Prohibition period pic, City Heat(1984), in which he co-starred with Eastwood himself on something of a Hollywood macho man action star dream team. His laudible penchant for performing as many of his own stunts as the insurance companies would allow, which earned him tremendous respect from the stunt man community, boomeranged on him when he was accidentally hit in the face with a non-prop chair, shattering his jaw. His recuperation would see him drop a scary amount of weight, leading to ugly rumors, and a debilitating dependance on sleeping & pain pills, which unfortunately would recur later in life. But he came back strong on the small screen with an appealing homage to small-town life, Evening Shade (1990-94), which won Burt an Emmy. Better yet was his auteur director of smut Jack Horner, adult entertainment impresario and surrogate father figure to a group of misfits in the porn industry, in Paul Thomas Anderson’s epic Boogie Nights (1997). It was perhaps his best acting since the early to mid-1970s, a fully realized portrait of an honorable man with artistic leanings in a scuzzy business, a professional with X-rated standards who resists the move to cheap, plotless videotaped carnality performed by amateurs and serves as the protector and enabler of his porn family’s dreams. It was a stunningly rich performance with a palpable backstory that not only earned him an Oscar nomination but also newfound respect in the industry for his acting chops.
His bewildering reaction to the success of Boogie Nights illustrated the conflicts raging beneath the surface of this seemingly glib stud. Despite its critical success Burt disowned Boogie Nights, claiming never to have seen it straight through. He feuded with prodigy director Anderson, although it seemed like a one-sided grudge as Anderson was willing to cast him in his next picture, Magnolia. But Reynolds turned him down. It’s unclear whether Reynolds didn’t really understand Boogie Nights, not only one of the best films of the ’90s but certainly one of the best performances of his career, or simply found the end product distasteful. But, like his reaction to the Cosmo centerfold that came on the heels of his breakthrough in Deliverance, Reynolds seemed intent on undercutting one of his greatest successes with needless public second-guessing and airing his discontentments. It was as if within the man there was an unresolvable conflict between being taken seriously as an actor to earn the respect of his peers and the absolute need to subvert that potentially pretentious goal by treating so much of his work as a series of mistakes or purely mercenary undertakings, often even the good stuff. His loudly professed dislike of Boogie Nights cemented his reputation as a difficult star to work with and short-circuited his comeback. Perhaps it even cost his that year’s Oscar. Along with his epically complicated relationships with women, including Dinah Shore, Sally Field and Loni Anderson, it all pointed to a strangely restless and unsatisfiable soul.
But in his best work on the screen — and in hours of old talk show clips still viewable on You Tube — Burt channeled those deep waters into the pursuit of having the best possible time, inviting the audience along with him for the ride and letting them in on the jokes like a lucky passenger in that famous speeding black and gold Trans Am. His physicality and daring were perfectly suited to action romps but behind the mustache and hairy chest was also the deft touch of an expert light comedian, a nearly unique combination in such a macho dude perhaps only paralleled during that era by the sly Roger Moore in a suave English version (and with some echoes today in Ryan Reynolds’ impressively deft action-comedy performances). He successfully escaped the massive shadows of Brando and Eastwood to create an entirely unique screen persona, self-mocking but capable, tough but romantic, anti-establishment but with his own code of honor, always a faithful friend. He was, above all, an absolute charmer, as self-effacing and yet as confident in his excellence and good looks as a Southern 1970s Cary Grant, the cackling laugh substituting for Grant’s untraceable accent. Like Grant, he was massively complex in real life, often dissatisfied and full of self-doubt. But in front of the camera he was a master and a “natural” by way of hard work and experience. To ponder all the happiness Burt Reynolds leaves behind through his extraordinary and prolific career, the omnipresent drive-in movie and videotape/cable TV background for those of us who came of age in the ’70s and ’80s, is precisely why his passing leaves us so bereft. There are a ton of Burt Reynolds movies out there to continue to watch and enjoy. But to think that he will never make another, never laugh that hyena laugh again while he burns out and outfoxes the law is more than a little bit sad. It’s more like losing a wry older friend from childhood and a masculine role model than simply another movie star. But isn’t that the mark of this special man and his particular quality of stardom? Adios and via con dios, Burt — you were always a great amigo.
This beautiful T-Bird dates from 1962 and a has slightly later but nonetheless stunning silver dial with Sigma markings flanking the T SWISS T annotation. The Sigma symbols indicate solid gold markers and were only used by Rolex for brief period in the late 1960s and early ’70s. This lovely silver sunburst dial is Near Mint and its original Tritium lume is all intact and has developed a lovely patina.
Under the hood is the somewhat uncommon caliber 1565 Chronometer movement complete with its rare “balance guard,” a cool little vestigial detail. It is ticking away like a champ just like a Rolex should.
Coming on its likely original Swiss made rolled Jubilee bracelet this T-Bird presents beautifully on the wrist. With its handsomely crafted elapsed time bezel in solid gold the Thunderbird Datejust is the perfect blend of tool watch and elegance — a Sports watch for the board room, if you will — and certainly one of Rolex’s most interesting and innovative designs. And IMO, the white gold & steel version is the one to have. So grab it while you can!
First of all please note that this review is for the original formula of Givenchy Gentleman, which debuted way back in 1974, and not the recent reformulated 2017 release where the label actually reads “Gentleman Givenchy.” I haven’t tried that new, fruitier version so I can’t comment. What I can say is that original Givenchy Gentleman has become one of my favorites and a go-to in my rotation despite the fact that it’s approaching the 45th anniversary of its creation by Paul Leger. So much so that when I saw they were reshuffling it to the Les Parfums Mythiques category where old Givenchy frags are put out to pasture I bought several back-up bottles in case they decided to water it down.
While there is the usual waxing rhapsodic on fragrance forums about the vintage formulation, the modern iteration of Gentleman up until the shift over to Les Parfums Mythiques is still pure class (haven’t tried the LPM version but being so recently in production unlike, say, Xeyrus, I’m hopeful that they haven’t messed it up). From it’s distinctively simple “pharmacist”-style flaçon and spare modernist silver label with black Garamond lettering to the yellow-hued juice inside one immediately gets that “old school” vibe. But the fragrance itself, while certainly created a long time ago, remains timeless. Yes, it’s from the 1970s and yes its dominant note by far is patchouli. However, this is a cologne for people who only think they hate patchouli but have never smelled a well rendered, highly natural version of it. Along with Giorgio of Beverly Hills and the sadly discontinued Moods Uomo by Krizia, Gentleman has the best front and center patchouli note in the mass marketed fragrance business. But unlike Giorgio’s very forward honey-lime notes or the pervasive rose of Moods sweetening the deal, Gentleman’s patch is really both the soloist and the orchestra. Yes, there are the usual “woody aromatic” embellishments listed in the notes pyramid such as cedar and oakmoss but those seem faint to non-existent to my nose, as does the civet, which may have been phased out due to IFRA prohibitions. There is still a nice vetiver playing its part, a creamy orris root binding things together and some semi sweet-ish green spice notes likely from the listed tarragon, as well as a subtle rose note in the background. And the base definitely has a wonderfully long lasting leather note.
But again, this fragrance is all about the patchouli, which is both dirty and clean and goes on forever. When you first spray it on you may be alarmed — this Eau de Toilette is very concentrated — but hang in there for a minute and the fragrance instantly develops into an embracingly warm, inexpressibly elegant concoction cocooning you in pure masculine vibes. Continue reading →
Featuring an absoultely stunning dial that has aged to a deep chocolate brown, this Type 21 has all the sexy patina and wabi-sabi you could want in a military watch with loads of wrist appeal, not to mention terrific functionality.
Underneath the beautifully proportioned 38mm stainless steel screwed case is the fantastically engineered Valjoux caliber 235 hi-beat Flyback chronograph movement, still performing like a champ after all these years.
With its French Armée de l’Air Fin de Garantie service mark dating from 1979 this beautiful chocolate Dodane Type 21 has all the provenance any MilWatch enthusiast could need. And it’s offered at a fraction of the price of its Breguet Type 21 vintage brother. There’s no substitute for a genuine issued vintage military watch and, as the saying goes, they aren’t making any more of them. So get this amazing Dodane while you can!
July must be the month for beautiful black dialed watches because here comes another one. This time it’s an even more uncommon mid-1960s reference 666-AD Ingeniuer with incredible glossy black dial. Part of the Big 3 of antimagnetic “scientist” watches from the toolwatch Golden Age along with the Rolex Milgauss and Omega Railmaster, the IWC Ingenieur is a legend in its own right and probably the most versatile of the that illustrious a-mag lot. Putting this rare original black dial over the top is the added signature of the legendary Zurich jewelry retailer, Türler. That’s really a rare touch on an already rare model!
With its well proportioned 36.5mm all-steel 3-piece screwed case and beefy safe-like design to accommodate the anti-magnetic Farraday cage, the classic 666 Ingy is both rugged and elegant, a real mid-century masterpiece. Originally water resistant to 10 ATM and resistant to up to 1000 Gauss of magnetic fields, the enemy of a watch’s balance spring, this version of Ingeniuer features the excellent 21-jewel caliber 8531 with date complication under the hood. With its unique Pellaton winding system it’s part of one of the best mass-produced automatic families in horological history.
To put the ice cream on the pie this classic Ingenieur comes on its original Gay Freres beads-of-rice bracelet with IWC-signed “globe” logo clasp, a serious find in its own right. If you’ve ever searched for one of these you know they just don’t come around very often, especially not with a black dial double-signed by Türler and on an original GF bracelet, so this is a great opportunity for the serious collector to own this iconic timepiece from IWC Schaffhausen. Don’t miss it!
We may be well and truly deep into the heat of July but here’s something ineffably cool — a late 1960s Seamster “Special” with stunning original gloss black dial. Black dials are quite uncommon on Omega dress models of this era and are highly sought after. With its silver print and outstanding original condition this one’s a pip.
Dating from circa 1967-68 and powered by the redoubtable Omega in-house caliber 565 with quickest date via repeatedly pulling out the crown, this Seamaster is a well balanced and classic gent’s 35mm in diameter. It also comes on its period correct beads-of-rice bracelet, a nice bonus, as well as a hand made black leather strap for added versatility..
For some obscure reason — perhaps the enhanced luminous dial? — this model is referred to as a “Special” in Omega’s vintage database. It is also believed that this case and dial combo is likely one of Gerald Genta’s designs for the company. Looking at the beautiful proportions and ergonomics of this watch on the wrist one can easily see why. No doubt about it — Special is a term that truly fits this handsome devil.
Although Omega made a lot of dress Seamasters during this era, a solid steel model rather than gold plated version represents great value for money in my opinion. When you throw in its eye-catching good looks and that magical deep black dial, this Seamster “Special” is one of the true bargains of the vintage watch world. Grab it while that’s still the case!
