AS THE WORLD WATCHES The sil­ver screen gets an ex­plo­sive injection of star­dust when film and horol­ogy col­lide. By Charmaine Ho.

Harper’s Bazaar (Malaysia) - - The Jewelry -

In case you haven’t al­ready no­ticed, “cor­po­rate so­cial re­spon­si­bil­ity” are three words that busi­nesses men­tion con­stantly. It seems global brands are not only ea­ger to let you know that they con­duct them­selves with the strictest le­gal and moral stan­dards, they’ll also have you know that they’re on a mis­sion to “give back” to so­ci­ety – be it in terms of con­ser­va­tion ecol­ogy, sup­port­ing the un­der­priv­i­leged, or con­tribut­ing back to the arts. For Jaeger-LeCoul­tre, how­ever, hav­ing just ust one cause is ap­par­ently not enough. Past years haveave seen the Swiss watch man­u­fac­ture con­tribut­ing to var­i­ous hu­man­i­tar­ian projects across the globe, in­clud­ingn­clud­ing Hong Kong’s End Child Sex­ual Abuse Foun­da­tion nda­tion and Madrid’s Alad­ina Foun­da­tion for chil­dren­dren with can­cer. Then, there’s the brand’s part­ner­shipip with UNESCO, forged in 2008, which sees s it play­ing an im­por­tant part in the pro­tec­tion of 47 marine sites on the UNESCO World Her­itage list. As for its sup­port of the arts, the brand has a clear affin­ity for one par­tic­u­lar muse: Film.

Jaeger-LeCoul­tre has re­mained a staunch sup­porter of the Venice In­ter­na­tional Filmm Fes­ti­val for the past decade, and it has taken ken sev­eral other no­table film fes­ti­vals un­der its s wings through­out the years; not least of all, the Shang­hai­hang­hai In­ter­na­tional Film Fes­ti­val, which has en­joyedd JaegerLe­Coul­tre’s pa­tron­age since 2011. It’s a re­spon­si­bil­ity pon­si­bil­ity that the brand takes very se­ri­ously. As thee fes­ti­val’s of­fi­cial part­ner, Jaeger-LeCoul­tre hosts the an­nual gala din­ner and auc­tion to kick off the fes­tiv­i­ties, while rais­ing funds for the pro­ject to re­store China’s clas­sic films – an ad­mirable pro­ject that seeks to pre­serve the his­tory and her­itage of Chi­nese cinema through the restora­tion of clas­sic Chi­nese films.

To date, 12 films, in­clud­ing Tears of the Yang-Tse (1947), Cross­roads (1937), and Two Stage Sis­ters (1964), have been re­stored, with Tung-Shing Yee’s award-win­ning C’est la vie, mon chéri (1993) mak­ing the list this year.

“We are not a part of film fes­ti­vals to be present on the red car­pet; that’s not the value of the brand,” says JaegerLe­Coul­tre CEO Daniel Riedo as we speak with him at the Shang­hai In­ter­na­tional Film Fes­ti­val. “[We are here] to ex­press our artis­tic vi­sion of the fu­ture and the restora­tion of clas­sic films is a per­fect match to our DNA. It’s a con­nec­tion that ex­tends be­yond film fes­ti­vals and we do it all the time.”

It would be easy to dis­miss Riedo’s words as mere rhetoric if it wasn’t for the brand’s ex­ten­sive con­nec­tions to the global film in­dus­try, but like a tree that has planted its roots firmly into the ground, Jaeger-LeCoul­tre’s con­tri­bu­tions to the world of film have grown into a stead­fast pil­lar of sup­port, bear­ing fruit in sev­eral ar­eas of the in­dus­try. From the nur­tur­ing of young tal­ents, to the hon hon­orary ac­knowl­edge­ments of con­tri­bu­tions made by leg­ends, JaegerLeC LeCoul­tre’s com­mit­ment to the cause is the stuff that movies are made of.

(1949),

Clock­wise from top left: Movie stills from re­stored clas­sic Chi­nese films – Cross­roads (1937), C’est la vie, mon chéri (1993), Crows and Spar­rows

Tears of the Yang-Tse (1947), and Eight Thou­sand Li of Cloud and Moon (1947) Rendez-Vous Ivy Se­cret watch, Jaeger- LeCoul­tre

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