BORN FOR SPORT

Light as a feather, fit as the brand pa ner and ten­nis star Alexan­der Zverev, the epony­mous RM67-02 Au­to­matic time­piece by Richard Mille is a force to be reck­oned with, set to play the field

AugustMan (Malaysia) - - Highlight - WORDS BY KC YAP PHO­TOS BY RICHARD MILLE

ONE LEITMOTIF OF Richard Mille since its early days has been open­ing horology to ac­tive col­lab­o­ra­tion with part­ners at the pin­na­cle of their re­spec­tive dis­ci­plines, ath­letes in par­tic­u­lar. The lead­ing fine watch­maker is known for grac­ing the wrists of sport­ing cham­pi­ons, start­ing with F1 driver Felipe Massa. Sub­se­quent ad­di­tions to the Richard Mille fam­ily in­clude ten­nis king Rafael Nadal, Bubba Wat­son from golf, alpine ski medal­list Alexis Pin­tu­rault, Ja­maican sprinter Yo­han Blake and so forth. In its ex­ten­sive RM col­lec­tion that spans over 70 mod­els, there can be found watches de­signed for re­gatta, rally driv­ing, polo, etc.

In hopes of in­ject­ing a sporty qual­ity into the ex­tra-flat RM 67-01 based on a sin­gle di­rec­tive: to cre­ate a watch that would guar­an­tee a gen­uine “sym­bio­sis” between a sports­man and his watch, the de­vel­op­ment en­gi­neers at Richard Mille cre­ated the RM 67-02 Au­to­matic, head­lined by cur­rent world no. 3 ten­nis player Alexan­der Zverev. Here, the cel­e­brated for­mula “less is more,” ap­pro­pri­ated by Mies van der Rohe to de­scribe his ar­dour for Min­i­mal­ism, is ap­plied with per­fect ac­cu­racy where the es­sen­tial edges out all su­per­fluity.

STATE-OF-THE-ART CASE

The ge­nius of the RM 67-02 Au­to­matic Alexan­der Zverev lies in its light­ness and re­sis­tance, thanks to its case and the sig­nif­i­cant means de­ployed in its pro­duc­tion. Made of Car­bon TPT® and red Quartz

TPT®, com­pos­ite ma­te­ri­als ex­clu­sive to Richard Mille, the pro­tec­tive hous­ing en­sures ex­cep­tional re­sis­tance to shocks de­spite its slim pro­file of merely 7.8mm.

The bezel and case­back em­ploy Car­bon TPT®, a re­mark­able ma­te­rial with a unique fin­ish ob­tained by lay­er­ing hun­dreds of sheets of car­bon fi­bre with a max­i­mum thick­ness of 30 mi­crons. The case­band is

some­thing re­ally hard to achieve. You see so many peo­ple on the In­ter­net, who may be able to play the gui­tar re­ally fast, or do all the scales and other fancy gim­micks, but when you boil it down, they don’t have a unique sound, nor is their style any dif­fer­ent from the next per­son you see on the In­ter­net. So, to have that, that’s the most im­pres­sive thing to me. Ei­ther that or I’m prob­a­bly just say­ing that be­cause I can’t do any of the fancy riffs (laughs).

One of the more per­sonal as­pects in song­writ­ing for singers/song­writ­ers is that a lot of the mu­si­cian’s per­sonal life sto­ries go into the song­writ­ing process. How would you weigh out the in­ti­macy of your song­writ­ing process, which sub­se­quently, goes into your al­bums?

I’d say about 60% of my song­writ­ing comes from per­sonal life ex­pe­ri­ences. It’s a way to ex­press my­self and get it off my chest, the emo­tions I’m feel­ing, or the things that are hap­pen­ing in my life. For Hearts That Strain, it’s more about the re­flec­tions I have for my life: Indigo Blue is about the re­flec­tion of the things I’ve done in my life, and how the de­ci­sions to do those things will af­fect where I’ll be head­ing to next in life. Be­sides that, you, of course, have the re­la­tion­ship-themed num­bers like Big­ger Love and How Soon the Dawn. Love is a very pow­er­ful thing, that’s why most songs out there are about it, and it’s some­thing that I feel most right­eous to talk about, I sup­pose.

What is it about coun­try mu­sic that ap­peals to you?

I love the sound of coun­try mu­sic; it’s just that my ears like it, and I can’t help it (laughs). It all started when I first got into Johnny Cash, re­ally. I mean, al­beit

I’d con­sider him a lit­tle bit more rock and roll, he was def­i­nitely the one who opened door­way to coun­try mu­sic for me. I sup­pose, the mu­sic and the vo­cal are al­ways as­tound­ing to me. That be­ing said though, coun­try mu­sic can be my favourite sound, but it can also be the worst. Ev­ery­thing that’s past 1979, I don’t like it at all. New coun­try mu­sic is just the worst!

Will we be ex­pect­ing any­thing new from you any time soon?

I’ve been work­ing on some new mu­sic, but I can’t say too much about it at this time. I’ve al­ways had a love for pop mu­sic, but good pop mu­sic̶­like The Bea­tles and ABBA, you know, songs that stand the test of time. I’m in the midst of find­ing a way to com­bine that into what I’ve done and learned so far in terms of mu­sic. I’m try­ing to find a nice bal­ance to it. Per­haps some­thing that’s a lit­tle bit more ac­ces­si­ble to the younger peo­ple of to­day, but hope­fully, with lyrics and mu­sic that is up to stan­dard as well. AM

“I LOVE THE SOUND OF COUN­TRY MU­SIC; IT’S JUST THAT MY EARS LIKE IT, AND I CAN’T HELP IT“

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