Gagà Laboratorio Labormatic “Luce”

Mo Coppoletta is, to me, best described as a design polymath. If he had lived in the Stone Age, his self-made edged tools would somehow be imbued with a streamlined architectural beauty, his loin cloth fashioned with a nonchalant élan that others would not possess, leaving them to only marvel slack-jawed at his ineffable sense of style — such is his capacity to remake the objects around him according to his extraordinary aesthetic sensibility. You know that line in Martin Scorsese’s film The Departed, when Frank Costello, portrayed by Jack Nicholson, says, “I don’t want to be a product of my environment; I want my environment to be a product of me.” That’s my friend Mo Coppoletta.

Mo Coppoletta at work in his tattoo studio, channeling the artistry and precision that now informs his watch designs.

Bvlgari Octo Finissimo “Tattoo Aria” — a collaboration with Mo Coppoletta

While he has his roots in tattooing, based on his extraordinary design talents, his natural charisma and his everyday-I’m-hustlin’ work ethic (cue Rick Ross soundtrack), Coppoletta has become the watch industry’s go-to collaborator, working with everyone from Romain Jerome and Stepan Sarpaneva to Fabrizio Buonamassa Stigliani of Bvlgari, with whom he created three of the most epic Octo Finissimos of all time, incorporating tattoo-themed laser engraving across the bracelet, dial and case. So, when it came time to express himself through his own timepiece at Gagà Laboratorio where he serves as Art Director, he did so — in the words of Dr. Dre — with his full capabilities. And the results are spectacular.

A New Creative Direction

But don’t just take my word for it. When I crossed his path last Geneva Watch Days and asked French retail legend Laurent Picciotto what was good, he answered by raising his fist in the air and shouting, “This!” Strapped to his wrist was Gagà Laboratorio’s Labormatic. And I get why he said that. There has been a lack of creativity over the past couple of years, with the big brands seemingly focused on extending their product range with colored dials, while most independent watchmakers appear intent on time traveling to the 18th century. Where were the new original voices? What happened to those watches that brought something new to the collective horological conversation, yet didn’t cost the equivalent of a small house?

The answer, as I realized, was strapped to Picciotto’s wrist. Let’s first look at the Labormatic’s case with its round frame, crown at 12 and its exuberant, flared spider lugs that look like they were inspired by Roman relics from an archaeological dig, yet perfectly tread the tight rope between elegance and baroque. On the wrist, they create a design leitmotif that you can see from a thousand yards, but even with a 42mm-wide case, it can be worn easily on any wrist. Coppoletta states, “As someone who has collected watches from Audemars Piguet to F.P. Journe to De Bethune, respect for ergonomics is incredibly important.”

The construction of the Labormatic case is also remarkably complex with the step in the lugs actually flowing into the flanks of the caseband. It is all very architectural and impressive, considering the accessible price tag of around 4,000 Swiss francs. Coppoletta says, “There is a real gap in the market for timepieces that are visually dynamic, original in voice but also affordable.”

From the case, let’s move to the time-telling indications of the Labormatic. In the center is a running seconds indicator, surrounded by the indication for minutes told using a hand and a guichet display for the hours. Encircling the minutes and hours is a domed, three-dimensional sector that allows for different color treatments. The Labormatic watches have been executed in four variants. The first is the Bauhaus where the minute track is all about minimalist form follows function. The second is the Cinquanta, which channels Italian streamlined design from the ’50s, a period often considered to be one of the golden ages of Italian art and style, as seen in everything from Vespas to Gio Ponti’s furniture.

Two subsequent editions, the Azzurro and the Champagne, feature a soft blue and matte gold-toned dial, respectively, both of which hark back to the chromatic hues familiar in Italian culture and design. Honestly, with the exception of the more subdued minute track in the Bauhaus model, the glorious postwar Italian design boom really inspires all Labormatic models to date. It underscores the brand’s design ethos as well as Coppoletta’s personal, tailored style — a unique and compelling source of inspiration for him.

The Labormatic channels everything from Fellini’s La Dolce Vita to the rise of the Amalfi Coast as the playground for the global elite. Indeed, if it had existed at the time, it would have been perfect on the wrists of celebrities such as starlet Sophia Loren and legendary playboy Profiro Rubirosa. Coppoletta says, “From a design perspective, I wanted to create something that was not only visually stunning, original and expressive, but also effortless and intuitive to read.” He’s succeeded on all counts.

Gagà Laboratorio Labormatic “Luce”

The Labormatic “Luce”‘s fully lumed numerals glow vibrantly in the dark.

Now, the fifth version of the Labormatic that has just been launched is a limited edition that combines luminescence and craft in a particularly pleasing way. As a watch collector, Mo Coppoletta is particularly fond of A. Lange & Söhne’s series of luminous watches named Lumen. As he was sitting with his friend and fellow watch collector Ahmed “Shary” Rahman studying his Datograph Lumen, he decided to transpose this concept to the Labormatic.

Caseback of Gagà Laboratorio Labormatic “Luce” watch showing glowing luminescent rotor in the dark.

He explains, “The idea of a timepiece that transforms its appearance in different light conditions with the application of luminous material is interesting to me.”

Macro view of the Gagà Laboratorio Labormatic Luce’s guichet hour display, revealing the deep blue lapis lazuli design elements at the base of the dial.

But to take it a step further, he also decided to artfully apply lapis lazuli design elements to the base of the dial. The deep blue of this stone creates the effect of a night sky which, when complemented by the luminous time indicators, inspired him to name the watch Luce, or “light” in Italian. The luminous signature provides this timepiece a decidedly roguish nocturnal dimension, perfect when strapped to your wrist while enjoying a cigar in Geneva’s Leopard Room, where Coppoletta can occasionally be found.

The Labormatic “Luce” on the wrist, a perfect balance of bold design and everyday wearability.

One of the leading champions of the Gagà Laboratorio Labormatic is London-based Dillon Bhatt. He says, “The Labormatic has been a big success here in London, bringing a really stunning design with a real original voice and compelling time-telling expressiveness to the market at an extremely accessible price. It’s a watch for someone that wants to have fun but with a timepiece that really over-delivers in terms of quality. The new ‘Luce’ model is the most evocative so far with its luminous display and lapis lazuli on the dial, and I’m sure it will be a success.”

Dillon Bhatt sporting Labormatic Azzurro

Tech Specifications: Gagà Laboratorio Labormatic “Luce” Limited Edition

Movement Self-winding La Joux-Perret Caliber G100; 68-hour power reserve
Functions Digital hour display, analog minutes and center seconds with a central disk
Case 42mm × 13.3mm; stainless steel; water resistant to 50m
Dial Blue with lapis lazuli base; luminescent time indications
Strap Italian-made blue Saffiano leather; stainless steel pin buckle
Price CHF 4,300 (excl. VAT)
Availability Limited edition of 100 pieces

Available through Gagà Laboratorio Website.