Traveling around the world, award-winning American photographer Steve McCurry lends his own perspective to Vacheron Constantin to tell the story of its new Overseas collection.
For Vacheron Constantin, 2016 was the year of the Overseas. Badly in need of a makeover, the collection witnessed a total refurbishment and even welcomed its very first in-house integrated automatic chronograph movement—which was five years in the making—and a quick-change strap system that is ideal for travel watches. The Overseas series symbolizes the spirit of travel and Vacheron’s openness to the world. Inherited from one of its founders, François Constantin, travel has long been part of the company’s heritage. Although it was founded in Geneva, Vacheron Constantin has looked to faraway horizons since its inception, establishing a presence on four continents by the 18th century. So when Vacheron decided to illustrate its Overseas collection and its unique perspective on the world through a set of photographs, it called on American master photographer and storyteller Steve McCurry, the acclaimed photojournalist who made a name for himself traveling the globe and capturing the face of humanity through his lens.
For almost four decades, as McCurry patiently observed life and waited for the right light, the right moment, and the right composition, his images have accompanied us. Who can forget the Afghan girl whose green eyes gazed out at us from the cover of National Geographic in 1985? There was the group of women caught up in a sudden dust storm in Rajasthan, India, who huddled together for protection while praying and singing songs. Overcoming cultural and linguistic obstacles, he produces photos that highlight conflicts (work that has earned him the Robert Capa Gold Medal Award in recognition of his courage and resourceful spirit), vanishing civilizations, ancient traditions, and contemporary culture. Through the people at the heart of his work, his portraits always reveal an aspect of the human condition. Eternally curious, he searches for “the unexpected, the moment of serendipity, thus enabling accidental discoveries of interesting things one was not looking for. For me, photography and travel go hand in hand. Photography has been the perfect way for me to see the world and to experience different cultures. This has remained the main drive in my work, and in my life.”
Time in perpetual motion inspired McCurry’s unprecedented project with Vacheron, which stemmed from an idea belonging to CEO Juan Carlos Torres, a photography enthusiast. Like the 12 hours on a watch dial, McCurry set about immortalizing 12 separate worldwide locations—some little-known, but all reflecting the human ability to imagine, create, and transform—in what has been dubbed the “Overseas Tour.” The premise was to photograph iconic works of architecture and locations that man had touched and influenced as a celebration of beauty and invention, and demonstrate how travel can change one’s perspective on the world. He explains why he accepted the job, saying, “I was intrigued, as I had already had a great appreciation for Vacheron Constantin’s craft, and I also wanted to celebrate human ingenuity and creativity by capturing these pieces of architecture.” Add to that equation the common values the two share: discipline, patience, creativity, movement, transmission of knowledge, and openness to the world. He describes how he relates to time: “Photography allows moments to transcend time and become eternal. Time for me is capturing an instant of life.” Owning several fine watches himself, he has worn them his whole career, from his very first trips. Precision is critical in his job, and he believes that the aesthetic of a timepiece adds to one’s elegance.
The Overseas Tour began last February and came to an end over the summer. Naturally, McCurry started at the Manufacture Vacheron Constantin in Geneva—the first watchmaking atelier he has ever visited—which was designed by Swiss architect Bernard Tschumi. The building is a play on contrasts: sophistication and simplicity, harmony and rigorous discipline, flowing and closed spaces, modern and timeless lines. He recalls, “You find yourself facing this incredible shape, this architecture, this singular design that is also an authentic work of art, a concrete example of human genius. I see it as a perfect match between beauty and precision. Meeting the craftsmen behind the timepieces was very interesting; this collaboration with Vacheron has enriched my understanding of watchmaking and the incredible know-how that goes into the creation of each timepiece.”
McCurry also photographed the Aqueduct of Padre Tembleque, which was designed to channel water through the Mexican desert and is proof of in-depth technological knowledge dating back almost 500 years. Then there was another architectural treasure: Grand Central Terminal in New York, one of the world’s largest railway stations, which transports millions of travelers daily. He notes, “I remember the first time at Grand Central. I had the impression of being immersed in a work of art, not a railway station! What I find especially fascinating here is the constant human interaction.” Mixing symbolic ornamentation and optical illusions, the labyrinthine Chand Baori stepwell in India reminded him of M.C. Escher’s artworks. A major center of social life for centuries, it was among the most beautiful, awe-inspiring staircases he has ever seen. Hewn out of rock between 713 and 803 A.D., the towering, 71-meter Leshan Giant Buddha in Sichuan Province, China, was built to protect sailors braving the Min River. He describes the sacred Tsurunoyu Onsen hot spring baths in Japan set amidst unspoilt nature, saying “This was one of the most inspirational locations on my photographic journey. When we arrived, it had been snowing for three days. Everything was shrouded in a mantle of white, as if in a dream. It was truly fascinating to witness this magical contrast between the coldness of the snow and the warmth of the baths.”
Part two of the journey continued with locations such as Moscow’s Red Square and the colorful bulb-shaped towers of St. Basil’s Cathedral; the Crawick Multiverse land art project in Scotland, inspired by the area’s monoliths, that was created by architect-artist Charles Jencks; and Lalibela, one of Ethiopia’s holiest cities, famous for its ornament-free, monolithic rock-cut churches sitting below ground that embody a world of simplicity and humility. McCurry discusses his visit to the Paris Astronomical Observatory, the oldest in the world still in operation and usually off-limits to the public, “This was my first time entering the dome of an observatory. It was fascinating to have the opportunity to visit a place made possible by human curiosity and ingenuity.” As for Chefchaouen in Morocco, whose inhabitants have been painting the town blue for almost a century, he says, “There is a poetic story likening this blue city to the skies or heaven. Viewing the town at night from further away provides a magical vantage point, where the warm-hued lights give a nice contrast to the blue-painted city.” He describes the shimmering, richly-decorated buildings of the necropolis in Samarkand in Uzbekistan on the Silk Road, saying, “The timeless architecture is just as striking and iconic as it was when it was built around 2,500 years ago. The ornate designs and wondrous colors are a marvel to behold.”
As for what lies in store for McCurry in the future, one will surely find him wandering around a particular village, city, or region in discovery of new things. Humanity and a concern for life on this planet drive him to explore and examine people and their lives. He concludes, “These days, I travel most of the year. I travel and try to tell stories with my pictures. Where I travel to and what I’m working on is constantly changing and too numerous to list. I’m always working on the next book project, on new exhibitions around the world and on shooting the next photograph. After all these years, I still have an insatiable curiosity about the world, which is essential for a photographer.” —Y-Jean Mun-Delsalle