The Rolex Daytona Cosmograph, originally designed to measure the average speed of cars and took its name Daytona after the famous racing beach in Miami. When referring to Cosmograph its origin come from the greek Kόσμος “cosmos”, that is translated as the world. For the Greeks Cosmograph is the science that maps the general feature of the Κόσμος (world) and the universe. Literary Cosmos in greek κόσμος — the world & graph in greek γραφή that means write, so in greek Cosmograph comes from the connection of this two world.
ROLEX COSMOGRAPH RAINBOW
In 2012 Rolex introduced the famous COSMOGRAPH ‘RAINBOW’ DAYTONA in yellow and white gold under the REF 116598RBOW. Its amazing and luxurious aesthetics with its multi color sapphires around the bezel accompanied with the diamond set at the lugs and the crown guards set high standards in the watch industry. It is important to mention that each stone is carefully hand picked in order to secure the high quality that Rolex represents. In. 2018 Rolex is adding the Everose gold edition under the reference 116595 RBOW.
In 2018 Rolex Cosmograph Daytona “Rainbow” Everose Gold was added to Rolex Collection. The watch was loved by many celebrities.
ROLEX COSMOGRAPH DAYTONA 116595
ROLEX COSMOGRAPH DAYTONA RAINBOW Ref. 116599RBOW
Introduced in 2013 another yet amazing Rolex Cosmograph Daytona Rainbow that combines in the most awesome way the sporty and luxurious aesthetic. Difficult not to be spotted among the crowd this unique limited edition Rainbow takes your style in a totally new level.
Want to learn more about Rolex History? Check out our article that describes how everything started.
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Vallée de Joux, Switzerland — Contributing Editor, high complications & independent watchmaking
Julien Favre learned the difference between good silence and bad silence before he was ten. Good silence was his grandfather at the bench in Le Sentier, loupe screwed into one eye, breathing shallow over a disassembled minute repeater. Bad silence was the moment a hairspring pinged off the peg-wood and disappeared into the floorboards. The family atelier — three generations of movement servicing for the maisons that carpet the Vallée de Joux — was never framed as a legacy Julien was expected to join. It simply was the house, the way weather is the house in a mountain valley.
He resisted it, predictably. He studied economics in Lausanne and spent two years in Geneva watch retail, selling the objects rather than opening them. What pulled him back was not sentiment but frustration: he found he could describe why a movement was beautiful far better than anyone selling it could, because he had seen its underside. He started writing — first a blog dissecting finishing under macro photography, then commissioned work for the trade press, then features that treated escapements the way music critics treat a fugue.
Julien now covers high complications, restoration, and the fragile economics of independent watchmaking for European and English-language titles. His reporting is unusually technical without being cold; he is as interested in the person hunched over the bench as in the tolerances they hold. He is skeptical of hype, allergic to press-release adjectives, and reliably the first to notice when a "revolutionary" caliber is a reworked ébauche.
He still returns to the family workshop each winter to service a single pocket watch on his grandfather's bench — a discipline, he says, that keeps his writing honest. A critic who cannot do the thing risks worshipping it. Byline version: Julien Favre is a contributing editor covering high complications and independent watchmaking. He grew up in a movement-servicing atelier in the Vallée de Joux and still works the family bench each winter
Vallée de Joux, Switzerland — Contributing Editor, high complications & independent watchmaking
Julien Favre learned the difference between good silence and bad silence before he was ten. Good silence was his grandfather at the bench in Le Sentier, loupe screwed into one eye, breathing shallow over a disassembled minute repeater. Bad silence was the moment a hairspring pinged off the peg-wood and disappeared into the floorboards. The family atelier — three generations of movement servicing for the maisons that carpet the Vallée de Joux — was never framed as a legacy Julien was expected to join. It simply was the house, the way weather is the house in a mountain valley.
He resisted it, predictably. He studied economics in Lausanne and spent two years in Geneva watch retail, selling the objects rather than opening them. What pulled him back was not sentiment but frustration: he found he could describe why a movement was beautiful far better than anyone selling it could, because he had seen its underside. He started writing — first a blog dissecting finishing under macro photography, then commissioned work for the trade press, then features that treated escapements the way music critics treat a fugue.
Julien now covers high complications, restoration, and the fragile economics of independent watchmaking for European and English-language titles. His reporting is unusually technical without being cold; he is as interested in the person hunched over the bench as in the tolerances they hold. He is skeptical of hype, allergic to press-release adjectives, and reliably the first to notice when a "revolutionary" caliber is a reworked ébauche.
He still returns to the family workshop each winter to service a single pocket watch on his grandfather's bench — a discipline, he says, that keeps his writing honest. A critic who cannot do the thing risks worshipping it.
Byline version: Julien Favre is a contributing editor covering high complications and independent watchmaking. He grew up in a movement-servicing atelier in the Vallée de Joux and still works the family bench each winter
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