On an unusually scorching afternoon, we find solace within a spacious 700 sq m haven tucked away along Tanglin Road. Manicured trees conceal the unassuming entrance on 1 St Martin’s Drive that leads us to the Richard Mille flagship boutique, also known as St. Martin. Beyond the glass doors, an inviting universe beckons.
The boutique boasts a wealth of surprises and the seamless fusion of style and comfort creates an atmosphere where hospitality reigns supreme, extending a warm welcome to visitors in a relaxed and inviting setting. We explore various distinct areas within it, such as the Crafting Space, the Restaurant, the Bar, the Sports Bar, the Riad, and the Hidden Library. Each space exudes its own distinctive charm.
When we spoke to Alexandre Mille, brand director of Richard Mille, during our exclusive video chat a month ago, he recounted how Dave Tan, CEO of Richard Mille Asia, called him and informed him of an opportunity in Singapore — a spot in a prime location. From that moment, both teams in Singapore and the head office agreed that they did not want a large boutique filled with empty cases.
Alexandre recalls: “We created a group internally, a sort of think tank, to work on the project. The basic brief for that space was that we wanted to be ‘inside Richard’s head’. Obviously, as we’re talking about my father, I know him pretty well, and was like ‘uh-oh’. In the end, we succeeded in pulling together some of the best aspects of his personality. He is a very generous person, very humane, but very complex at the same time. He gets interested in so many things and has many different passions. Our goal was to succeed in combining all that into one space.”
That challenge was met three years later along with a 30-man team who successfully combined a traditional boutique at the front and a hidden space at the back. Apart from that, Alexandre wanted something similar to the speakeasy clubs of the Prohibition era in the 1920s to 1930s, when the manufacture, sale, and transportation of alcoholic beverages were banned by the 18th Amendment to the US Constitution and enforced by the Volstead Act. Alexandre says: “I recall my visit to Las Vegas where we dropped by a pawn shop whose owner brought us through a secret door that opened into two huge restaurants. I really enjoyed that experience. First, I saw nothing, and then the space opened up. The mind is always anticipating what’s going to be next, so it’s a play on people’s expectations.”
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That goal was achieved as we moved from room to room, exploring a corner that showcased an extensive collection of coffee table books. Alexandre emphasises that this space has no commercial aspect. His aim is to create an environment where visitors can simply enjoy a drink, share some laughter, and depart.
Alternatively, if you choose to stay, you can savour a meal with menus crafted by invited chefs. For sports enthusiasts, there’s the sports bar where you can sit back, unwind, and watch a game.
Of course, let’s not forget what Richard Mille is all about — a watch brand that was founded 22 years ago. Richard’s vision was to pioneer a brand that would push the boundaries of horological innovation with a contemporary touch. In 2001, he introduced a timepiece featuring an ergonomic tonneau-shaped case adorned with distinctive torque screws and a price tag exceeding six digits, turning his dream into reality. Customers quickly recognised the exceptional quality and visionary design of this inaugural creation, cementing its success.
Two decades later, the Richard Mille watch collection has expanded to encompass more than 80 models, all meticulously crafted with the same unwavering dedication and uncompromising principles that guided Richard’s initial venture.
Hence, the space we gravitated to is the Crafting Space. This room houses several specialist watchmakers who are on hand to service your watch, replace straps, assess water resistance, and handle other maintenance tasks. The role of the watchmaker goes beyond mere servicing; there’s also an educational dimension in which the watchmaker will directly engage clients.
“This aspect was a topic of discussion with my dad. We both recognised a prevailing issue in our boutiques, and even in the wider watchmaking industry, particularly within the high-end luxury segment: a sense of detachment from the product,” says Alexandre.
He adds that he wants customers to be curious and play with the product, to understand more about how the Richard Mille timepieces work. He continues: “We want them to touch and feel our watches. We are eager to teach them how to appreciate the watchmaking world in all its glory, the materials, functions such as the Chrono and more, all in a laid-back atmosphere.”
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Here’s more from Options’ interview with Alexandre, as he delves into the brand and his formative years.
With the opening of this boutique in Singapore, is it fair to say that Richard Mille is focused on the Asian market?
It’s entirely fair to state that, indeed, as we have consistently placed significant emphasis on the Asian market. My dad and Dominique, his partner, founded the brand when they were 50 years old. With over 30 years of experience under his belt, my father laid the foundations for our development during the brand’s formative years.
He meticulously analysed every possible scenario, drawing from his extensive experience with numerous brands that had undergone fluctuations in their trajectories. Witnessing brands rise and fall, he absorbed invaluable lessons from each instance. For him, a pivotal determinant of success, or rather a safeguard against decline, lay in judiciously managing the allocation of timepieces.
He firmly believed that while this strategy might not ensure success outright, it could shield the brand from downturns. Thus, he emphasised the need for an equitable distribution of allocations across the globe.
This policy has been upheld from the start. We stick to a strict distribution guideline: 30% of our watches are allocated to the American market; another 30% to Europe, the Middle East, and Africa collectively; 30% to Asia; and 10% to Japan. This policy has remained unchanged since the brand’s early days.
This was the pitfall that many brands fall into — the temptation to allocate a greater proportion of their resources to an over-performing market. This approach might have short-term gains, but the long-term implications were clear. If circumstances in that market shifted, brands found themselves with a surplus of stock in a stagnant market.
What was it like growing up with a renowned watchmaker as a father? Did you always have an interest in watches?
To be honest, I didn’t have a close relationship with my dad growing up. My parents separated when I was around two or three years old. As a result, I never truly got to know my dad during my early years. In fact, I was largely unaware of what he did. It was only about 10 to 12 years ago that my dad extended an invitation for me to join the company. At that point, he was still relatively unfamiliar to me, as was the brand he had created. Joining the company marked the moment when I began to understand what Richard Mille and the brand represented.
Could you share some insights into the creative process behind Richard Mille timepieces? What sets them apart from other luxury watches?
In the very early days, everything came from my dad’s having the idea for a watch. You can dig very deep into the archives and find drawings he made. From the beginning, he was the one drawing every single aspect of the watch. For the first watch that ever went to market, he partnered with his friend Dominique Guenat, owner of Guenat SA Montres Valgine.
Today, our processes have evolved, adopting a somewhat distinct approach. We now have a dedicated creative team solely focused on conceiving watch concepts. Their responsibility entails generating ideas, whether it’s proposing new iterations of existing watches or introducing entirely innovative and imaginative concepts.
By coordinating various facets of the brand, we’re equipped to steer projects in multiple directions. The inception of watch ideas is truly eclectic. It might originate from Cécile Guenat, our creative and development director, suggesting a wild concept, which we will explore. Alternatively, it could be a team member sharing their idea with us, which we then develop and bring to life. Sometimes, it could even stem from me, where a spark of inspiration I provide is fanned into full bloom by the teams. These ideas can emerge from anywhere within the team.
As we progress, we often make adjustments along the way. Speaking specifically about the creative aspect, I’d like to offer insight into the volume of projects we’re involved in. To help you understand the timeline, this year we initiated the planning process for 2031.
Our team is always looking for fresh and challenging ideas, and this approach compels us to keep generating innovative concepts. This commitment ensures that year after year, we continue to astonish people. Our annual launch cycle typically includes introducing around 8 to 13 pieces
What makes it fun is that we have two core teams — one for movement development, directed by Salvadore Arbona, and the other for case development, directed by Julien Boillat under the supervision of Cécile. These teams operate side by side within the same offices. This enables them to feed off each other’s ideas. To be honest, these individuals, each unique in their own way, could be described as having a certain level of ‘craziness’ that contributes to the brand’s innovation.
Some would be content when asked to design new variations of watches that they’re already familiar with, but they’d get bored. They crave challenges. Since I moved my office to the factory in Switzerland seven months ago, I can attest to their eagerness for novelty. They get restless if presented with routine tasks. To engage them, we need to provide unconventional ideas to explore. This includes developing movements, tinkering with new experimental materials, and devising innovative approaches.
If you take a look at what we achieved last year and what we have planned for this year you can see how inspiring it is to have these individuals on our team, consistently pushing the boundaries and continually challenging themselves and us.
It’s super tough because when you do a project you always have to face difficulties until the very end. For example, the first RM UP-01 extra flat watch was a challenge because nobody else in the watch industry had done it. We went through a range of emotions but in the end, we were incredibly happy and proud of all the team’s work.
We require a continuous flux of new projects to push us onward; otherwise, what would be the purpose? In my view, the main factor that has enabled us to retain a substantial portion of our workforce, some of whom have been with the brand since the beginning, is the knowledge that fresh challenges will always emerge when it comes to crafting a new watch.
The development team, in particular, thrives on overcoming challenges. With each new concept, they grapple with finding solutions. It’s a continuous cycle of envisioning a great idea and then transforming it into reality. This ongoing process of innovation and problem-solving is integral to our brand’s essence and sustains our team’s dedication and enthusiasm.
And then we have the production team to take over. Again, if you take the example of the RM UP-01, it was a full year of pure struggle, from the moment we announced the watch to the time we completed it. Then, after the production, the communications team had to promote the watch. Then the salesperson has to explain how complicated the watch is. It is just a crazy watch that required so much to even make it possible.
Can you discuss any particular collaborations or partnerships that Richard Mille has been involved in recently? How do these collaborations contribute to the brand’s identity?
Our approach is about following our genuine instincts. When we engage in collaborations, it’s like connecting with people — meeting them, understanding them, and recognising our shared values. It’s a process that’s guided by our affinity for each other.
When we find that mutual connection and see that our values align, the decision to collaborate comes naturally. This has been further reinforced since my sister Amanda took charge of managing partnerships and collaborative initiatives within the brand. The entire process is authentic and organic, guided by a shared sense of purpose.
There’s no agenda when it comes to selecting our partners. It’s a simple process of connection. If there’s a bond, if we get along well, then we think, ‘Alright, let’s collaborate.’ This approach has been consistent since the early days.
For instance, our first partnership, with Felipe Massa, began because of the strong rapport he shared with my dad. Similarly, look at the journey with Rafa [Nadal] — it began with casual conversations and camaraderie, leading to a beautiful partnership and friendship that endures to this day.
And even now, the process hasn’t changed. If someone comes along and strikes a chord, we consider collaborating. For instance, someone might suggest, ‘Hey Amanda, you should meet this guy.’ If my sister meets them and there’s a connection, then it’s a natural progression to think, ‘Yes, we should definitely work together.’ It all unfolds through a series of meetings, but these ‘meetings’ are more like informal interactions. It’s about having a drink together, sharing conversations, and recognising that we’re on the same wavelength.
We’re fortunate to have reached a point where we have the freedom to make various choices. However, our intention is to remain closely aligned with our partners. Even when individuals with unconventional personalities and distinct styles approach us expressing their interest in partnering, we’re receptive. We’re driven by the prospect of fostering real and meaningful collaborations.
