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SUISSE: 10 FRANCSFRANCE MÉTRO: 7 EUROS - BEL/LUX/POLAND: 8 EUROS - UK: £8 - A/D/GR//PORT.CONT: 8,40 EUROS - CAN: 11,95 $CAN - USA: 14,99 $US

Baume & MercierBell & RossBlancpainBreguetBreitlingGirard-PerregauxH. Moser & CieHamiltonHautlenceHermèsJaquet DrozLonginesLouis VuittonMontblancOrisPaneraiPatek PhilippePiagetRaymond WeilVacheron ConstantinZenith

SWISS MADE#039

Jean-Claude BiverAldo MagadaThierry Stern

GUESTS PATEK PHILIPPEThierry Stern

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YOUR GUIDE TO THE WORLD OF WATCHES

"Four generations of passion"

WINTER 2014

M A C A O M I L A N M O S C O W N E W Y O R K N I N G B O P A R I S S E O U L S H A N G H A I S I N G A P O R E T A I P E I T O K Y O V I E N N A Z U R I C H – W W W . B R E G U E T . C O MA B U D H A B I B A L H A R B O U R B E I J I N G C A N N E S D U B A I E K AT E R I N B U R G G E N E VA G S TA A D H O N G K O N G K U A L A L U M P U R L A S V E G A S L O N D O N L O S A N G E L E S

Breguet, the innovator.Extra-Thin Self-Winding Tourbillon 5377

The complexity of an extra-thin movement is equalled only by the elegance and slenderness of the watch itself. The Extra-Thin Self-Winding Tourbillon 5377, a complex yet delightfully uncluttered creation, is endowed with an 80-hour power reserve thanks to a patented high-energy barrel. It is a true testament to the daring and creative spirit of Abraham-Louis Breguet, inventor of the tourbillon. History is still being written...

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M A C A O M I L A N M O S C O W N E W Y O R K N I N G B O P A R I S S E O U L S H A N G H A I S I N G A P O R E T A I P E I T O K Y O V I E N N A Z U R I C H – W W W . B R E G U E T . C O MA B U D H A B I B A L H A R B O U R B E I J I N G C A N N E S D U B A I E K AT E R I N B U R G G E N E VA G S TA A D H O N G K O N G K U A L A L U M P U R L A S V E G A S L O N D O N L O S A N G E L E S

Breguet, the innovator.Extra-Thin Self-Winding Tourbillon 5377

The complexity of an extra-thin movement is equalled only by the elegance and slenderness of the watch itself. The Extra-Thin Self-Winding Tourbillon 5377, a complex yet delightfully uncluttered creation, is endowed with an 80-hour power reserve thanks to a patented high-energy barrel. It is a true testament to the daring and creative spirit of Abraham-Louis Breguet, inventor of the tourbillon. History is still being written...

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THE CHANEL MOMENT

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THE CHANEL MOMENT

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THE CHANEL MOMENT

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- � e City, London -Piaget Altiplano 900P

The world thinnest mechanical watch: 3.65 mm, a total case and movement fusion.

Piaget, the Master of ultra-thin.

piaget.com

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- � e City, London -Piaget Altiplano 900P

The world thinnest mechanical watch: 3.65 mm, a total case and movement fusion.

Piaget, the Master of ultra-thin.

piaget.com

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Thierry BrandtCOVER WATCH010

www.patekphilippe.com

Patek Philippe Grandmaster Chime référence 5175

THE WATCHES MAGAZINE - WINTER 2014

T o describe this anniversary watch as long-awaited is an understatement. It’s only natural that Patek Philippe

does something special to celebrate the 175th

anniversary of its foundation. The Geneva company has certainly lived up to its reputation with the model named Grandmaster Chime. This timepiece doesn’t set out to beat any records; it’s all about embodying the brand’s expertise in both its mechanism and its design. It’s hard to sum up what’s gone into Patek Philippe’s most complicated wristwatch ever with its 20

complications showcased by an entirely hand-engraved dual dial 47mm rose gold case. Among the many wonders, we simply have to mention that the manual wind movement has five different gongs: grande and petite sonnerie, minute repeater, hourly chime and even date repeater.

BOUTIQUE RICHARD MILLE GRAND HOTEL KEMPINSKY GENEVA

EMBASSY Lucerne KIRCHHOFER HAUTE HORLOGERIE Interlaken MONTRES PRESTIGE S.A. Geneva

www.jaeger-lecoultre.com

Geophysic® 1958. Jaeger-LeCoultre Calibre 898/1. Limited series of 800.

On August 3rd 1958, the submarine Nautilus achieved the extraordinary feat of crossing the North Pole by sailing beneath the ice fl oe – a challenge taken up within the context of the International Geophysical Year (IGY). As a reward for this achievement, Captain Anderson received a watch worthy of such an impressive accomplishment: the Geophysic® Chronometer by Jaeger-LeCoultre, a paragon of reliability and precision that has now become a legend. Through the new Geophysic® 1958 watch, Jaeger-LeCoultre pays tribute to the inventive spirit that defi ned the year of 1958, and that has consistently defi ned the Manufacture Jaeger-LeCoultre for over 180 years.

1958THEY SAILED BENEATH THE NORTH POLE.THEIR WATCH HAS SAILED ACROSS TIME.

YOU DESERVE A LEGENDARY WATCH.

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also discusses the future of this issue. He clearly says that you shouldn’t see the market as a soufflé which will just keep growing despite the potential for growth in several parts of the world. He says that in the long-term, brands will have no choice but to steal crumbs from their neighbours. Jean-Claude Biver believes that whatever happens, double-figured growth is well and truly over. We’re far from at crisis stage he says but this must be taken into account as should connected devices which could lead to fierce competition for our wrists. Last but not least, one thing is for sure: in modern society, timekeeping is universal and vital to all human activities be they professional or personal. You can’t have timekeeping without watchmaking.

Thierry BrandtEditor in Chief

I n this issue we have dwelt on the debate about the future of Swiss watchmaking sparked by tax lawyer Philippe Kenel. We gave him the opportunity to explain the

reasoning behind his rather provocative pessimism. As you’ll recall, he believes the sector has peaked and should prepare for the inevitable fall if it doesn’t innovate. We think his opinion is more interesting than we would have thought but there is one major flaw to his argument: it is based solely on his intuition and not on an in-depth analysis of the market. We can honestly and objectively say that the watch sector is on healthy ground at the moment. But how about in ten, twenty or thirty years? This type of perspective may make you feel dizzy but we are allowed to ask the question. Of course, nobody has a definitive answer, not Philippe Kenel and not yours truly. Forecasters specialise in making mistakes! But we can always test the waters. When we put the question to Director of Patek Philippe, Thierry Stern, he said he was certain that in twenty years’ time watches would be made and sold just like in 2014. This is how he reasons and invests in his company in any case. So be it. But is the very unique case of Patek Philippe comparable? The big boss of the LVMH group’s watch department, Jean-Claude Biver,

Only time will tell

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THE WATCHES MAGAZINE -WINTER 2014

P eople who have been following me on social networks have witnessed my recent raging and ranting about a watch brand. The brand in question posted a "wristshot"

(a photo of a watch on a wrist) on its Instagram page with an overtly sexual naked young woman in the background. Two things annoyed me about it: 1. The watch meets porn aspect & 2. The macho aspect whereby a woman is just an object or accessory like a wannabe’s car or a collection of small leather goods. I already have an issue with the number of wristshots and mood boards plaguing watch brands’ social networks so I see red when a photo of a naked girl is used to push sales for a 1000 Franc watch… How pathetically chauvinistic.This sort of degrading photography only encourages the sexist pro-male image of watches and fuels has-been ideas like "Only men can sell watches properly" or "Only men can truly understand watchmaking" because women don’t know anything about mechanics and are only good for suggestive poses. My hair’s standing on end just writing this...This is exactly what I’ve been fighting against since I fell into the world of watches nearly a decade ago.Know this my little macho men: watches are genderless (or else are hermaphrodite), watches are a universal democracy, watches have no ideological, social or professional barriers, watches are a beautiful means to tell the time and watches are what you wear on your wrist to see what time it is. The watchmaking sector is far too noble to be damaged by sexist fuddy-duddies and their sexist fuddy-duddy photos.One last word about the aforementioned picture: after my public outburst and the reaction it got proving I was right, the brand deleted it. Isn’t that strange?

Modern hermaphroditism

Sharmila BertinDeputy Editor

016 GUEST


SIHH’s 25th anniversary A celebration of dreams, magic and wonder

rather vague notion or maybe even an empty and pretentious idea. Now I’ve noticed that most major brands claim it as their own. Why? Because it encapsulates the spirit of Swiss culture and expertise in the sector. It’s more than just watch engineering and its current developments; it encompasses every kind of craft involved in watchmaking. The stars of the SIHH are the products: the watches. They are showcased at their best. Tens of thousands of enthusiasts work tirelessly to ensure perfection. Whether it be the next in a generation of age-old craftsmanship or pioneers in technology or material research, they are all involved in designing exceptional products which the entire world lusts after. That’s what luxury watchmaking means. That’s what we continue to promote to both professionals and end clients. I am proud to be part of this great event alongside everyone who works to help organise the fair. Let’s toast the next 25 years of the SIHH!

T he SIHH (Salon International de la Haute Horlogerie) celebrates its 25th anniversary in January 2015. A quarter of a century is nothing in the history of

watchmaking but it’s a great deal for this type of event. The watch fair is still young but, you could say, it has now come of age. It set itself a challenge and has certainly pulled it off. You may remember that the challenge was far from won at the time and it’s fair to say it was a risk. When Alain-Dominique Perrin, the then director of Cartier, and Franco Cologni decided to leave the Baselworld and set up in Geneva followed by a handful of brands, few people believed this new fair had a bright future. Yet those few believers can now say "I told you so". The SIHH grew fast. Some brands left and others joined as major watch groups came together. The now regular event in the Palexpo exhibition centre in Geneva has become the must-visit January fair. You could say it is THE event of the watch year as it is reserved for professionals from exhibitor brands, sales and world press. Its influence can be felt in many other areas including the very concept of luxury watchmaking. At the beginning, many of us saw luxury watchmaking as a

Fabienne LupoSIHH Managing Director

hermès. time reinvented.

dressage l´heure masquée

hermès imbues time with a resolutely hedonistic touch by providing a space of infinite freedom.

the dressage l’heure masquée watch keeps the hours hand hidden beneath the minutes hand,

making its appearance only with a deliberate press on the crown-integrated pushbutton. the fleeting

apparition of the playful hand vanishes as soon as the pressure is released. this delightful

great escape from daily routine is entirely conceived and constructed by the manufacture hermès,

and orchestrated by the self-winding h1925 movement, equipped with an exclusive patented mechanism.

LMH_HQ • Visual: Dressage Heure Masquee • Magazine: The_Watches_Magazine 26_11 (INT) • Language: English • Doc size: 230 x 297 mm • Calitho #: 10-14-102897 • AOS #: HER_01342 • EB 27/10/2014

HERMES.COM

018 INSIDE

010 Cover watch013 Editorial015 Mood016 Guest024 We love for him026 We love for her028 Sponsoring032 Patek PhilippeInterview Thierry Stern

038 Breguet 042 ZenithInterview Aldo Magada046 LVMHInterview Jean-Claude Biver050 Ted Scapa 052 Jaquet Droz054 Montblanc 056 Vacheron Constantin

058 Zenith060 Baume & Mercier062 Bell & Ross

032 Patek Philippe

#039

THEWATCHESMAGAZINE


064 Raymond Weil 066 GPHG 2014068 Technique: Hermès072 Technique: Poinçon de Genève074 Louis Vuitton077 Hautlence

078 H. Moser et Cie Longines 079 Girard-Perregaux Breitling080 Opinion082 Opinion

066 GPHG 2014

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INSIDE

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Direction/Management Alain [email protected]édacteur en chef/Editor in chief Thierry [email protected]édactrice en chef adjointe/Deputy Editor Sharmila [email protected]/Layout Christelle [email protected]/Contributors Fabrice Eschmann - Serge Panczuk

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Welcome to the world of watcheswww.watches-news.com

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www.blancpain.com

WE LOVE FOR HIM Sharmila Bertin

Blancpain Ocean Commitment Bathyscaphe Chronographe Flyback


B lancpain is passionate about the ocean and has supported the National Geographic Society’s "Pristine Seas"

project to protect marine areas and their wealth of flora and fauna for the last 4 years. The watch brand will donate a total of 250,000 Euros for 250 limited edition Ocean Commitment Bathyscaphe Chronographe Flyback watches (1000 Euros each). Its 43.6mm grey ceramic case is surrounded by a ceramic bezel with blue inserts and Liquimetal® time markers; it features the new self-winding F385 calibre to bring to life the time (hours and minutes in the centre, small seconds at 6 o’ clock), chronograph (minute counter at 3 and hour counter at 9 o’ clock) and date at 4.30. Its blue sunray dial is dotted with phosphorescent indices in different shapes beneath two rectangular luminescent hands.

5-7 Rue du Rhône - Genève

4 6 M MD O U B L E T O U R B I L L O N

Manufactured automatic winding mechanism endowed with two independent flying tourbillons as well as a double micro-rotor and «Rose des

Vents» movement’s finishings.

Openworked sapphire dial with light blue-yellow reflections and date function at 1 o’clock.

Case in 18K rose goldLimited edition: 8 pieces

026

www.piaget.com

WE LOVE FOR HER Sharmila Bertin

Piaget Montre traditionnelle ovale


A fashion icon passed away exactly 20 years ago: the elegant Jacqueline Bouvier. As the former First Lady of the

United States, John F. Kennedy’s widow and Greek shipping magnate Aristotle Onassis’ wife, she radiated beauty and effortless style. She wore a gold Piaget from 1965 which the brand has redesigned this year with a modern understated twist. A ring of 24 brilliant-cut diamonds frames the oval silver-tone dial. Its small white gold case (27x22mm) houses the Piaget 56P quartz movement which brings to life the hour and minute hands in the middle of the dial. The white gold "Palace" strap wrapped around the precious setting has sparkling flexibility; its H-shape links are stacked and welded to create a smooth piece which is then milled, filed and welded with paillons.

NOT ONLY MINEBUT A PART OF ME

www.francvila.com

FV EVOS 18 “Cobra” Suspended Skeleton&

FVq80 Tribute to Ladies

FRANC VILA HEADQUARTERS & SHOWROOM: Grand Rue 6 - Geneva - Tel: +41 22 317 07 27

OURANOS ESPACE TEMPS & JOAILLERIE:Grand Chêne 7 - Lausanne - Tel: +41 21 311 1188

BRÄNDLI Créations & Co:Place de la Gare - Villars-sur-Ollon - Tel: +41 24 495 14 14

Thierry BrandtSPONSORING028


T he Air14 event celebrated three anniversaries at the end of summer at the Payerne Air Base in Switzerland: the 75th anniversary of the Swiss Air Forces, the 50th anniversary of the

Patrouille Suisse and the 25th anniversary of the PC-Team. The week-long event from August 30th to September 7th brought together hundreds of planes from the old crate to the latest jet. 400,000 people from all over the world flocked to the event; there were even some excited Australians! Air14 was the year’s biggest aircraft event in Europe. It was an unprecedented success for the Swiss army with the involvement of aviation’s favourite watch brand: Breitling was of course the main event sponsor. You couldn’t miss the logo which was everywhere from the planes of the eponymous patrol and the Breitling Wingwalkers to the spectators’ heads as a good half of them were wearing a branded cap given out at the entrance. The Granges-based watch brand’s communications mission has spread its wings.

T he history of Panerai began underwater to meet the Italian Navy’s requirements so it’s only natural that it has now moved onto the water. The Italian Swiss brand has sponsored the annual Classic

Yachts Challenge for 10 years bringing together old sailing boats for a series of regattas. The boats competed against each other in eleven races in 2014 (Europe, North America and the Caribbean). This armada gives collectors the chance to compete in style whilst the general public can watch past lords of the sea in action. These mostly wooden sailing boats titivated by their owners are true beauties. Panerai isn’t just sponsoring these nautical sparring matches: its very own "Eilean", a Marconi ketch built in 1937, takes part in the adventure. "The classic yacht epitomises our own values such as respect for the ocean and things that last. Just think that some of these yachts are almost 100 years old! Each and every one of them is unique; just like a watch. Each and every one of them has its own personality; just like a watch. They encapsulate a dream; just like a watch," explains Angelo Bonati, the brand’s CEO.

BREITLING& Air14

PANERAI& Classic Yachts Challenge

CrownRoyal headgear or watch winder?Discover the world of Fine Watchmakingat www.hautehorlogerie.org

Crown | The winding crown is a knurled or fluted button of various shapes, held between the thumb and forefinger and used to wind the watch. Some crowns incor-porate a mobile pushbutton for operating a chronograph mechanism or to release the cover of a hunter case.

THE FOUNDATION’S PARTNERS | A. LANGE & SÖHNE | AUDEMARS PIGUET | BAUME & MERCIER | BOVET 1822 | CARTIER | CHANEL | CHOPARD | CHRISTOPHE CLARET

DE BETHUNE | GIRARD-PERREGAUX | GREUBEL FORSEY | HARRY WINSTON | HERMÈS | IWC | JAEGER-LECOULTRE | LOUIS VUITTON | MONTBLANC | OFFICINE PANERAI

PARMIGIANI FLEURIER | PIAGET | RALPH LAUREN | RICHARD MILLE | ROGER DUBUIS | TAG HEUER | VACHERON CONSTANTIN | VAN CLEEF & ARPELS

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Sharmila BertinSPONSORING030


F ounded 110 years ago, Oris is a somewhat discreet brand but, nonetheless, a highly active one. Its official partnership with the Audi Sport Racing Team has thrust it into the automobile

limelight. And more specifically on the circuits during FIA World Endurance Championships (WEC) and during the German Super Tourenwagen Cup (DTM). Oris also teamed up with Audi Sport during its victory this year at the Le Mans 24 Hours. It was only natural then that a timepiece would be born out of this sporty and watchmaking relationship. Oris Audi Sport Limited Edition (2,000 pieces). Highly inspired by the automobile car world, this chronograph is designed with a 44mm diameter, ultra-light titanium case. It is topped with a rotating bezel in tungsten engraved with a minute scale and trimmed with black rubber for optimal comfort. Its circular-brushed, silvered dial displays two sub-dials (chronograph hours and minutes dotted in red) set respectively at 6 o’clock and at 12 o’clock; it also features a date aperture at 6 o’clock and a retrograde seconds counter at 9 o’clock. The Arabic hour numerals and the two main hands are metalized and covered with a luminescent coating.

T he most Hollywood watchmaking brands continues to carve out its cinematographic career this year, 2014. Hamilton has already had over 400 screen appearances since its beginnings

back in 1951 and illuminates the stage yet again in the German feature film "The Chef" (Der Koch), an adaptation of the Zurich writer Martin Suter’s eponymous novel by the Munich filmmaker Ralf Huettner. We’re not going to give you a summary of the book or the film as we don’t want to spoil this story for you where the frame finely mixes a love story, intrigue and psychological analysis, all set against a backdrop of aphrodisiaco-ayurvedic culinary delights. The two main characters here are not Maravan, the young Tamil cook, and Andrea, his ex-colleague, but the Jazzmaster Viewmatic Skeleton couple. Both of them are designed with a dial, whose heart is partially open-worked on the mechanism, iridescent white for the ladies’ version and silver and anthracite for the men’s version, with the hour chapter adorned by teardrop indices. Three central hands display the hours, minutes and seconds, driven by a self-winding H-20-S mechanical movement. The latter is housed in a 36mm (ladies’ model) or 40mm (men’s model) diameter steel case.

ORIS& Audi Sport

HAMILTON& The Chef


Thierry Brandt


032 COVER STORY PATEK PHILIPPE


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033

Philippe & Thierry Stern

T o coincide with Patek Philippe’s 175th anniversary, we put our questions to its director Thierry Stern.

Let’s take a quick look back at the 2013 financial year. How would you describe it: satisfactory, good or excellent?2013 was a good year with a greater volume of watches sold than in previous years. Increased volume wasn’t our goal despite 2013 being the best financial year in our history. Our priority hasn’t changed: stay focused, support established markets and primarily avoid surplus stock.

Are your expectations for 2014 in line with previsions for the entire sector? Is growth in double figures over?2014 is special for Patek Philippe because we’re launching two collections in one year: the Basel and 175th anniversary collections. In the wake of October’s anniversary events, we can confirm that the limited editions and new products for 2014 were very well received and in very high demand. But we cannot expect major growth no matter how high demand. The

high quality of our production doesn’t allow for major progress. The focus on quality in our production capacity limits our growth.

Patek Philippe has its own unique history, legacy, expertise and reputation in the watch world. Is being the custodian exciting or unnerving?I was born into a family watch business so I’ve grown up in this world. I’ve been working in the company for nearly 25 years. I have been fortunate to see the sector evolve at incredible speed since the 70s. It’s had its ups and downs. I have learnt to keep my feet on the ground and foresee difficulties. A crisis tended to be local in my father’s generation but nowadays it’s sudden and international. We have a balanced global market which has been established for a long time enabling us to better handle evolutions and changes in the market. Obviously, the most important thing is to be the best in your market sector and to Patek Philippe that means making the best possible watches. You need to be passionate, always changing and innovating in terms of design, technique and quality and never being

tempted to other sectors or markets with short-term benefits.

In a world dominated by major groups, how has a family business like Patek Philippe managed to stay successful and durable?Financial and technical independence have been vital to our total freedom to design high quality watches. It’s us who decides the quality without having to listen to shareholders. Our area of expertise is watch design. We are not a financial company; making money isn’t our primary goal. Watch groups having to constantly evolve to get the highest possible turnover and make the most profit. That isn’t for us or else I would have put Patek Philippe on the stock market. We are motivated by a passion for our profession and our products, not by profits.

Has the possibility of selling the factory ever crossed your mind?For years now we’ve been saying that the brand will never be for sale, that no one will touch our independence and the company



Thierry Brandt


032 COVER STORY PATEK PHILIPPE


>>>

033

Philippe & Thierry Stern

T o coincide with Patek Philippe’s 175th anniversary, we put our questions to its director Thierry Stern.

Let’s take a quick look back at the 2013 financial year. How would you describe it: satisfactory, good or excellent?2013 was a good year with a greater volume of watches sold than in previous years. Increased volume wasn’t our goal despite 2013 being the best financial year in our history. Our priority hasn’t changed: stay focused, support established markets and primarily avoid surplus stock.

Are your expectations for 2014 in line with previsions for the entire sector? Is growth in double figures over?2014 is special for Patek Philippe because we’re launching two collections in one year: the Basel and 175th anniversary collections. In the wake of October’s anniversary events, we can confirm that the limited editions and new products for 2014 were very well received and in very high demand. But we cannot expect major growth no matter how high demand. The

high quality of our production doesn’t allow for major progress. The focus on quality in our production capacity limits our growth.

Patek Philippe has its own unique history, legacy, expertise and reputation in the watch world. Is being the custodian exciting or unnerving?I was born into a family watch business so I’ve grown up in this world. I’ve been working in the company for nearly 25 years. I have been fortunate to see the sector evolve at incredible speed since the 70s. It’s had its ups and downs. I have learnt to keep my feet on the ground and foresee difficulties. A crisis tended to be local in my father’s generation but nowadays it’s sudden and international. We have a balanced global market which has been established for a long time enabling us to better handle evolutions and changes in the market. Obviously, the most important thing is to be the best in your market sector and to Patek Philippe that means making the best possible watches. You need to be passionate, always changing and innovating in terms of design, technique and quality and never being

tempted to other sectors or markets with short-term benefits.

In a world dominated by major groups, how has a family business like Patek Philippe managed to stay successful and durable?Financial and technical independence have been vital to our total freedom to design high quality watches. It’s us who decides the quality without having to listen to shareholders. Our area of expertise is watch design. We are not a financial company; making money isn’t our primary goal. Watch groups having to constantly evolve to get the highest possible turnover and make the most profit. That isn’t for us or else I would have put Patek Philippe on the stock market. We are motivated by a passion for our profession and our products, not by profits.

Has the possibility of selling the factory ever crossed your mind?For years now we’ve been saying that the brand will never be for sale, that no one will touch our independence and the company


THE WATCHES MAGAZINE - WINTER 2014THE WATCHES MAGAZINE - WINTER 2014

034

>>>

035COVER STORY PATEK PHILIPPE will stay in the family. The message is loud and clear so we don’t receive many proposals anymore. When we are contacted, it’s usually around Basel.

Patek Philippe makes around 50,000 watches a year. Do you want to maintain this cruising speed or take it up a notch?We are limited by our production capacity as the priority is quality not quantity. Also, there’s increasing demand for watches with complications which means more components and more complex production which in turn means an increasingly restricted capacity for increasing the number of watches made. Whilst we’re on the subject, the last time we expanded here in Geneva with the PP5 building, it was more about supporting component manufacturing in line with the upsurge in complications and grand complications. Our production volume is currently 55,000 watches including 33,000 with self-winding movements, 12,000 manual watches and 10,000 quartz timepieces for ladies only. Production won’t change quickly; it will be consistent and restricted. The most important thing is to evolve with a focus on quality based on demand and not outweigh demand.

You’re always rather cautious when asked about the Chinese market. Is it no longer the eldorado of Swiss watchmaking? Do you think it’s too risky to focus on this market?Our philosophy is about the long-term. It’s a question of balance and respect; opportunism doesn’t come into our strategy. It’s easy for retailers to sell to Chinese tourists but it can be a double-edged sword: if there’s a drop in custom then there are heavy losses. We have always encouraged our partners to take care of their regular local clients. Most brands have heavily invested in the continental Chinese market (some at the cost of established markets) but we have focused on two points of sale in Beijing and Shanghai where we can train, inform and establish an after-sales service essential to the maintenance of the many watches which Chinese clients buy abroad.

You always say the minute repeater is your favourite complication. Why is that? I’ve always liked this sort of complication; I got my passion for it from my father. Aside from the revival of minute repeater watches for the

150th anniversary inspired by my father with the launch of the new R27 calibre, a modern self-winding repeater movement with the inert regulator, it’s a type of complication that I am fond of. Despite its extreme complexity, anyone can decide if they like the sound of it or not. Each piece is unique.

Let’s talk about movements: in recent years you’ve focused heavily on new technologies and innovative materials such as silicon. Will this continue? Which other avenues do you intend to explore?Innovation is vital to us. We have a research and development department with over 80 people working on movement and design projects as well as researching new technologies and materials. These innovations are for improvement and greater reliability. However, we don’t want to use them as "gadgets" or marketing tools; that doesn’t add anything to how the watch works.

We’ll end with a few lighter questions…What was your first watch?Our family tradition is to get your first Patek Philippe watch for your 20th and I got a Nautilus.

What’s your favourite watch?I don’t have a favourite. Design is a family affair and a passion at Patek Philippe. I am involved in the design of each model we launch so each timepiece has to meet my requirements, my taste, the brand and the Stern family’s values.

Is time your friend or foe?Both. If you had too much then you wouldn’t appreciate what little time we truly have on this earth. The most important thing is to love what you do and make time for yourself and loved ones. I am fortunate enough to have a job I am a passionate about.

Are you always on time, early or late?Usually on time but sometimes late, time isn’t always on your side. I like to live in the moment which can sometimes make me late.

In love, are you soft when a woman makes you wait?You’re always soft with those you love, my wife and my children.

Do you live your life in the past, present or future?

Always in the present and future. I don’t look back.

Benjamin Franklin said that time is money. Is that why you became a watchmaker?As the watchmaker and owner of Patek Philippe, time is not money; it’s four generations of passion!

THE WATCHES MAGAZINE - WINTER 2014THE WATCHES MAGAZINE - WINTER 2014

034

>>>

035COVER STORY PATEK PHILIPPE will stay in the family. The message is loud and clear so we don’t receive many proposals anymore. When we are contacted, it’s usually around Basel.

Patek Philippe makes around 50,000 watches a year. Do you want to maintain this cruising speed or take it up a notch?We are limited by our production capacity as the priority is quality not quantity. Also, there’s increasing demand for watches with complications which means more components and more complex production which in turn means an increasingly restricted capacity for increasing the number of watches made. Whilst we’re on the subject, the last time we expanded here in Geneva with the PP5 building, it was more about supporting component manufacturing in line with the upsurge in complications and grand complications. Our production volume is currently 55,000 watches including 33,000 with self-winding movements, 12,000 manual watches and 10,000 quartz timepieces for ladies only. Production won’t change quickly; it will be consistent and restricted. The most important thing is to evolve with a focus on quality based on demand and not outweigh demand.

You’re always rather cautious when asked about the Chinese market. Is it no longer the eldorado of Swiss watchmaking? Do you think it’s too risky to focus on this market?Our philosophy is about the long-term. It’s a question of balance and respect; opportunism doesn’t come into our strategy. It’s easy for retailers to sell to Chinese tourists but it can be a double-edged sword: if there’s a drop in custom then there are heavy losses. We have always encouraged our partners to take care of their regular local clients. Most brands have heavily invested in the continental Chinese market (some at the cost of established markets) but we have focused on two points of sale in Beijing and Shanghai where we can train, inform and establish an after-sales service essential to the maintenance of the many watches which Chinese clients buy abroad.

You always say the minute repeater is your favourite complication. Why is that? I’ve always liked this sort of complication; I got my passion for it from my father. Aside from the revival of minute repeater watches for the

150th anniversary inspired by my father with the launch of the new R27 calibre, a modern self-winding repeater movement with the inert regulator, it’s a type of complication that I am fond of. Despite its extreme complexity, anyone can decide if they like the sound of it or not. Each piece is unique.

Let’s talk about movements: in recent years you’ve focused heavily on new technologies and innovative materials such as silicon. Will this continue? Which other avenues do you intend to explore?Innovation is vital to us. We have a research and development department with over 80 people working on movement and design projects as well as researching new technologies and materials. These innovations are for improvement and greater reliability. However, we don’t want to use them as "gadgets" or marketing tools; that doesn’t add anything to how the watch works.

We’ll end with a few lighter questions…What was your first watch?Our family tradition is to get your first Patek Philippe watch for your 20th and I got a Nautilus.

What’s your favourite watch?I don’t have a favourite. Design is a family affair and a passion at Patek Philippe. I am involved in the design of each model we launch so each timepiece has to meet my requirements, my taste, the brand and the Stern family’s values.

Is time your friend or foe?Both. If you had too much then you wouldn’t appreciate what little time we truly have on this earth. The most important thing is to love what you do and make time for yourself and loved ones. I am fortunate enough to have a job I am a passionate about.

Are you always on time, early or late?Usually on time but sometimes late, time isn’t always on your side. I like to live in the moment which can sometimes make me late.

In love, are you soft when a woman makes you wait?You’re always soft with those you love, my wife and my children.

Do you live your life in the past, present or future?

Always in the present and future. I don’t look back.

Benjamin Franklin said that time is money. Is that why you became a watchmaker?As the watchmaker and owner of Patek Philippe, time is not money; it’s four generations of passion!

Fabrice Eschmann


036


037COVER STORY PATEK PHILIPPE

T he Geneva brand celebrated its 175th anniversary in 2014. This is the perfect opportunity to look back over

the brand’s history and dwell on the present: a commemorative collection."It’s the start of a journey for me. I’ve only been President for four years so I’ve barely scratched the surface. It’s the end of a journey for my father. He managed to take Patek Philippe where he wanted. These celebrations are related to him although we’re not the type to pat ourselves on the back. We are mere custodians. A few days before the Geneva brand’s 175th anniversary celebrations began, Thierry Stern, with the modesty which runs through his family’s veins, highlighted two things on October 3rd: this event would be a both wonderful chance for his father Philippe Stern to bow out and to give him a sort of initiation. It’s a beautiful way to hand over the keys without ever showing them; it’s his turn to be the custodian of 175 years of history.The young Pole Antoni Norbert Patek de Prawdzik and his countryman François Czapek founded Patek, Czapek & Co in 1839. After five years of making watches together, the associates parted ways. The founder, now called Antoine Norbert de Patek, gave the position of technical director to Jean-Adrien

Philippe, a talented Parisian watchmaker and inventor of the crown winding system among others. The company was renamed Patek Philippe & Co in 1851. The factory poured out patents and world firsts from its base on 41 Rue du Rhône from 1853 onwards which is now home to the Salons Patek Philippe. Antoine Norbert de Patek died in 1877 and Jean-Adrien Philippe died in 1894. Seven years later, in 1901, the company became a public limited company and was renamed the Ancienne Manufacture d’Horlogerie Patek Philippe & Cie SA. The brand was taken over by then-dial suppliers, Charles and Jean Stern in 1932. Henri Stern, Charles’ son, took the company reins in 1958 then it was his son Philippe’s turn in 1993. He made a huge impact on the company: his entrepreneurial spirit saw him build the Plan-les-Ouates base, the brand’s flagship and headquarters. He also expanded and modernised the entire industrial sector which now includes a component manufacturing division and design department in the Geneva canton, a case factory (Calame), polishing facilities (Poli-Art), gem-setting (SHG) along with Patek Philippe SA in the Neuchâtel canton, a dial factory (Cadrans Fluckiger) in the Bernese Jura, fitting workshops (Allaine) and design studios

(Betakron) in the Jura plus Patek Philippe SA La Vallée.The empire makes around 15 million components a year for 53,000 watches. In keeping with tradition, Patek Philippe has unveiled a commemorative collection for its 175th anniversary as it did in 1989 for its 150th, 1997 for the opening of the Plan-les-Ouates facility and 2000 for the millennium. The star of the show is the grand complications Grandmaster Chime but let’s take a closer look at three brand new fantastic models.

Chiming Jump Hour réf. 5275PFloral patterns have been delicately engraved on the barrel-shaped platinum case and gold dial. The most impressive thing about it is the new manual wind 32-650 HGS PS calibre: a unique energy management model with four patents pending. This Chiming Jump Hour features three jumping indications with an hour chime: the minute and seconds hands and the hour disc leap forward for perfect timekeeping. However, this process requires a lot of energy namely when the three displays all move together on the hour with an additional chime which can be stopped using a bolt on the case side at 10. The balance wheel performs 8 semi-oscillations

per second so it doesn’t transfer the energy straight to the cogs and gears but instead to a storage mechanism which delivers it to the seconds wheel after just a second. Also, the energy stored over sixty seconds is transferred in one go to the minute wheel and the energy accumulated over 60 minutes makes the digital hour display jump in one go. The limited edition timepiece (175 available) comes with a platinum case back engraved with "PATEK PHILIPPE GENEVE 175e Anniversaire 1839 – 2014".

World Time Moon réf. 5575Here’s a world first for Patek Philippe world time: the centre of the piece is adorned with a large moon phase display. The system has two layered discs in mineral glass. The lower disc has a starry sky with a large moon which does a full revolution of a moon cycle: 29.53 days. The fixed upper disc has a metallic shape at 12 o’ clock whose carefully designed silhouette accurately portrays the visible part of the moon. As for world time, the outer disc bears the names of 24 cities each representing a time zone whilst the inner disc displays the hours for each of the time zones. The world minutes are displayed in the same way with a central hand. All time zone corrections can be made with using single pusher at 10 o’ clock.

The limited edition includes 1750 pieces: 450 ladies’ diamond watches (reference 7175) and 1300 slightly larger men’s watches (reference 5575).

Multi-Scale Chronograph réf. 5975Chronographs have always been integral to Patek Philippe. Its current collection has eight calibres designed and made entirely internally. The Multi-Scale Chronograph is one of a kind. It doesn’t have any minute and hour counters; it has a single central seconds hand only capable of measuring short times. This watch’s logarithmic scales are specially designed to measure time, distance and pulse. Watches with a tachymeter, telemeter and pulsometer were used by professionals on a daily basis until the 60s. This model is available in three limited editions each including 400 pieces in 18 carat yellow, white or rose gold plus a limited edition of 100 pieces in 950 platinum. The ladies version (reference 4675) with baguette-cut diamond indices is available in two limited editions of 150 pieces each in white or rose gold. All the Multi-Scale Chronograph watches have an alligator strap and case backs engraved with "PATEK PHILIPPE 1839 – 2014".

175 years of standing out

Fabrice Eschmann


036


037COVER STORY PATEK PHILIPPE

T he Geneva brand celebrated its 175th anniversary in 2014. This is the perfect opportunity to look back over

the brand’s history and dwell on the present: a commemorative collection."It’s the start of a journey for me. I’ve only been President for four years so I’ve barely scratched the surface. It’s the end of a journey for my father. He managed to take Patek Philippe where he wanted. These celebrations are related to him although we’re not the type to pat ourselves on the back. We are mere custodians. A few days before the Geneva brand’s 175th anniversary celebrations began, Thierry Stern, with the modesty which runs through his family’s veins, highlighted two things on October 3rd: this event would be a both wonderful chance for his father Philippe Stern to bow out and to give him a sort of initiation. It’s a beautiful way to hand over the keys without ever showing them; it’s his turn to be the custodian of 175 years of history.The young Pole Antoni Norbert Patek de Prawdzik and his countryman François Czapek founded Patek, Czapek & Co in 1839. After five years of making watches together, the associates parted ways. The founder, now called Antoine Norbert de Patek, gave the position of technical director to Jean-Adrien

Philippe, a talented Parisian watchmaker and inventor of the crown winding system among others. The company was renamed Patek Philippe & Co in 1851. The factory poured out patents and world firsts from its base on 41 Rue du Rhône from 1853 onwards which is now home to the Salons Patek Philippe. Antoine Norbert de Patek died in 1877 and Jean-Adrien Philippe died in 1894. Seven years later, in 1901, the company became a public limited company and was renamed the Ancienne Manufacture d’Horlogerie Patek Philippe & Cie SA. The brand was taken over by then-dial suppliers, Charles and Jean Stern in 1932. Henri Stern, Charles’ son, took the company reins in 1958 then it was his son Philippe’s turn in 1993. He made a huge impact on the company: his entrepreneurial spirit saw him build the Plan-les-Ouates base, the brand’s flagship and headquarters. He also expanded and modernised the entire industrial sector which now includes a component manufacturing division and design department in the Geneva canton, a case factory (Calame), polishing facilities (Poli-Art), gem-setting (SHG) along with Patek Philippe SA in the Neuchâtel canton, a dial factory (Cadrans Fluckiger) in the Bernese Jura, fitting workshops (Allaine) and design studios

(Betakron) in the Jura plus Patek Philippe SA La Vallée.The empire makes around 15 million components a year for 53,000 watches. In keeping with tradition, Patek Philippe has unveiled a commemorative collection for its 175th anniversary as it did in 1989 for its 150th, 1997 for the opening of the Plan-les-Ouates facility and 2000 for the millennium. The star of the show is the grand complications Grandmaster Chime but let’s take a closer look at three brand new fantastic models.

Chiming Jump Hour réf. 5275PFloral patterns have been delicately engraved on the barrel-shaped platinum case and gold dial. The most impressive thing about it is the new manual wind 32-650 HGS PS calibre: a unique energy management model with four patents pending. This Chiming Jump Hour features three jumping indications with an hour chime: the minute and seconds hands and the hour disc leap forward for perfect timekeeping. However, this process requires a lot of energy namely when the three displays all move together on the hour with an additional chime which can be stopped using a bolt on the case side at 10. The balance wheel performs 8 semi-oscillations

per second so it doesn’t transfer the energy straight to the cogs and gears but instead to a storage mechanism which delivers it to the seconds wheel after just a second. Also, the energy stored over sixty seconds is transferred in one go to the minute wheel and the energy accumulated over 60 minutes makes the digital hour display jump in one go. The limited edition timepiece (175 available) comes with a platinum case back engraved with "PATEK PHILIPPE GENEVE 175e Anniversaire 1839 – 2014".

World Time Moon réf. 5575Here’s a world first for Patek Philippe world time: the centre of the piece is adorned with a large moon phase display. The system has two layered discs in mineral glass. The lower disc has a starry sky with a large moon which does a full revolution of a moon cycle: 29.53 days. The fixed upper disc has a metallic shape at 12 o’ clock whose carefully designed silhouette accurately portrays the visible part of the moon. As for world time, the outer disc bears the names of 24 cities each representing a time zone whilst the inner disc displays the hours for each of the time zones. The world minutes are displayed in the same way with a central hand. All time zone corrections can be made with using single pusher at 10 o’ clock.

The limited edition includes 1750 pieces: 450 ladies’ diamond watches (reference 7175) and 1300 slightly larger men’s watches (reference 5575).

Multi-Scale Chronograph réf. 5975Chronographs have always been integral to Patek Philippe. Its current collection has eight calibres designed and made entirely internally. The Multi-Scale Chronograph is one of a kind. It doesn’t have any minute and hour counters; it has a single central seconds hand only capable of measuring short times. This watch’s logarithmic scales are specially designed to measure time, distance and pulse. Watches with a tachymeter, telemeter and pulsometer were used by professionals on a daily basis until the 60s. This model is available in three limited editions each including 400 pieces in 18 carat yellow, white or rose gold plus a limited edition of 100 pieces in 950 platinum. The ladies version (reference 4675) with baguette-cut diamond indices is available in two limited editions of 150 pieces each in white or rose gold. All the Multi-Scale Chronograph watches have an alligator strap and case backs engraved with "PATEK PHILIPPE 1839 – 2014".

175 years of standing out

Thierry Brandt

www.breguet.com

038 BREGUET

THE WATCHES MAGAZINE - WINTER 2014 THE WATCHES MAGAZINE - WINTER 2014

039

>>>

I t’s only when you walk into the Breguet factory in L’Orient in the heart of the Joux Valley that you realise how far the

brand has come since being taken over by the Swatch Group in 1999. It’s been fifteen years since Nicolas G. Hayek made his move. In fifteen years the struggling company with no real future has been transformed into the figurehead of modern luxury watchmaking. It took a visionary with the means to make a massive investment to achieve such a result. That said, there’s another reason for Breguet’s current success which isn’t so easy to define: its philosophy. It involves a certain way of doing things, working, managing workshops and manufacturing each watch, building on its staff’s skills, paying tribute to a tradition that’s over 200 years old and implementing the latest technology. You can feel it when you visit this incredibly well-organised factory. Obviously Breguet isn’t the only watch company to have such a strong internal culture but here in L’Orient, it really is quite something.Tradition and innovation. It’s more than a

slogan invented by a marketing team; it is integral to the brand’s legacy. This was already Abraham-Louis Breguet’s philosophy at the end of the 18th century. In the epic book devoted to the watchmaker and published to coincide with the Louvre exhibition in 2009 ("Breguet, un apogée de l’horlogerie européenne", Musée du Louvre Editions/Somogy Editions d’Art), Marc Bacsou, the Head Curator of the Louvre describes it thus: "It must have been an unforgettable experience for those fortunate enough to have visited the Quai de l’Horloge workshop. Such a fusion of pure research and applied art is rarely shared and continued to such as extent. You can easily imagine the attention to detail and focus required of such painstaking and perfectionist production which required no less than fifteen specialist workers to create a single watch." The description encapsulates how Breguet works in 2014 under Marc A. Hayek, Nicolas’ grandson.Tradition and innovation. The Joux Valley factory is worlds away from the Quai de

l’Horloge workshop as are the men, machines and tools. Even though (need we remind you?) Abraham-Louis Breguet invented the tourbillon. In his time he made around thirty and Breguet has kept the tradition alive in line with modern demands. In workshops devoted to grand complications, the factory plays with seven different models all made in-house. The brand alone annually makes half of the Swiss made tourbillons on the market. How many is that? That’s top secret information. A few hundred we’d say but that’s not what we’re interested in. What’s fascinating is how this "old" complication has been updated and improved. The brand has been doing pioneering work with other companies in the Swatch Group since the mid-Noughties and exploring silicon properties in escapement systems. As we know, the material has several stand-out assets: It is harder and lighter than steel thus reducing inertia issues and working without lubrication. It is also more resistant to rust and magnetic fields. Last but not least, it can be modelled into unusual shapes. The most recent example of the silicon

research can be seen in the Tourbillon Extra-Plat Automatique 5377 unveiled at Baselworld this year. It is the flattest of its kind.

We can’t talk about Breguet’s cutting-edge research without mentioning the magnetic pivot which we recently saw in the Classique

Chronométrie 7727. The brand has managed to introduce watchmakers’ arch enemies, magnetic fields, into the very heart of the watch with no adverse reaction! It may be paradoxical but that’s why it’s so fascinating. In this case, the balance wheel’s axis is suspended between two magnets placed behind ruby bearings. Only time will tell if this system can be called revolutionary but we can be certain that it epitomises the brand’s spirit. A look to the past on the one hand; a vision of the future on the other. Everything is intrinsic to an unrivalled sense of design: this philosophy is embodied by models in the Tradition collection which pays tribute to craftsmanship. Final details, hand finishes and painstaking designs compete to showcase every component in the movements e.g. the different Tradition 7027 models whose movements are built symmetrically on the edge of the central plate. This architecture shows off the cogs and bridges including the one with the escapement and its famous pare-chute anti-shock system invented by Abraham-Louis Breguet.

Watchmakers to the core

Thierry Brandt

www.breguet.com

038 BREGUET


039

>>>

I t’s only when you walk into the Breguet factory in L’Orient in the heart of the Joux Valley that you realise how far the

brand has come since being taken over by the Swatch Group in 1999. It’s been fifteen years since Nicolas G. Hayek made his move. In fifteen years the struggling company with no real future has been transformed into the figurehead of modern luxury watchmaking. It took a visionary with the means to make a massive investment to achieve such a result. That said, there’s another reason for Breguet’s current success which isn’t so easy to define: its philosophy. It involves a certain way of doing things, working, managing workshops and manufacturing each watch, building on its staff’s skills, paying tribute to a tradition that’s over 200 years old and implementing the latest technology. You can feel it when you visit this incredibly well-organised factory. Obviously Breguet isn’t the only watch company to have such a strong internal culture but here in L’Orient, it really is quite something.Tradition and innovation. It’s more than a

slogan invented by a marketing team; it is integral to the brand’s legacy. This was already Abraham-Louis Breguet’s philosophy at the end of the 18th century. In the epic book devoted to the watchmaker and published to coincide with the Louvre exhibition in 2009 ("Breguet, un apogée de l’horlogerie européenne", Musée du Louvre Editions/Somogy Editions d’Art), Marc Bacsou, the Head Curator of the Louvre describes it thus: "It must have been an unforgettable experience for those fortunate enough to have visited the Quai de l’Horloge workshop. Such a fusion of pure research and applied art is rarely shared and continued to such as extent. You can easily imagine the attention to detail and focus required of such painstaking and perfectionist production which required no less than fifteen specialist workers to create a single watch." The description encapsulates how Breguet works in 2014 under Marc A. Hayek, Nicolas’ grandson.Tradition and innovation. The Joux Valley factory is worlds away from the Quai de

l’Horloge workshop as are the men, machines and tools. Even though (need we remind you?) Abraham-Louis Breguet invented the tourbillon. In his time he made around thirty and Breguet has kept the tradition alive in line with modern demands. In workshops devoted to grand complications, the factory plays with seven different models all made in-house. The brand alone annually makes half of the Swiss made tourbillons on the market. How many is that? That’s top secret information. A few hundred we’d say but that’s not what we’re interested in. What’s fascinating is how this "old" complication has been updated and improved. The brand has been doing pioneering work with other companies in the Swatch Group since the mid-Noughties and exploring silicon properties in escapement systems. As we know, the material has several stand-out assets: It is harder and lighter than steel thus reducing inertia issues and working without lubrication. It is also more resistant to rust and magnetic fields. Last but not least, it can be modelled into unusual shapes. The most recent example of the silicon

research can be seen in the Tourbillon Extra-Plat Automatique 5377 unveiled at Baselworld this year. It is the flattest of its kind.

We can’t talk about Breguet’s cutting-edge research without mentioning the magnetic pivot which we recently saw in the Classique

Chronométrie 7727. The brand has managed to introduce watchmakers’ arch enemies, magnetic fields, into the very heart of the watch with no adverse reaction! It may be paradoxical but that’s why it’s so fascinating. In this case, the balance wheel’s axis is suspended between two magnets placed behind ruby bearings. Only time will tell if this system can be called revolutionary but we can be certain that it epitomises the brand’s spirit. A look to the past on the one hand; a vision of the future on the other. Everything is intrinsic to an unrivalled sense of design: this philosophy is embodied by models in the Tradition collection which pays tribute to craftsmanship. Final details, hand finishes and painstaking designs compete to showcase every component in the movements e.g. the different Tradition 7027 models whose movements are built symmetrically on the edge of the central plate. This architecture shows off the cogs and bridges including the one with the escapement and its famous pare-chute anti-shock system invented by Abraham-Louis Breguet.

Watchmakers to the core


040

© Montres Breguet SA

The small hand guilloché dial (black or silver-tone depending on the model) lies off-centre at 12 o’ clock but is still easy to read the time accurately. With pieces like this, you can truly call it an "objet d’art" along with the Tradition 7047. This is a tourbillon which has brought the fusée-chain system back into fashion. Both elements beneath the plate are topped by a hand guilloché dial and coated in black electroplating. The 3D effect is spectacular.The brand’s artisan designers are on a crusade for the Holy Grail: beauty in watchmaking. Finishers, engravers and guilloché craftsmen recreate century-old techniques in their workshop. If Abraham-Louis Breguet were to visit the premises, he would easily recognise them as his own. The men work with the same painstaking tools as they have throughout the centuries. Better still, when the lathes or guilloche machines are no longer available on the market, Breguet makes them itself in-house. Silence and complete concentration reign in these rooms as the slightest disturbance could result in an irreparable movement on the dial or case’s design. The scratch may be barely visible to the naked eye but it is fatal in view of Breguet’s demands on its luxury watches. Nothing was ever left to chance in Paris’ Quai de l’Horloge and that hasn’t changed now in the Joux Valley.


040

© Montres Breguet SA

The small hand guilloché dial (black or silver-tone depending on the model) lies off-centre at 12 o’ clock but is still easy to read the time accurately. With pieces like this, you can truly call it an "objet d’art" along with the Tradition 7047. This is a tourbillon which has brought the fusée-chain system back into fashion. Both elements beneath the plate are topped by a hand guilloché dial and coated in black electroplating. The 3D effect is spectacular.The brand’s artisan designers are on a crusade for the Holy Grail: beauty in watchmaking. Finishers, engravers and guilloché craftsmen recreate century-old techniques in their workshop. If Abraham-Louis Breguet were to visit the premises, he would easily recognise them as his own. The men work with the same painstaking tools as they have throughout the centuries. Better still, when the lathes or guilloche machines are no longer available on the market, Breguet makes them itself in-house. Silence and complete concentration reign in these rooms as the slightest disturbance could result in an irreparable movement on the dial or case’s design. The scratch may be barely visible to the naked eye but it is fatal in view of Breguet’s demands on its luxury watches. Nothing was ever left to chance in Paris’ Quai de l’Horloge and that hasn’t changed now in the Joux Valley.

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ACE_PUB_TWM39.indd 1 13.11.14 10:54

Thierry Brandt

www.zenith-watches.com

042 INTERVIEW


043

Aldo Magada

>>>

S ucceeding Jean-Frédéric Dufour who moved on to Rolex, Aldo Magada took over the helm of Zenith on July

1st last. This 56 year old is well-known in the watchmaking world as he has held quite a few senior executive positions for several brands. Brands that include Piaget, Breitling and Omega, where he worked around twenty years ago, under the leadership of a certain Jean-Claude Biver. So, that might explain it then. Nurtured by the Biver "School", Aldo Magada, an outgoing, laid-back character who frequently uses highly-colourful language, knows only too well the recipes that lead brands to success. In short, a wind of change is blowing through Zenith. But, how is this going to manifest itself in the products? It’s

still too early to know. In the meantime, let’s give the floor to the boss, who we met in Locle back in September.

You’ve managed several businesses, but here you are, for the first time, at the head of a brand that has a worldwide reputation and, what’s more, a long history. How did you feel when you heard you’d been appointed?Well, I’m sure you can just imagine my reaction: when you’re offered this type of position, it definitely makes you feel proud. The company is fairly small in size, but the brand has a great reputation, as you’ve just

mentioned. It meets highly specific demands. If Jean-Claude Biver called on me, it’s first and foremost because we’ve known each other for the last twenty years. Secondly, because he needed a guy who knows all the facets of the business. And sure enough, that’s what I am, because throughout my career, I’ve been in charge of products, marketing and sales. I can get staff from all the different sectors to work together, hand-in-hand.

Generally-speaking, what have you learnt from the Biver "School"?To start with, a type of direct management with no kowtowing focused on the end result. In the end, the only thing that matters to him is the

result. Another lesson that I learned from him: is to be consistent, to think logically. When you’ve succeeded in developing a concept that really works, and not everyone can boast of that, you’ve got to follow it through, over and over again and never ever give up. Hublot’s Big Bang is a great example of this. And, the last important thing: respect for customers. The customer is always right. It’s a basic principle. When someone purchases an item from you that’s worth 10,000 Swiss

Francs, he or she deserves all your attention. Jean-Claude has always listened intently to his customers. I never saw him hesitate, at any time, when he had to reply to a blogger from the States asking questions at 4 in the morning.

What do you keep in mind from your first few months at Zenith?I discovered an exceptional factory and a

working environment that runs well. It’s absolutely essential to keep this spirit alive whilst continuing to grow. We have to think innovation yet hold on to our roots. Our products must continue to evolve too.

All watchmakers say that. But, what are you aiming for?Oh, it’s too early to reveal everything... Ideally, to move forward, we should take the best from the Thierry Nataf period and the

A major makeover for Zenith

Thierry Brandt


042 INTERVIEW


043

Aldo Magada

>>>

S ucceeding Jean-Frédéric Dufour who moved on to Rolex, Aldo Magada took over the helm of Zenith on July

1st last. This 56 year old is well-known in the watchmaking world as he has held quite a few senior executive positions for several brands. Brands that include Piaget, Breitling and Omega, where he worked around twenty years ago, under the leadership of a certain Jean-Claude Biver. So, that might explain it then. Nurtured by the Biver "School", Aldo Magada, an outgoing, laid-back character who frequently uses highly-colourful language, knows only too well the recipes that lead brands to success. In short, a wind of change is blowing through Zenith. But, how is this going to manifest itself in the products? It’s

still too early to know. In the meantime, let’s give the floor to the boss, who we met in Locle back in September.

You’ve managed several businesses, but here you are, for the first time, at the head of a brand that has a worldwide reputation and, what’s more, a long history. How did you feel when you heard you’d been appointed?Well, I’m sure you can just imagine my reaction: when you’re offered this type of position, it definitely makes you feel proud. The company is fairly small in size, but the brand has a great reputation, as you’ve just

mentioned. It meets highly specific demands. If Jean-Claude Biver called on me, it’s first and foremost because we’ve known each other for the last twenty years. Secondly, because he needed a guy who knows all the facets of the business. And sure enough, that’s what I am, because throughout my career, I’ve been in charge of products, marketing and sales. I can get staff from all the different sectors to work together, hand-in-hand.

Generally-speaking, what have you learnt from the Biver "School"?To start with, a type of direct management with no kowtowing focused on the end result. In the end, the only thing that matters to him is the

result. Another lesson that I learned from him: is to be consistent, to think logically. When you’ve succeeded in developing a concept that really works, and not everyone can boast of that, you’ve got to follow it through, over and over again and never ever give up. Hublot’s Big Bang is a great example of this. And, the last important thing: respect for customers. The customer is always right. It’s a basic principle. When someone purchases an item from you that’s worth 10,000 Swiss

Francs, he or she deserves all your attention. Jean-Claude has always listened intently to his customers. I never saw him hesitate, at any time, when he had to reply to a blogger from the States asking questions at 4 in the morning.

What do you keep in mind from your first few months at Zenith?I discovered an exceptional factory and a

working environment that runs well. It’s absolutely essential to keep this spirit alive whilst continuing to grow. We have to think innovation yet hold on to our roots. Our products must continue to evolve too.

All watchmakers say that. But, what are you aiming for?Oh, it’s too early to reveal everything... Ideally, to move forward, we should take the best from the Thierry Nataf period and the

A major makeover for Zenith


044


045

best from the Jean-Frédéric Dufour one and merge them together. I’d like to be able to offer customers products with high watchmaking content that convey a few more emotions than today, though without going to the extreme.

Do you wish to attract a younger clientele?Yes, that’s another of our objectives. Today, most of our customers are men aged 45 and over. We’re now also targeting 35-45 year olds. Watchmaking is just like the radio. You can present the best programme in the world, but if your potential listeners aren’t on the same wavelength, well then, it’s too bad.

Watchmaking is also a matter of price. Will the change that you’ve mentioned go hand in hand with a price reduction?No, there’s no change in our position as far as that’s concerned. When you go to your local fishmonger, you know full well that he can’t sell you lobster for the price of prawns. At

Zenith, the price-quality ratio is fair. In a price range of between 5,000 and 10,000 Swiss francs, you purchase a product with high watchmaking content, made by a factory with a legacy. OK, it’s true that we’re far from being the only one in this sector, as our main rivals are Rolex, Omega, Jaeger-LeCoultre and IWC, to name but a few. But we have the means to do just as well as them. I even think that we are often too modest.

Will Zenith continue to supply movements to other brands?Yes, of course, but preferably to other brands in the LVMH Group. These synergies have existed for quite some time and they will continue. But as you know, within the Group, the will to integrate the production of calibres has not increased. Each brand maintains its freedom.

What’s your opinion on the work that Jean-Claude Biver has undertaken to reorganize the LVMH Group brands and the

upheavals that this has led to in particular for TAG Heuer?He does what has to be done when problems arise. The three brands that he is in charge of, TAG Heuer, Zenith and Hublot, occupy highly-specific positions in the watchmaking pyramid. The aim is for each of them to consolidate their hold in their respective areas. It’s vital. For TAG Heuer, this means going back to its roots and focusing on affordable luxury designed for a young, active, sporty clientele.


044


045

best from the Jean-Frédéric Dufour one and merge them together. I’d like to be able to offer customers products with high watchmaking content that convey a few more emotions than today, though without going to the extreme.

Do you wish to attract a younger clientele?Yes, that’s another of our objectives. Today, most of our customers are men aged 45 and over. We’re now also targeting 35-45 year olds. Watchmaking is just like the radio. You can present the best programme in the world, but if your potential listeners aren’t on the same wavelength, well then, it’s too bad.

Watchmaking is also a matter of price. Will the change that you’ve mentioned go hand in hand with a price reduction?No, there’s no change in our position as far as that’s concerned. When you go to your local fishmonger, you know full well that he can’t sell you lobster for the price of prawns. At

Zenith, the price-quality ratio is fair. In a price range of between 5,000 and 10,000 Swiss francs, you purchase a product with high watchmaking content, made by a factory with a legacy. OK, it’s true that we’re far from being the only one in this sector, as our main rivals are Rolex, Omega, Jaeger-LeCoultre and IWC, to name but a few. But we have the means to do just as well as them. I even think that we are often too modest.

Will Zenith continue to supply movements to other brands?Yes, of course, but preferably to other brands in the LVMH Group. These synergies have existed for quite some time and they will continue. But as you know, within the Group, the will to integrate the production of calibres has not increased. Each brand maintains its freedom.

What’s your opinion on the work that Jean-Claude Biver has undertaken to reorganize the LVMH Group brands and the

upheavals that this has led to in particular for TAG Heuer?He does what has to be done when problems arise. The three brands that he is in charge of, TAG Heuer, Zenith and Hublot, occupy highly-specific positions in the watchmaking pyramid. The aim is for each of them to consolidate their hold in their respective areas. It’s vital. For TAG Heuer, this means going back to its roots and focusing on affordable luxury designed for a young, active, sporty clientele.

Thierry Brandt

046 INTERVIEW 047

>>>

www.lvmh.comTHE WATCHES MAGAZINE - WINTER 2014 THE WATCHES MAGAZINE - WINTER 2014

A utumn is a bit of a mixed bag in the little world of Swiss watchmaking. Sluggish European growth and

the ongoing slowdown in China all point to a depressing end to 2014. Let’s be clear: this is no crisis but it hasn’t stopped certain companies, even the larger ones, from making drastic changes in terms of staff. In Villars-sur-Glâne in the Fribourg canton, Cartier has decided to put 230 employees on a short-time basis as has TAG Heuer with 49 workers in its brand new factory in Chevenez (Jura). TAG’s headquarters in La Chaux-de-Fonds have also been affected with 46 redundancies. In TAG Heuer’s case, there are undoubtedly more structural rather than short-term reasons behind these two decisions. They are due to the restructuring of the watchmaking department at the LVMH group now overseen by Jean-Claude Biver. So, what is the big shot’s strategy? We put the question to him. NB: the interview took place in mid-September before TAG Heuer officially announced redundancies.

There’s no question that there’s always something happening at every level at TAG Heuer, especially since you got involved. Let’s address things in order. The brand recently opened a new factory devoted to making two chronographs: the 1887

and CH-80. And now, all of a sudden, we hear that you’ve decided to stop making the second. It’s paradoxical. Could you explain?Before I answer, I have a question for you: do you know any Swiss watch brands which make two chronographs?

Off the cuff, I couldn’t say…As far as I know there aren’t any! Producing two of the same type of calibres at the same time makes life more complicated and doubles potential sources of problems in production, sales and after-sales. On top of that, the client probably can’t tell the difference between them. That’s why we’ve decided to focus on a single chronograph. Why the 1887? Because it’s years ahead of the CH-80, it’s reliable and works well.

But the CH-80 is equally interesting and more modern because of its modular design…I’m not denying it! It’s an excellent chronograph. But for now we’re putting it on hold for the reasons I’ve mentioned. It’s a question of rationalisation. We can always get it out again in the future.

Did the staff understand the decision?

We had the discussion and everyone faced facts. At least, I hope.

Do all these changes and cost reduction plans mean that TAG Heuer isn’t doing well?Don’t worry, TAG Heuer is doing very well. It may be because the company has done so well these last few years that we haven’t paid enough attention to an entire series of indirect costs. The very definition of invisible is something that’s hard to see. My job is now to look into every detail and streamline the structure as much as possible. That’s how I work. I’m obsessed by energy and action. I campaign for a form of matrix management, for fast decision-making, for paper work to be abandoned and transparency at all levels. That’s how we work at Hublot. It’s the only way to move fast and earn more. The slices of watchmaker’s cake won’t keep increasing in the future. You need to fight to nibble crumbs off the neighbours.

Are you going to make changes to the positioning of the group’s different brands?No. This time I’m not touching anything: the pyramid already exists and we’re going to strengthen it. TAG Heuer makes up the foundation with a product range costing between 1500 and 4500 Swiss Francs. Zenith is in the middle with a price range of 5000-

Jean-Claude Biver’s strategy

Thierry Brandt

046 INTERVIEW 047

>>>

www.lvmh.comTHE WATCHES MAGAZINE - WINTER 2014 THE WATCHES MAGAZINE - WINTER 2014

A utumn is a bit of a mixed bag in the little world of Swiss watchmaking. Sluggish European growth and

the ongoing slowdown in China all point to a depressing end to 2014. Let’s be clear: this is no crisis but it hasn’t stopped certain companies, even the larger ones, from making drastic changes in terms of staff. In Villars-sur-Glâne in the Fribourg canton, Cartier has decided to put 230 employees on a short-time basis as has TAG Heuer with 49 workers in its brand new factory in Chevenez (Jura). TAG’s headquarters in La Chaux-de-Fonds have also been affected with 46 redundancies. In TAG Heuer’s case, there are undoubtedly more structural rather than short-term reasons behind these two decisions. They are due to the restructuring of the watchmaking department at the LVMH group now overseen by Jean-Claude Biver. So, what is the big shot’s strategy? We put the question to him. NB: the interview took place in mid-September before TAG Heuer officially announced redundancies.

There’s no question that there’s always something happening at every level at TAG Heuer, especially since you got involved. Let’s address things in order. The brand recently opened a new factory devoted to making two chronographs: the 1887

and CH-80. And now, all of a sudden, we hear that you’ve decided to stop making the second. It’s paradoxical. Could you explain?Before I answer, I have a question for you: do you know any Swiss watch brands which make two chronographs?

Off the cuff, I couldn’t say…As far as I know there aren’t any! Producing two of the same type of calibres at the same time makes life more complicated and doubles potential sources of problems in production, sales and after-sales. On top of that, the client probably can’t tell the difference between them. That’s why we’ve decided to focus on a single chronograph. Why the 1887? Because it’s years ahead of the CH-80, it’s reliable and works well.

But the CH-80 is equally interesting and more modern because of its modular design…I’m not denying it! It’s an excellent chronograph. But for now we’re putting it on hold for the reasons I’ve mentioned. It’s a question of rationalisation. We can always get it out again in the future.

Did the staff understand the decision?

We had the discussion and everyone faced facts. At least, I hope.

Do all these changes and cost reduction plans mean that TAG Heuer isn’t doing well?Don’t worry, TAG Heuer is doing very well. It may be because the company has done so well these last few years that we haven’t paid enough attention to an entire series of indirect costs. The very definition of invisible is something that’s hard to see. My job is now to look into every detail and streamline the structure as much as possible. That’s how I work. I’m obsessed by energy and action. I campaign for a form of matrix management, for fast decision-making, for paper work to be abandoned and transparency at all levels. That’s how we work at Hublot. It’s the only way to move fast and earn more. The slices of watchmaker’s cake won’t keep increasing in the future. You need to fight to nibble crumbs off the neighbours.

Are you going to make changes to the positioning of the group’s different brands?No. This time I’m not touching anything: the pyramid already exists and we’re going to strengthen it. TAG Heuer makes up the foundation with a product range costing between 1500 and 4500 Swiss Francs. Zenith is in the middle with a price range of 5000-

Jean-Claude Biver’s strategy

048


049

15,000 Francs and Hublot is at the top.

Does that mean you’re going to sacrifice luxury watchmaking at TAG Heuer and particularly the research and development department which has worked miracles in recent years?We don’t want to sacrifice it at all. We are going to have it look into other things. I don’t believe that TAG Heuer should be making tourbillons and calibres with belts. That’s not what it’s all about. Do you know what the "TAG" in TAG Heuer means?

Yes, "avant-garde technique."That’s it. Is making tourbillons avant-garde? No. Is replacing cogs with belts avant-garde? No. The department will continue to work but explore other avenues.

The connected watch avenue perhaps?Why not? Let’s talk about smartwatches for a couple of minutes since you brought it up. Everyone is talking about the recently launched iWatch from Apple. However, I am rather disappointed in the product. Why? Because there’s only one little extra terminal and it needs

your mobile phone to work. What would be really interesting is a connected watch completely independent of any other equipment.

048


049

15,000 Francs and Hublot is at the top.

Does that mean you’re going to sacrifice luxury watchmaking at TAG Heuer and particularly the research and development department which has worked miracles in recent years?We don’t want to sacrifice it at all. We are going to have it look into other things. I don’t believe that TAG Heuer should be making tourbillons and calibres with belts. That’s not what it’s all about. Do you know what the "TAG" in TAG Heuer means?

Yes, "avant-garde technique."That’s it. Is making tourbillons avant-garde? No. Is replacing cogs with belts avant-garde? No. The department will continue to work but explore other avenues.

The connected watch avenue perhaps?Why not? Let’s talk about smartwatches for a couple of minutes since you brought it up. Everyone is talking about the recently launched iWatch from Apple. However, I am rather disappointed in the product. Why? Because there’s only one little extra terminal and it needs

your mobile phone to work. What would be really interesting is a connected watch completely independent of any other equipment.

TED SCAPA050

www.scapa.chTHE WATCHES MAGAZINE - WINTER 2014

www.baselworld.com

Thierry BrandtBASELWORLD 051


D are we say that the problem with watchmaking is that it’s been going almost too well for the past twenty

years. In a recently published press release, the Baselworld organisers opportunely mention a study by Bain & Company consulting firm about the luxury industry. The figures speak for themselves: the market is flourishing with a 276% increase from 92 to 254 billion Swiss Francs between 1995 and 2012. The same goes for the watch sector: exports grew from 7 to 22 billion Francs in the same period. That’s nothing to quibble about is it?However, the side effect of such excellent health is a form of anxiety which attacks the profession at the slightest temporary palpitation, the announcement of an economic slowdown or an anti-corruption campaign in China. On top of that there’s the sluggish European markets and uncertain recovery of the United States economy. This all means that the professionals are currently a little dejected despite the latest statistics from the FH (Swiss watch industry federation) forecasting 2-3% growth in exports (figures from September). Watchmakers are going to have to get used to the situation in the future. The days of double-figure miracles are over!It is reasonable to expect the 2015 fair to be under the same auspices as the last. In other words, a "good year but not a euphoric one,"

as Baselworld’s managing director Sylvie Ritter put it in spring. 1500 exhibitors from all areas and over 40 countries attended the banks of the Rhin in 2014. It should be more or less the same in 2015. The same goes for visitor numbers which totalled 150,000 in 2014. Whatever happens, the event is an absolute must for the sector.As everyone knows, watchmaking is not immovable. The cards can be reshuffled at independent brands and large groups alike so you need to pay closer attention than usual to certain brands: will Corum and Eterna, two struggling brands in the China Haidian group, get back on their feet? Will the strategic changes at TAG Heuer result in a product range? What will become of Ulysse Nardin with Kering at the helm? We’re also going to keep a keen eye on the evolution of Harry Winston under Nayla Hayek and, of course, all the new independent brands who will once again get together beneath the Palace tent.

The consolidation fair

Thierry Brandt

www.jaquet-droz.com

052 JAQUET DROZ


053

W hat makes a brand stand out from its rivals? What makes a watch model distinguishable

among hundreds of others? These questions haunt every single modern-day watchmaker. Already, back in the mid-18th century, they tormented Pierre Jaquet-Droz notably when he worked in Ferdinand Berthoud’s workshop in Paris. "Pierre confusingly felt a particular attraction to beauty, grace, finesse, in what it had that was spectacular, mind-blowing", recounts Jean-Christophe Nothias in his biography of the watchmaker from Neuchâtel ("Jaquet-Droz, the Genius", a book published and distributed by the brand). "During his stay in Paris, he had loved the feeling that the works he had been able to discover were stopping him". Yes, technique would be at the service of this fanciful grace. "As far as he was concerned, it was essential to seek out,

first and foremost, the inward shock, the sense of wonder, the encounter with uniqueness and harmony", continues the author.In 2014, though in a new guise, the spirit of the master from La Chaux-de-Fonds continues to reign over the factory that was inaugurated four years ago. It is young, even very young watchmakers and craftsmen who have taken over, with the same passion, the same rigour as in days gone by. For the past few years, the focus has been on integrating several crafts within the company. Crafts which give undeniable added value to the various calibres which, although exclusive, are nevertheless provided by another Swatch Group entity, in this case Frédéric Piguet (Blancpain).Currently, a total of seven people are responsible for keeping this age-old expertise alive in the fields of enamelling, painting on enamel, "paillonnage" and three-dimensional

engraving. A relatively high headcount for a brand the size of Jaquet Droz, which illustrates the latter’s commitment in the segment. "If we’re making this effort, it’s for a specific reason. As far as we see it, the craftsman, the designer and the technician should be in constant communication. And, it’s easier when they’re all together in the same place. As such, we don’t only save time, but we also gain creativity. People exchange ideas, draw from others’ experiences, become aware of the constraints related to one technique or anothers... It’s highly rewarding for all concerned, especially when we aim to present something exceptional every time. We really want our customers to dream, just like Pierre Jaquet-Droz back in his time," states the company’s management.This willingness is even more commendable as it is a long-term perspective. Given that the

Spotlighton craftmanship

brand needs to be able, firstly, to spot potential talents and, secondly, to train them under good conditions. No school exists where you learn to carve a horse that is just a few millimetres in size, out of pure gold, with a chisel, where you enjoy painting little flowers or microscopic carps on a dial, and even less where you work yourself like a madman to compose geometric shapes with miniscule specks of gold. It takes years to acquire the skill required to make a perfectly flawless piece. It takes hours, and even days and weeks to compose a single décor. And all this with the concentration of a monk. Only the visits of a few curious people occasionally disturb life in the craft workshops...

In addition to this in-house work, which grows a little more every year, there are close collaborations with external craftsmen. To begin with, François Junod, based in Sainte-Croix, whose expert hands are responsible for creating the automata. It’s thanks to him that the Charming Bird module exists, the first wristwatch in history to integrate a songbird. A mechanism of wondrous finesse that enables the little blue and yellow tit sitting atop the dial to twirl, flap its wings, move its head and tail and, of course, to open its beak to sing. Presented 18 months ago, this exceptional piece, available in 56 models (28 in rose gold, 28 in white gold), is arriving in-

store, as proof that, in the age of digitalization and dematerialization of certain objects, the magic of watchmaking engineering works forever. A promising outlook for the future of Jaquet Droz, don’t you think?

Thierry Brandt

www.jaquet-droz.com

052 JAQUET DROZ


053

W hat makes a brand stand out from its rivals? What makes a watch model distinguishable

among hundreds of others? These questions haunt every single modern-day watchmaker. Already, back in the mid-18th century, they tormented Pierre Jaquet-Droz notably when he worked in Ferdinand Berthoud’s workshop in Paris. "Pierre confusingly felt a particular attraction to beauty, grace, finesse, in what it had that was spectacular, mind-blowing", recounts Jean-Christophe Nothias in his biography of the watchmaker from Neuchâtel ("Jaquet-Droz, the Genius", a book published and distributed by the brand). "During his stay in Paris, he had loved the feeling that the works he had been able to discover were stopping him". Yes, technique would be at the service of this fanciful grace. "As far as he was concerned, it was essential to seek out,

first and foremost, the inward shock, the sense of wonder, the encounter with uniqueness and harmony", continues the author.In 2014, though in a new guise, the spirit of the master from La Chaux-de-Fonds continues to reign over the factory that was inaugurated four years ago. It is young, even very young watchmakers and craftsmen who have taken over, with the same passion, the same rigour as in days gone by. For the past few years, the focus has been on integrating several crafts within the company. Crafts which give undeniable added value to the various calibres which, although exclusive, are nevertheless provided by another Swatch Group entity, in this case Frédéric Piguet (Blancpain).Currently, a total of seven people are responsible for keeping this age-old expertise alive in the fields of enamelling, painting on enamel, "paillonnage" and three-dimensional

engraving. A relatively high headcount for a brand the size of Jaquet Droz, which illustrates the latter’s commitment in the segment. "If we’re making this effort, it’s for a specific reason. As far as we see it, the craftsman, the designer and the technician should be in constant communication. And, it’s easier when they’re all together in the same place. As such, we don’t only save time, but we also gain creativity. People exchange ideas, draw from others’ experiences, become aware of the constraints related to one technique or anothers... It’s highly rewarding for all concerned, especially when we aim to present something exceptional every time. We really want our customers to dream, just like Pierre Jaquet-Droz back in his time," states the company’s management.This willingness is even more commendable as it is a long-term perspective. Given that the

Spotlighton craftmanship

brand needs to be able, firstly, to spot potential talents and, secondly, to train them under good conditions. No school exists where you learn to carve a horse that is just a few millimetres in size, out of pure gold, with a chisel, where you enjoy painting little flowers or microscopic carps on a dial, and even less where you work yourself like a madman to compose geometric shapes with miniscule specks of gold. It takes years to acquire the skill required to make a perfectly flawless piece. It takes hours, and even days and weeks to compose a single décor. And all this with the concentration of a monk. Only the visits of a few curious people occasionally disturb life in the craft workshops...

In addition to this in-house work, which grows a little more every year, there are close collaborations with external craftsmen. To begin with, François Junod, based in Sainte-Croix, whose expert hands are responsible for creating the automata. It’s thanks to him that the Charming Bird module exists, the first wristwatch in history to integrate a songbird. A mechanism of wondrous finesse that enables the little blue and yellow tit sitting atop the dial to twirl, flap its wings, move its head and tail and, of course, to open its beak to sing. Presented 18 months ago, this exceptional piece, available in 56 models (28 in rose gold, 28 in white gold), is arriving in-

store, as proof that, in the age of digitalization and dematerialization of certain objects, the magic of watchmaking engineering works forever. A promising outlook for the future of Jaquet Droz, don’t you think?

Sharmila Bertin

www.montblanc.com

054 MONTBLANC


055

T he curtain rises on a piece with changing faces: Montblanc presents the Metamorphosis II. This single

pusher chronograph transforms and reinvents itself to suit the wearer’s mood and needs. Its physical duality translates into a timeless profile and a sporty silhouette on the same timepiece brought to life by the same mechanical heart.

One face, two personalitiesThe main gold "grain d’orge" guilloché dial is surrounded by a satin-finish ring dotted with six screws. It is inspired by the shape of an elongated hourglass to present two displays (10 to 2 o’ clock and 5 to 7 o’ clock), one of which is topped by a sapphire glass bridge. Two concentric circles near the chapter ring are engraved with black Arabic numerals with the minute track on one and the seconds on the other. The central minutes display works as a retrograde regulator while the red-tipped central seconds hand tracks the seconds.

Classic featuresWhen you switch the Metamorphosis II to "traditional" mode, the display in the upper half of the dial reveals an off-centre hour

dial at 12 o’ clock showcased by a gilded double rim echoing the gold hour hand. The hours appear as six Roman numerals and six elongated indices. The display in the lower half is smaller and dominated by a date display with a hand whose dates appear as glittering Arabic numerals rimmed with gold.

Sporty spiritWhen you switch to chronograph mode on the Metamorphosis II, two displays step aside at 12 and 6 o’ clock to give the timepiece a sportier look. The off-centre Arabic hour numerals lie on a guilloché spiral pattern in the centre surrounded by a slate-coloured Clou de Paris engraving. The slim central seconds hand which previously tracked the seconds turns into the chronograph hand whilst the dark grey rotating counter counts down the minutes at 6 o’ clock.

Two personalities, one bodyPress the oblong button on the side of the case between 8 and 10 o’ clock to set the metamorphosis in motion. It takes approximately five seconds to work its magic and show us another side to its personality. The dual classic/sporty feature allows the

chronograph and date functions to keep going even when you can’t see them. The timepiece is brought to life by a manual wind MB M67.40 calibre designed and made by Montblanc which also provides a power reserve of over 50 hours. The movement is housed in a large rose gold 52mm case with a hidden pusher in the winding crown at 3 and a date corrector at 4.

Two faces, one heart

Sharmila Bertin

www.montblanc.com

054 MONTBLANC


055

T he curtain rises on a piece with changing faces: Montblanc presents the Metamorphosis II. This single

pusher chronograph transforms and reinvents itself to suit the wearer’s mood and needs. Its physical duality translates into a timeless profile and a sporty silhouette on the same timepiece brought to life by the same mechanical heart.

One face, two personalitiesThe main gold "grain d’orge" guilloché dial is surrounded by a satin-finish ring dotted with six screws. It is inspired by the shape of an elongated hourglass to present two displays (10 to 2 o’ clock and 5 to 7 o’ clock), one of which is topped by a sapphire glass bridge. Two concentric circles near the chapter ring are engraved with black Arabic numerals with the minute track on one and the seconds on the other. The central minutes display works as a retrograde regulator while the red-tipped central seconds hand tracks the seconds.

Classic featuresWhen you switch the Metamorphosis II to "traditional" mode, the display in the upper half of the dial reveals an off-centre hour

dial at 12 o’ clock showcased by a gilded double rim echoing the gold hour hand. The hours appear as six Roman numerals and six elongated indices. The display in the lower half is smaller and dominated by a date display with a hand whose dates appear as glittering Arabic numerals rimmed with gold.

Sporty spiritWhen you switch to chronograph mode on the Metamorphosis II, two displays step aside at 12 and 6 o’ clock to give the timepiece a sportier look. The off-centre Arabic hour numerals lie on a guilloché spiral pattern in the centre surrounded by a slate-coloured Clou de Paris engraving. The slim central seconds hand which previously tracked the seconds turns into the chronograph hand whilst the dark grey rotating counter counts down the minutes at 6 o’ clock.

Two personalities, one bodyPress the oblong button on the side of the case between 8 and 10 o’ clock to set the metamorphosis in motion. It takes approximately five seconds to work its magic and show us another side to its personality. The dual classic/sporty feature allows the

chronograph and date functions to keep going even when you can’t see them. The timepiece is brought to life by a manual wind MB M67.40 calibre designed and made by Montblanc which also provides a power reserve of over 50 hours. The movement is housed in a large rose gold 52mm case with a hidden pusher in the winding crown at 3 and a date corrector at 4.

Two faces, one heart

Sharmila Bertin

www.vacheron-constantin.com

056 VACHERON CONSTANTIN


057

T he pieces that are born from the hands of craftsmen from the Geneva factory, whether they be

watchmakers, engravers or enamellers, are eternal displays of enchantment and emotion. Be it their movements which showcase watchmaking craftsmanship or their dials overflowing with precious details, they are imbued with unique expertise that Vacheron Constantin has kept alive for over 250 years. After having dazzled us at the start of the year with the four deliciously refined timepieces its Métiers d’Art Fabuleux Ornements collection, this time the watchmaker is taking us on a journey into the wild to uncover the wonderful wildlife set against pristine landscapes with three new pieces: L’Eloge de la Nature. The artistry brings the dials to life and sets our imagination on fire.

Galloping to the foothills of the RockiesA trio of horses made of hand-engraved rose gold tramples over a bed of grass whilst

behind it the mountain ridges soar up to the snow-capped peak. Are we right in the heart of Montana, reproduced in wood marquetry? Are they Mustangs, horses which have returned to the wild, cannot be tamed and have a tenacious character?

Flying off into the immensity of the azureThe cranes, graceful wading birds with slim legs and white and light-grey feathers, are adorned with delicately-fashioned rose gold so they may spread their great wings over the guilloché sky whose deep blue comes from the Grand Feu enamel technique. The great bird lives on most continents so which bright sky are we soaring through?

Tearing down the Alpine slopesThis pair of timid little goats with their ebony-black coloured horns swaps its usually beige-tinted, slightly-brown robe for hand-sculpted rose gold. They both tear down rocky, sloping

terrain designed in iridescent-hued wood marquetry. Are they taking us to a mountain range in the Alps? Each model is a unique piece, presented with a hand-free dial so that the art is shown at its best. The functions (trailing or jumping)presented in four displays revealing the hours, minutes, weekday and date. Life is breathed into these functions by the self-winding 2460 G4 calibre in a 40mm diameter rose gold case.

An ode to nature

Sharmila Bertin

www.vacheron-constantin.com

056 VACHERON CONSTANTIN


057

T he pieces that are born from the hands of craftsmen from the Geneva factory, whether they be

watchmakers, engravers or enamellers, are eternal displays of enchantment and emotion. Be it their movements which showcase watchmaking craftsmanship or their dials overflowing with precious details, they are imbued with unique expertise that Vacheron Constantin has kept alive for over 250 years. After having dazzled us at the start of the year with the four deliciously refined timepieces its Métiers d’Art Fabuleux Ornements collection, this time the watchmaker is taking us on a journey into the wild to uncover the wonderful wildlife set against pristine landscapes with three new pieces: L’Eloge de la Nature. The artistry brings the dials to life and sets our imagination on fire.

Galloping to the foothills of the RockiesA trio of horses made of hand-engraved rose gold tramples over a bed of grass whilst

behind it the mountain ridges soar up to the snow-capped peak. Are we right in the heart of Montana, reproduced in wood marquetry? Are they Mustangs, horses which have returned to the wild, cannot be tamed and have a tenacious character?

Flying off into the immensity of the azureThe cranes, graceful wading birds with slim legs and white and light-grey feathers, are adorned with delicately-fashioned rose gold so they may spread their great wings over the guilloché sky whose deep blue comes from the Grand Feu enamel technique. The great bird lives on most continents so which bright sky are we soaring through?

Tearing down the Alpine slopesThis pair of timid little goats with their ebony-black coloured horns swaps its usually beige-tinted, slightly-brown robe for hand-sculpted rose gold. They both tear down rocky, sloping

terrain designed in iridescent-hued wood marquetry. Are they taking us to a mountain range in the Alps? Each model is a unique piece, presented with a hand-free dial so that the art is shown at its best. The functions (trailing or jumping)presented in four displays revealing the hours, minutes, weekday and date. Life is breathed into these functions by the self-winding 2460 G4 calibre in a 40mm diameter rose gold case.

An ode to nature

Sharmila Bertin


058 ZENITH


059

O n 14 October 2012, at exactly 5:31 pm (UTC+1), the whole world, dumbstruck yet anxious, sat in front

of their TV screens and watched as the Austrian parachutist, Felix Baumgartner, leapt into space from a capsule secured to his hot-air balloon that had taken him, just before, to the edge of the stratosphere. The supersonic man didn’t know at that moment in time that he was about to break three world records for free-falling: height (38,969.4 metres), speed (1,357.6 kilometres per hour, i.e. 1.24 times the speed of sound) and duration (4 minutes, 20 seconds). The altitude record for a manned hot-air balloon flight (39,068 metres) would be added to these historic performances. His wrist companion, the El Primero Stratos Flyback Striking 10th, shared these extraordinary feats with him before coming to land intact on solid ground.Partner and official timekeeper of the Red Bull Stratos Mission that Felix Baumgartner undertook successfully, Zenith has supported space explorers ever since. From the very beginning and right up to the present day, the whole history of the watchmaker from Locle can be summed up in the clouds. Firstly, its name defines the highest point of the celestial sphere. Secondly,

the onboard instruments that it designed from 1910 to 1960 equipped in particular aircraft. In fact, it was with a Zenith on his wrist that Louis Blériot, the pioneering pilot of French aviation, crossed the Channel on 25 July 1909. With such a rich connection to space exploration, it was only natural for the star-logoed brand to accompany the Austrian base jumper in this stratospheric adventure.Two years after the Mission, Zenith pays tribute to the man and to his achievements by creating an incomparable timepiece, limited to just ten examples: Academy Christophe Colomb Tribute to Felix Baumgartner. This timepiece is a world in itself with its highly-artistic and stylized design that reproduces a unique moment in the history of mankind. It captures the very instant just before the leap into the unknown. Against the backdrop of the azure celestial vault, Felix Baumgartner stands in his space suit, helmet on his head, both hands tightly holding the rail of the capsule, and observes the blue crust of the Earth. We hold our breath, we know what’s going to happen. The effigy of the parachutist, set between 2 and 4 o’clock on the dial, is made of gold that was elaborately carved by hand. A crescent-shaped backdrop, fashioned in blue

astralite (aventurine glass), sprinkled with golden spangles, represents the stratosphere whilst the Earth, in turquoise, covers most of the dial. The watch’s functions – strictly speaking – the hours and minutes, are displayed on a black off-centred dial at 12 o’clock. Two rhodium-plated hands float above the white-lacquered indexes. The small seconds, set at 9 o’clock, is also designed in black and white. As for the power reserve indicator, it literally runs along the back of Felix Baumgartner’s silhouette. And, last but not least, a gyroscope, protected by a glass sphere at 6 o’clock controls the Earth’s gravity and, as such, neutralizes its effects on the timepiece’s mechanism. This gyroscopic module as well as the time functions and the power reserve counter (which offers a reserve of 50 hours) are brought to life by the impetus of the El Primero 8804 calibre. This hand-wound mechanical movement is lodged at the heart of the 45 mm diameter platinum case, which is coated in DLC (Diamond-Like Carbon).

Felix Baumgartner’s lucky star

Sharmila Bertin


058 ZENITH


059

O n 14 October 2012, at exactly 5:31 pm (UTC+1), the whole world, dumbstruck yet anxious, sat in front

of their TV screens and watched as the Austrian parachutist, Felix Baumgartner, leapt into space from a capsule secured to his hot-air balloon that had taken him, just before, to the edge of the stratosphere. The supersonic man didn’t know at that moment in time that he was about to break three world records for free-falling: height (38,969.4 metres), speed (1,357.6 kilometres per hour, i.e. 1.24 times the speed of sound) and duration (4 minutes, 20 seconds). The altitude record for a manned hot-air balloon flight (39,068 metres) would be added to these historic performances. His wrist companion, the El Primero Stratos Flyback Striking 10th, shared these extraordinary feats with him before coming to land intact on solid ground.Partner and official timekeeper of the Red Bull Stratos Mission that Felix Baumgartner undertook successfully, Zenith has supported space explorers ever since. From the very beginning and right up to the present day, the whole history of the watchmaker from Locle can be summed up in the clouds. Firstly, its name defines the highest point of the celestial sphere. Secondly,

the onboard instruments that it designed from 1910 to 1960 equipped in particular aircraft. In fact, it was with a Zenith on his wrist that Louis Blériot, the pioneering pilot of French aviation, crossed the Channel on 25 July 1909. With such a rich connection to space exploration, it was only natural for the star-logoed brand to accompany the Austrian base jumper in this stratospheric adventure.Two years after the Mission, Zenith pays tribute to the man and to his achievements by creating an incomparable timepiece, limited to just ten examples: Academy Christophe Colomb Tribute to Felix Baumgartner. This timepiece is a world in itself with its highly-artistic and stylized design that reproduces a unique moment in the history of mankind. It captures the very instant just before the leap into the unknown. Against the backdrop of the azure celestial vault, Felix Baumgartner stands in his space suit, helmet on his head, both hands tightly holding the rail of the capsule, and observes the blue crust of the Earth. We hold our breath, we know what’s going to happen. The effigy of the parachutist, set between 2 and 4 o’clock on the dial, is made of gold that was elaborately carved by hand. A crescent-shaped backdrop, fashioned in blue

astralite (aventurine glass), sprinkled with golden spangles, represents the stratosphere whilst the Earth, in turquoise, covers most of the dial. The watch’s functions – strictly speaking – the hours and minutes, are displayed on a black off-centred dial at 12 o’clock. Two rhodium-plated hands float above the white-lacquered indexes. The small seconds, set at 9 o’clock, is also designed in black and white. As for the power reserve indicator, it literally runs along the back of Felix Baumgartner’s silhouette. And, last but not least, a gyroscope, protected by a glass sphere at 6 o’clock controls the Earth’s gravity and, as such, neutralizes its effects on the timepiece’s mechanism. This gyroscopic module as well as the time functions and the power reserve counter (which offers a reserve of 50 hours) are brought to life by the impetus of the El Primero 8804 calibre. This hand-wound mechanical movement is lodged at the heart of the 45 mm diameter platinum case, which is coated in DLC (Diamond-Like Carbon).

Felix Baumgartner’s lucky star

Thierry Brandt

www.baume-et-mercier.com

060 BAUME & MERCIER


061

T here aren’t that many long-standing watch brands which have catered for women since their foundation or

thereabouts. In the 19th century the focus was on men: noblemen, middle class, industrialists, bankers and city slickers. The Baume brothers (Mercier didn’t arrive until 1918) designed their first timepiece in 1830 in Les Bois which is now the Jura area. Louis-Victor Baume foresaw that women would be interested in watches and made the first gold pocket watch for his daughter Mélina in 1869. History doesn’t tell us if the creation came solely from fatherly love but it certainly wasn’t just that; the watchmakers were excellent salespeople and saw it as a way to get into new markets. Whatever the reason, ladies’ watches have been in the brand’s collections ever since. A quick look at the company’s archives also reveals a beautiful selection of treasures from the Art Deco period. "It was an extremely creative time," says Sara Sandmeier, senior designer at Baume & Mercier. "I can remember a model from 1920 with an extraordinary metallic mesh strap and buckle. It’s hard to

describe but it’s like a bra strap which can be adjusted to the client’s wrist. It hasn’t been done since."The designer is behind the company’s brand new ladies collection called Promesse. This is an important launch for the brand as it has 14 different models available in two sizes (30 and 34mm in diameter) brought to life by quartz movements (9 models) or self-winding calibres (5 models) priced between 1750 Swiss Francs and 6500 Swiss France (diamond models). "We wanted to design a relatively classic watch which can be worn throughout the day," Sara Sandmeier says of the chic and understated 70s-style watches. "That’s what most women want nowadays. That said, there had to be something a bit different about the piece so we decided to play with shape, in particular the curves of the dial as you can see in the slightly oval case. This meant the bezel gave us an extra means of expression which enabled us to work with precious metal, mother-of-pearl or diamonds as you can see in the first collection. We gave a lot of thought to the design of the metallic bracelets which are a graphic take on the ripple made by a drop of water," says the designer.

A "Promesse" to women

Thierry Brandt

www.baume-et-mercier.com

060 BAUME & MERCIER


061

T here aren’t that many long-standing watch brands which have catered for women since their foundation or

thereabouts. In the 19th century the focus was on men: noblemen, middle class, industrialists, bankers and city slickers. The Baume brothers (Mercier didn’t arrive until 1918) designed their first timepiece in 1830 in Les Bois which is now the Jura area. Louis-Victor Baume foresaw that women would be interested in watches and made the first gold pocket watch for his daughter Mélina in 1869. History doesn’t tell us if the creation came solely from fatherly love but it certainly wasn’t just that; the watchmakers were excellent salespeople and saw it as a way to get into new markets. Whatever the reason, ladies’ watches have been in the brand’s collections ever since. A quick look at the company’s archives also reveals a beautiful selection of treasures from the Art Deco period. "It was an extremely creative time," says Sara Sandmeier, senior designer at Baume & Mercier. "I can remember a model from 1920 with an extraordinary metallic mesh strap and buckle. It’s hard to

describe but it’s like a bra strap which can be adjusted to the client’s wrist. It hasn’t been done since."The designer is behind the company’s brand new ladies collection called Promesse. This is an important launch for the brand as it has 14 different models available in two sizes (30 and 34mm in diameter) brought to life by quartz movements (9 models) or self-winding calibres (5 models) priced between 1750 Swiss Francs and 6500 Swiss France (diamond models). "We wanted to design a relatively classic watch which can be worn throughout the day," Sara Sandmeier says of the chic and understated 70s-style watches. "That’s what most women want nowadays. That said, there had to be something a bit different about the piece so we decided to play with shape, in particular the curves of the dial as you can see in the slightly oval case. This meant the bezel gave us an extra means of expression which enabled us to work with precious metal, mother-of-pearl or diamonds as you can see in the first collection. We gave a lot of thought to the design of the metallic bracelets which are a graphic take on the ripple made by a drop of water," says the designer.

A "Promesse" to women

Sharmila Bertin

www.bellross.com

062 BELL & ROSS


063

6 7 years ago, on October 14th 1947 to be precise, American aviator Chuck Yeager became the first man to break

the sound barrier in his experimental rocket-powered aircraft, the Bell X-1. The record breaking top speed reached by the plane dropped from a bomber was Mach 1.06 (700 miles per hour). Parisian watch brand Bell & Ross has a close relationship with military aviation and celebrates the rocket-powered aircraft and its supersonic pilot with this self-winding timepiece which military professionals and watch lovers will adore. The BR-X1 has the classic 45mm half-square and half-round BR case which Bell & Ross are famous for. The grade 5 titanium case has rubber and ceramic features to make the watch scratch-resistant and more ergonomic. The various lateral red inserts and rotating pushers at 2 and 4 o’ clock make it easier and more comfortable to use the chronograph. The result is a light, scratch-resistant and functional piece.

The dial rimmed by a silver-tone chapter ring and engraved with a tachymeter scale is topped by grey mineral glass to provide a clear view of the timepiece’s mechanical heart. The embedded self-winding movement provides a 42-hour power reserve and brings to life the time, chronograph and date functions. The BR-X1 dial features metallic luminescent indices dotted around a silver ring interspersed with a subtle minute track; two hands coated in Super-LumiNova® display the hours and minutes. The seconds are set apart in an understated translucent counter at 3 o’ clock. The chronograph has a slim central seconds hand whilst the minute counter lies in a metal circle at 9 o’ clock. The counter goes against tradition as it doesn’t have a hand; instead it has a disc with a thick red line whose cut-outs are reminiscent of the jet engine’s fins. All the chronometer’s features are bright red which has a strong visual impact in the darkness of the cockpit. The date appears in a metal rimmed display at 6 o’ clock.

The titanium case back has a round porthole-style display so you can watch the balance wheel perform.Just 250 of the limited edition BR-X1 are available to mark the launch of a new collection from Bell & Ross.

BR-X1 Skeleton Chronograph

Sharmila Bertin

www.bellross.com

062 BELL & ROSS


063

6 7 years ago, on October 14th 1947 to be precise, American aviator Chuck Yeager became the first man to break

the sound barrier in his experimental rocket-powered aircraft, the Bell X-1. The record breaking top speed reached by the plane dropped from a bomber was Mach 1.06 (700 miles per hour). Parisian watch brand Bell & Ross has a close relationship with military aviation and celebrates the rocket-powered aircraft and its supersonic pilot with this self-winding timepiece which military professionals and watch lovers will adore. The BR-X1 has the classic 45mm half-square and half-round BR case which Bell & Ross are famous for. The grade 5 titanium case has rubber and ceramic features to make the watch scratch-resistant and more ergonomic. The various lateral red inserts and rotating pushers at 2 and 4 o’ clock make it easier and more comfortable to use the chronograph. The result is a light, scratch-resistant and functional piece.

The dial rimmed by a silver-tone chapter ring and engraved with a tachymeter scale is topped by grey mineral glass to provide a clear view of the timepiece’s mechanical heart. The embedded self-winding movement provides a 42-hour power reserve and brings to life the time, chronograph and date functions. The BR-X1 dial features metallic luminescent indices dotted around a silver ring interspersed with a subtle minute track; two hands coated in Super-LumiNova® display the hours and minutes. The seconds are set apart in an understated translucent counter at 3 o’ clock. The chronograph has a slim central seconds hand whilst the minute counter lies in a metal circle at 9 o’ clock. The counter goes against tradition as it doesn’t have a hand; instead it has a disc with a thick red line whose cut-outs are reminiscent of the jet engine’s fins. All the chronometer’s features are bright red which has a strong visual impact in the darkness of the cockpit. The date appears in a metal rimmed display at 6 o’ clock.

The titanium case back has a round porthole-style display so you can watch the balance wheel perform.Just 250 of the limited edition BR-X1 are available to mark the launch of a new collection from Bell & Ross.

BR-X1 Skeleton Chronograph

Sharmila Bertin

www.raymond-weil.com

064 RAYMOND WEIL


065

D o you like music? Raymond Weil, the music-loving watchmaker, does too! We were already aware of the

Geneva brand’s passion for sweet melodies but now it offers us three special editions abounding in rhythm in one go! Veritable ode to music, each of these models has its own public. They feature a particular style or instrument (cello, guitar and electronic music), as such designed for music lovers and neophytes alike, whatever the age.Regardless of the musical genre that they reflect, the performers who inspire them or the design-style that they feature, this trio of timepieces are here is to support three charities. Two examples of each model will be auctioned and all proceeds from their sale will be donated to the charities chosen by the three musicians. These organizations are devoted to making access to musical culture easier, supporting an

orphanage in Montenegro (Balkan Europe) and contributing to the education of children in a district of London.

Freelancer Electro Music Special Edition The first watch in this musical collection is dedicated to the electronic world and more specifically to Labrinth. Born in 1989, Timothy McKenzie, his real name, is an songwriter, singer, musician and record producer in the UK. His pseudonym is an abbreviation of the word labyrinth in English. His angular mazes are engraved right at the heart of the silvered dial of Raymond Weil’s Freelancer. The 12 black hour indices which surround this labyrinth are barrel-shaped and slightly cambered like the keys that can be found on mixing desks in recording studios. These indices are interspersed by a slim black minute tracker

and all is set over the design of grey-blue music equalizer filters. The hours and minutes are marked by two hands highlighted with luminescent coating; they are driven by the RW4200 calibre. This self-winding movement, nestling in a 42 mm diameter steel case, also provides a 38-hour power reserve.

Freelancer Cello Music Special Edition The second timepiece is also a Freelancer but this time round prompted by the automatic RW5000 calibre set in a 45mm diameter titanium case. This movement provides 46 hours of power reserve and drives the hour functions (hours and minutes in the centre, small seconds at 9 o’clock), calendar (day and date over 3 days at 3 o’clock) and chronograph (seconds in the centre, minute and hour counters respectively at 12 o’clock

"Music says more than words can ever say"*

and 6 o’clock). On the grey steel dial, the 4 strings of the cello illustrate the hour chapter where 12 bars have been set, harmoniously bordering the chronograph counters and the silhouette of the volute which embraces the small seconds. Hours and minutes are displayed by two phosphorescent, glossy-black hands, whilst the chronograph data and the date marker are varnished in red. This piece pays tribute to a talented Croatian cello duo, Luka Šulić and Stjepan Hauser.

Maestro Guitar Music Special Edition The last instrument of this musical watchmaking trio adorns the face of Raymond Weil’s Maestro. Its steel case, smaller than the two aforementioned timepieces, has a diameter of 39.5mm. Notwithstanding, it houses the same RW4200 calibre as the

Electro Music Special Edition. However, its dial is totally different; it reproduces the design of a classical guitar, the guitar of a Montenegrian musician, Miloš Karadagli. Its steel-grey hue contrasts with the rose gold tint of some of the elements, in particular the pick, set at 6 o’clock. The hour chapter takes on the guise of a guitar neck with its 6 strings punctuated by 12 golden frets. Three Breguet-style, hollow moon-tip hands, also in rose gold, hover over these indices. At the centre of the dial, a motif takes its inspiration from the adornments which generally enhance the rosette of a guitar. This circular opening which opens onto the soundboard is, nonetheless, reproduced at 12 o’clock, where part of the movement can be admired.

(*) Julien Green, American writer (1900-1998) original

French text “La Musique est au-delà des mots”

Sharmila Bertin

www.raymond-weil.com

064 RAYMOND WEIL


065

D o you like music? Raymond Weil, the music-loving watchmaker, does too! We were already aware of the

Geneva brand’s passion for sweet melodies but now it offers us three special editions abounding in rhythm in one go! Veritable ode to music, each of these models has its own public. They feature a particular style or instrument (cello, guitar and electronic music), as such designed for music lovers and neophytes alike, whatever the age.Regardless of the musical genre that they reflect, the performers who inspire them or the design-style that they feature, this trio of timepieces are here is to support three charities. Two examples of each model will be auctioned and all proceeds from their sale will be donated to the charities chosen by the three musicians. These organizations are devoted to making access to musical culture easier, supporting an

orphanage in Montenegro (Balkan Europe) and contributing to the education of children in a district of London.

Freelancer Electro Music Special Edition The first watch in this musical collection is dedicated to the electronic world and more specifically to Labrinth. Born in 1989, Timothy McKenzie, his real name, is an songwriter, singer, musician and record producer in the UK. His pseudonym is an abbreviation of the word labyrinth in English. His angular mazes are engraved right at the heart of the silvered dial of Raymond Weil’s Freelancer. The 12 black hour indices which surround this labyrinth are barrel-shaped and slightly cambered like the keys that can be found on mixing desks in recording studios. These indices are interspersed by a slim black minute tracker

and all is set over the design of grey-blue music equalizer filters. The hours and minutes are marked by two hands highlighted with luminescent coating; they are driven by the RW4200 calibre. This self-winding movement, nestling in a 42 mm diameter steel case, also provides a 38-hour power reserve.

Freelancer Cello Music Special Edition The second timepiece is also a Freelancer but this time round prompted by the automatic RW5000 calibre set in a 45mm diameter titanium case. This movement provides 46 hours of power reserve and drives the hour functions (hours and minutes in the centre, small seconds at 9 o’clock), calendar (day and date over 3 days at 3 o’clock) and chronograph (seconds in the centre, minute and hour counters respectively at 12 o’clock

"Music says more than words can ever say"*

and 6 o’clock). On the grey steel dial, the 4 strings of the cello illustrate the hour chapter where 12 bars have been set, harmoniously bordering the chronograph counters and the silhouette of the volute which embraces the small seconds. Hours and minutes are displayed by two phosphorescent, glossy-black hands, whilst the chronograph data and the date marker are varnished in red. This piece pays tribute to a talented Croatian cello duo, Luka Šulić and Stjepan Hauser.

Maestro Guitar Music Special Edition The last instrument of this musical watchmaking trio adorns the face of Raymond Weil’s Maestro. Its steel case, smaller than the two aforementioned timepieces, has a diameter of 39.5mm. Notwithstanding, it houses the same RW4200 calibre as the

Electro Music Special Edition. However, its dial is totally different; it reproduces the design of a classical guitar, the guitar of a Montenegrian musician, Miloš Karadagli. Its steel-grey hue contrasts with the rose gold tint of some of the elements, in particular the pick, set at 6 o’clock. The hour chapter takes on the guise of a guitar neck with its 6 strings punctuated by 12 golden frets. Three Breguet-style, hollow moon-tip hands, also in rose gold, hover over these indices. At the centre of the dial, a motif takes its inspiration from the adornments which generally enhance the rosette of a guitar. This circular opening which opens onto the soundboard is, nonetheless, reproduced at 12 o’clock, where part of the movement can be admired.

(*) Julien Green, American writer (1900-1998) original

French text “La Musique est au-delà des mots”

Sharmila Bertin

066 GPHG 2014


067

T he GPHG (Geneva Watchmaking Grand Prix) was founded in 2001 to celebrate the 12th art (Grand Prix

president Carlo Lamprecht’s much-loved term to describe watchmaking). 16 prizes were given at the 14th award ceremony on October 31st. Breguet won the star prize, the Aiguille d’Or, for its Classique Chronométrie timepiece. To the delight of the 1500 people who attended the annual watchmaking event, this year saw the return of top brands from the Swatch Group such as Breguet, Blancpain, Jaquet Droz, Omega and Tissot who have long-been absent. Three of them won a golden hand-shaped figurine: Breguet won the Public Prize for its timeless Classique Dame, Blancpain won the Ladies’ Watch prize for its sparkling Women Heure Décentrée and the Revival Watch prize went to Omega’s stunning black ceramic Speedmaster "Dark Side of the Moon".

Other watchmakers recognised during the Grand Prix include Christophe Claret for his poetic floral Margot timepiece (Ladies’ Luxury Mechanical Prize), Urban Jürgensen & Sonner for his classic Seconde Centrale (Men’s Watch Prize), Grönefeld for the impressive Parallax Tourbillon (Tourbillon Prize) and Zenith for its lightweight El Primero Lightweight (Sports Watch Prize). Last but not least, the Calendar Watch Prize went to A. Lange & Söhne for the Richard Lange Quantième Perpétuel "Terraluna" and the brand founder’s great grandson, Walter Lange, also won the Special Jury Prize. The 90 year old re-launched the brand founded by Ferdinand A. Lange in Glashütte in 1994. Just like Breguet who won two prizes at this ceremony, the GPHG panel also awarded two prizes to the creative energy displayed by Urwek by giving its founders Felix Baumgartner and Martin Frei the Prizes for Mechanical Exception and Innovation.

Watch making has its moment of glory

Sharmila Bertin

066 GPHG 2014


067

T he GPHG (Geneva Watchmaking Grand Prix) was founded in 2001 to celebrate the 12th art (Grand Prix

president Carlo Lamprecht’s much-loved term to describe watchmaking). 16 prizes were given at the 14th award ceremony on October 31st. Breguet won the star prize, the Aiguille d’Or, for its Classique Chronométrie timepiece. To the delight of the 1500 people who attended the annual watchmaking event, this year saw the return of top brands from the Swatch Group such as Breguet, Blancpain, Jaquet Droz, Omega and Tissot who have long-been absent. Three of them won a golden hand-shaped figurine: Breguet won the Public Prize for its timeless Classique Dame, Blancpain won the Ladies’ Watch prize for its sparkling Women Heure Décentrée and the Revival Watch prize went to Omega’s stunning black ceramic Speedmaster "Dark Side of the Moon".

Other watchmakers recognised during the Grand Prix include Christophe Claret for his poetic floral Margot timepiece (Ladies’ Luxury Mechanical Prize), Urban Jürgensen & Sonner for his classic Seconde Centrale (Men’s Watch Prize), Grönefeld for the impressive Parallax Tourbillon (Tourbillon Prize) and Zenith for its lightweight El Primero Lightweight (Sports Watch Prize). Last but not least, the Calendar Watch Prize went to A. Lange & Söhne for the Richard Lange Quantième Perpétuel "Terraluna" and the brand founder’s great grandson, Walter Lange, also won the Special Jury Prize. The 90 year old re-launched the brand founded by Ferdinand A. Lange in Glashütte in 1994. Just like Breguet who won two prizes at this ceremony, the GPHG panel also awarded two prizes to the creative energy displayed by Urwek by giving its founders Felix Baumgartner and Martin Frei the Prizes for Mechanical Exception and Innovation.

Watch making has its moment of glory

Thierry Brandt

www.hermes.com

068 TECHNIQUE


>>>

069

D o old factories have a soul? Not all of them but the Cristalleries de Saint-Louis certainly does. The

factory has been in Eastern France in Moselle in the heart of the Vosges peaks since 1586. That’s a seriously long time! Back then it was the Renaissance in Europe. Mary Queen of Scots reigned Scotland, Henri III was on the French throne and Philippe II was king of Spain and Portugal. Over four centuries have passed and things have certainly changed: the buildings aren’t the same, wood stoves now use gas and electricity, techniques and crafts have evolved but the past hasn’t necessarily been forgotten.That’s all very well I hear you say, but what does the Cristalleries de Saint-Louis have to do with watchmaking? Patience dear reader. Hermès has made the connection for us. The Parisian luxury brand took over the company in 1995 and they have been working together on a host of projects making numerous items namely related to tableware. One day, the intense partnership got Philippe Delhotal,

director of design and development at the group’s watch department La Montre Hermès, thinking. "I began to wonder if we would be able to use their expertise to make a crystal watch dial," he says. What did the master glassmakers say? "At first they thought I was mad! And they were right," laughs Philippe Delhotal. "They were right because when I found out what such a project would involve, I realised that it would take a miracle to make a reality. "The miracle happened and in March Hermès presented its first watches with a crystal dial by Saint-Louis at Baselworld. The little wonders astonished everyone who was lucky enough to see them close up. To create wonders, you need wonderful people or at least extraordinary passionate artisans. These men and women can be found in a separate workshop in the Saint-Louis factory which is devoted to creating paper weights and focuses on the so-called millefiori technique. More or less a thousand flowers in all sorts of colours are required to adorn the crystal dial on an Hermès watch. It’s a long

and complicated process to describe but we’ll try. Everything has to start somewhere so the master glassmaker starts by making a cane. Using a long rod he’ll fire the molten matter at 1450°C in two types of furnace depending on whether it’s clear crystal or coloured crystal. Layer after layer, he carefully turns his hand to make a consistent mass which must not have any air bubbles at all. It takes two or three hours to complete the first stage. This crystal mass must then be removed from the end of the rod. This is when another glassmaker appears and a one-of-a-kind performance begins. When the temperature of the matter is deemed satisfactory, the first artisan removes it from the furnace whilst his partner adds his own rod to it. Both workers distance themselves from each other to pull the crystal out like a long chewing gum whilst rotating their rod. One metre, two metres, five metres, ten metres, twenty metres…The thread gets longer and longer and thinner for as long as the temperature allows until it reaches the required diameter. It is truly

Hermèslooks into the crystal ball

Thierry Brandt

www.hermes.com

068 TECHNIQUE


>>>

069

D o old factories have a soul? Not all of them but the Cristalleries de Saint-Louis certainly does. The

factory has been in Eastern France in Moselle in the heart of the Vosges peaks since 1586. That’s a seriously long time! Back then it was the Renaissance in Europe. Mary Queen of Scots reigned Scotland, Henri III was on the French throne and Philippe II was king of Spain and Portugal. Over four centuries have passed and things have certainly changed: the buildings aren’t the same, wood stoves now use gas and electricity, techniques and crafts have evolved but the past hasn’t necessarily been forgotten.That’s all very well I hear you say, but what does the Cristalleries de Saint-Louis have to do with watchmaking? Patience dear reader. Hermès has made the connection for us. The Parisian luxury brand took over the company in 1995 and they have been working together on a host of projects making numerous items namely related to tableware. One day, the intense partnership got Philippe Delhotal,

director of design and development at the group’s watch department La Montre Hermès, thinking. "I began to wonder if we would be able to use their expertise to make a crystal watch dial," he says. What did the master glassmakers say? "At first they thought I was mad! And they were right," laughs Philippe Delhotal. "They were right because when I found out what such a project would involve, I realised that it would take a miracle to make a reality. "The miracle happened and in March Hermès presented its first watches with a crystal dial by Saint-Louis at Baselworld. The little wonders astonished everyone who was lucky enough to see them close up. To create wonders, you need wonderful people or at least extraordinary passionate artisans. These men and women can be found in a separate workshop in the Saint-Louis factory which is devoted to creating paper weights and focuses on the so-called millefiori technique. More or less a thousand flowers in all sorts of colours are required to adorn the crystal dial on an Hermès watch. It’s a long

and complicated process to describe but we’ll try. Everything has to start somewhere so the master glassmaker starts by making a cane. Using a long rod he’ll fire the molten matter at 1450°C in two types of furnace depending on whether it’s clear crystal or coloured crystal. Layer after layer, he carefully turns his hand to make a consistent mass which must not have any air bubbles at all. It takes two or three hours to complete the first stage. This crystal mass must then be removed from the end of the rod. This is when another glassmaker appears and a one-of-a-kind performance begins. When the temperature of the matter is deemed satisfactory, the first artisan removes it from the furnace whilst his partner adds his own rod to it. Both workers distance themselves from each other to pull the crystal out like a long chewing gum whilst rotating their rod. One metre, two metres, five metres, ten metres, twenty metres…The thread gets longer and longer and thinner for as long as the temperature allows until it reaches the required diameter. It is truly

Hermèslooks into the crystal ball

070 071


extraordinary. The movements, experience and perspective of the artisans alone count at this stage. At the end of the process when the thin crystal thread has cooled, you get the famous rod which is as straight as an arrow and as appealing as a stick of rock. This is then divided into sections of a dozen centimetres for storage. Three hours for a single rod! And you need dozens to make up the dial. Once the first stage is complete, the rest of the work is equally exceptional. Other artisans are responsible for creating the patterns using a selection of the famous rods which are again cut into small portions of a dozen millimetres each. One after the other, tweezers are used to lay them vertically at the bottom of a bronze dish to create a bundle. The bundle is then heated and covered in molten clear crystal which is worked and reworked to avoid air bubbles. This can prove fatal at the final cut. At the end of the day, once the block is solid, a slice just a few millimetres in thickness has to be cut for the dial. Another high-wire act which is carried out by a specialist company in Germany as it happens.

So much energy and talent, not forgetting the magic of the fire and crystal, goes into just one of these fragile dials! Is it really necessary? In terms of labour costs and pure economic

profit, of course not. You can’t put a price on the beauty of the piece and the passion of the artisans but rather a value: a priceless value that Hermès is committed to keeping alive. What more can you say?

070 071


extraordinary. The movements, experience and perspective of the artisans alone count at this stage. At the end of the process when the thin crystal thread has cooled, you get the famous rod which is as straight as an arrow and as appealing as a stick of rock. This is then divided into sections of a dozen centimetres for storage. Three hours for a single rod! And you need dozens to make up the dial. Once the first stage is complete, the rest of the work is equally exceptional. Other artisans are responsible for creating the patterns using a selection of the famous rods which are again cut into small portions of a dozen millimetres each. One after the other, tweezers are used to lay them vertically at the bottom of a bronze dish to create a bundle. The bundle is then heated and covered in molten clear crystal which is worked and reworked to avoid air bubbles. This can prove fatal at the final cut. At the end of the day, once the block is solid, a slice just a few millimetres in thickness has to be cut for the dial. Another high-wire act which is carried out by a specialist company in Germany as it happens.

So much energy and talent, not forgetting the magic of the fire and crystal, goes into just one of these fragile dials! Is it really necessary? In terms of labour costs and pure economic

profit, of course not. You can’t put a price on the beauty of the piece and the passion of the artisans but rather a value: a priceless value that Hermès is committed to keeping alive. What more can you say?

Sharmila Bertin

www.poincondegeneve.ch

072 TECHNIQUE


© Point-of-views.ch

073

I s Established in 1886 by the Grand Conseil de la République and Geneva Canton, the Geneva Seal has been the

symbol of watchmaking excellence in the Geneva region for 128 years. This iconic and unique seal certifies the authenticity of an exceptional product; it guarantees the watch’s provenance, workmanship and reliability. Each of the movement’s components (plate and bridges, regulatory system, cogs and rubies etc.) must be carefully made and decorated. The watch goes through strict quality and reliability tests to assess its functions (chronograph, date display, minute repeater etc), water resistance, accurate timekeeping and power reserve. Only a handful of Geneva-based companies which meet twelve specific conditions can achieve the approval such as Chopard and Vacheron Constantin.The new seal was presented to a room full of journalists on September 16th by the aforementioned brand directors, Karl-Friedrich Scheufele and Juan Carlos Torres, with representatives from the Fondation Timelab, a University of Geneva professor (UNIGE) and the director of Phasis (an expert nanotechnology company). Up to now, the Geneva Seal was traditionally stamped on a watch’s parts using a press before being hand engraved. This

slightly dated system sometimes damaged the parts which could then no longer be used. To reduce or even stop this from happening, a revolutionary method was designed by UNIGE in partnership with Phasis, a company linked to the University. This new "nano-structuring" procedure can stamp even the tiniest part without damaging it as it works directly on its surface. It also makes it easier to stamp hard/precious metals (platinum) and provides three stamp sizes. Engraving can be carried out on uncut plates therefore artisans can work on

the parts without damaging the seal.This technological revolution now applies to all watch companies whose parts are stamped with the famous Geneva Seal. This is proof that even at the age of 128, you can teach an old dog new tricks!

The New Seal of Approval

Sharmila Bertin

www.poincondegeneve.ch

072 TECHNIQUE


© Point-of-views.ch

073

I s Established in 1886 by the Grand Conseil de la République and Geneva Canton, the Geneva Seal has been the

symbol of watchmaking excellence in the Geneva region for 128 years. This iconic and unique seal certifies the authenticity of an exceptional product; it guarantees the watch’s provenance, workmanship and reliability. Each of the movement’s components (plate and bridges, regulatory system, cogs and rubies etc.) must be carefully made and decorated. The watch goes through strict quality and reliability tests to assess its functions (chronograph, date display, minute repeater etc), water resistance, accurate timekeeping and power reserve. Only a handful of Geneva-based companies which meet twelve specific conditions can achieve the approval such as Chopard and Vacheron Constantin.The new seal was presented to a room full of journalists on September 16th by the aforementioned brand directors, Karl-Friedrich Scheufele and Juan Carlos Torres, with representatives from the Fondation Timelab, a University of Geneva professor (UNIGE) and the director of Phasis (an expert nanotechnology company). Up to now, the Geneva Seal was traditionally stamped on a watch’s parts using a press before being hand engraved. This

slightly dated system sometimes damaged the parts which could then no longer be used. To reduce or even stop this from happening, a revolutionary method was designed by UNIGE in partnership with Phasis, a company linked to the University. This new "nano-structuring" procedure can stamp even the tiniest part without damaging it as it works directly on its surface. It also makes it easier to stamp hard/precious metals (platinum) and provides three stamp sizes. Engraving can be carried out on uncut plates therefore artisans can work on

the parts without damaging the seal.This technological revolution now applies to all watch companies whose parts are stamped with the famous Geneva Seal. This is proof that even at the age of 128, you can teach an old dog new tricks!

The New Seal of Approval

Thierry Brandt

www.louisvuitton.com

074 LOUIS VUITTON


>>>

075

T here you have it, the company managers and local authorities have cut the ribbon! Louis Vuitton now

has a brand new beautiful setting to expand its watchmaking business in Meyrin just minutes from central Geneva. The company headquarters remain in Paris.The luxury French fashion house made its first steps into the watch sector twelve years ago and it’s been a success. The proof is the opening of this bright white 4000m² unit. Let’s be clear: La Fabrique du Temps may translate to "The Time Factory" but it isn’t strictly speaking a factory in that the brand isn’t fully integrated. The few machines you can see in Meyrin do not produce movements or their components. "Our goal was never and will never be to verticalise all our businesses," says Hamdi Chatti, head of the watch and jewellery department at Louis Vuitton. "We are going to carry on working with our usual partners to make movements. What we’re trying to do here is to develop our own ideas and implement them our own way. Now all our departments are together in one place, I am

sure that the result will be healthy competition and unbridled creativity."Among those in charge of unleashing creativity at Louis Vuitton are of course Michel Navas and Enrico Barbasini, the two founders of La Fabrique du Temps which Louis Vuitton took over four years ago. They run a workshop with four other employees including two movement manufacturers, an engineer and a dial manufacturer. The technical department in charge of approving designs is just next door. Mechanical spells are brewed here in this little cauldron for the future of the luxury watch sector. Spill the beans? Our lips are sealed! However, the two men are delighted to tell us how they work together."We’re under no illusion that we’re going to revolutionise watchmaking," says Enrico Barbasini. "We work on traditional complications and try to make them more affordable and original in terms of both technique and design." His partner Michel Navas agrees and continues: "It’s the same process which led Enrico and I to present our minute repeater to Louis Vuitton four years

ago. This minute repeater isn’t like the others: it has a second time zone. Also, the time which is presented isn’t that of where you are, in other words the time on the dial, but instead your "home time". That’s the sort of direction our research takes us in." "As you know, at Louis Vuitton we are closely bound to the worlds of travel and art from which we take inspiration including for our watch complications," adds Hamdi Chatti. "That’s how we stand out from other watch brands. That’s how we manage to present unique pieces every year." The Escale Worldtime model unveiled in March in Baselworld is a great example of this. On the one hand, all the watch’s functions are controlled by the crown. On the other hand, all the little coloured monograms on the dial which alternate with the names of cities are hand painted by the brand’s artisans. All the brand’s watches are assembled and checked in Meyrin. The site also has a luxury watch workshop where all the exceptional pieces are assembled from start to finish before being sent to shops. Don’t

A beautiful setting in Meyrin

Thierry Brandt

www.louisvuitton.com

074 LOUIS VUITTON


>>>

075

T here you have it, the company managers and local authorities have cut the ribbon! Louis Vuitton now

has a brand new beautiful setting to expand its watchmaking business in Meyrin just minutes from central Geneva. The company headquarters remain in Paris.The luxury French fashion house made its first steps into the watch sector twelve years ago and it’s been a success. The proof is the opening of this bright white 4000m² unit. Let’s be clear: La Fabrique du Temps may translate to "The Time Factory" but it isn’t strictly speaking a factory in that the brand isn’t fully integrated. The few machines you can see in Meyrin do not produce movements or their components. "Our goal was never and will never be to verticalise all our businesses," says Hamdi Chatti, head of the watch and jewellery department at Louis Vuitton. "We are going to carry on working with our usual partners to make movements. What we’re trying to do here is to develop our own ideas and implement them our own way. Now all our departments are together in one place, I am

sure that the result will be healthy competition and unbridled creativity."Among those in charge of unleashing creativity at Louis Vuitton are of course Michel Navas and Enrico Barbasini, the two founders of La Fabrique du Temps which Louis Vuitton took over four years ago. They run a workshop with four other employees including two movement manufacturers, an engineer and a dial manufacturer. The technical department in charge of approving designs is just next door. Mechanical spells are brewed here in this little cauldron for the future of the luxury watch sector. Spill the beans? Our lips are sealed! However, the two men are delighted to tell us how they work together."We’re under no illusion that we’re going to revolutionise watchmaking," says Enrico Barbasini. "We work on traditional complications and try to make them more affordable and original in terms of both technique and design." His partner Michel Navas agrees and continues: "It’s the same process which led Enrico and I to present our minute repeater to Louis Vuitton four years

ago. This minute repeater isn’t like the others: it has a second time zone. Also, the time which is presented isn’t that of where you are, in other words the time on the dial, but instead your "home time". That’s the sort of direction our research takes us in." "As you know, at Louis Vuitton we are closely bound to the worlds of travel and art from which we take inspiration including for our watch complications," adds Hamdi Chatti. "That’s how we stand out from other watch brands. That’s how we manage to present unique pieces every year." The Escale Worldtime model unveiled in March in Baselworld is a great example of this. On the one hand, all the watch’s functions are controlled by the crown. On the other hand, all the little coloured monograms on the dial which alternate with the names of cities are hand painted by the brand’s artisans. All the brand’s watches are assembled and checked in Meyrin. The site also has a luxury watch workshop where all the exceptional pieces are assembled from start to finish before being sent to shops. Don’t

A beautiful setting in Meyrin


076

forget, they’re only available in the brand’s own shops. It is one of the company rules: no matter the product, it is only available within its own network. "There’s no middle man between us and our clients. A direct relationship is essential, particularly in the luxury sector. It drives us to perfection," says Hamdi Chatti. There’s no doubt about that but in the highly specialist world of watchmaking, doesn’t this way of working complicate things namely for sales people who have to handle a very wide variety of products from quartz fashion accessories to grand complications? Hamdi Chatti doesn’t think so: "Firstly, our sales teams are well trained, believe me! Also, I believe that we need to bridge the gap between watches as a fashion accessory and watches with a real technical asset. They are both authentic. Last but not least, you only wear what you like and that’s how it should be. In our shops, we regularly see the same client struggling to choose between two watches. One leads to the other and that’s good. That can only happen in our own stores," he says.

www.hautlence.com

Thierry BrandtHAUTLENCE 077

Invictus Morphos


H autlence may have just celebrated its tenth anniversary but it knows all too well that it’s not easy for small

independent brands to survive in the jungle that is modern watchmaking reigned over by large groups. Two years ago the Neuchâtel brand came close to liquidation before being rescued by MELB, Georges-Henri Meylan and Bill Muirhead’s holding company which also saved H. Moser & Cie in Schaffhouse. How much did the associates put into bringing the brand back from the brink? They prefer not to say but it must be around 4 or 5 million Swiss Francs. Things may still be tough but Hautlence is in a far better place. The brand is still run by Guillaume Têtu, one of the two founding fathers, and has repositioned itself at the lower end of the spectrum with a more affordable collection called Signature. However, it still plans to work on exceptional projects from time to time. "We no longer just want to attract attention from a handful of collectors; we also want to appeal to everyone who’s looking for a watch with a difference," he says. "Hautlence has a strong identity. It’s a point in our favour. Yet it has often lacked impact in the markets. Our role is to boost its strength and that’s precisely what we’re focusing on now," says Bill Muirhead. Hautlence has joined forces

with an ambassador with an equally strong identity to put its strategy into action: the charismatic Eric Cantona."King Eric" has now made a name for himself in acting and art so will have a greater input than simply appearing in Hautlence’s ad campaigns; he will be directly involved in the design of certain models. He’s already started. This is the first piece from the collaboration: the self-winding Invictus chronograph based on a Soprod A10 calibre with a Dubois Dépraz module. There are 250 pieces of the limited edition model available with a blue mother-of-pearl dial bearing a filigree butterfly. The quirky ambassador chose this theme

because the butterfly symbolises freedom and metamorphosis. We can’t argue with that. Is it a success? That’s debatable but it’s only the first attempt. Eric Cantona has obviously got into it and enjoys working with watchmakers who he describes as "eccentric geniuses just the way I like them," he grins. "I’ve watched them work from start to finish, from cutting the first piece to fitting the last screw and dealing with that last-minute speck of dust which forces them to start all over again. On top of that, they have fun decorating things you can’t even see! I’ve found a world I enjoy and I am incredibly proud of this partnership," he says.

Cantona and his butterfly breathe new life into the brand

www.longines.comwww.h-moser.com

Sharmila BertinWATCH NEWS078

H. MOSER & CIE Venturer Tourbillon Dual Time

LONGINESHeritage Twenty-Four HoursSingle Push-Piece Chronograph


H einrich Moser (1805-1874) wasn’t just a peerless watchmaker; he was a bold adventurer and intuitive entrepreneur. His love for watches took him (and his horse) to Saint-Petersburg in 1827

where he founded H. Moser & Cie the following year. The long, arduous and dangerous journey cemented his reputation as an intrepid explorer and his decisions in international sales added to his fame. Almost 200 years later, the brand pays tribute to its visionary founder with the Venturer collection. This model has a sunburst slate grey dial with domed edges covered by convex sapphire glass. There are three hands in the centre: the two white gold hour and minute hands glide over the indices whilst the blood red hand points to the second time zone and can be concealed beneath the hour hand by turning the crown. The dial has a second level at the bottom where a tourbillon spins (at 6 o’clock). The self-winding HMC 802 calibre housed in the 41.5mm white gold case brings everything to life.

A viation really took off during the Second World War. Post-1945, aircrafts and aviators became airliners and commercial pilots. Civil aviation spread its wings in the 1950s. Many pilots called

upon mechanical watchmaking for its accuracy and durability as flight conditions were often extreme. Watches especially designed for aviation became essential tools in the cockpit. They had the same features: a large case, a large notched crown and a large easy-to-read dial. These very features adorn the new take on the 50s Longines model from the Heritage collection. The silver dial has a concentric 24 hour track in the centre and minute track around the rim beneath blue hands. The small seconds lies at 9 o’clock and the date display at 6 o’clock. Use the pusher in the crown to start the central seconds. These functions are brought to life by a self-winding mechanical movement inside the steel case.

Sharmila Bertin

079WATCH NEWS

www.girard-perregaux.com www.breitling.com

GIRARD-PERREGAUX Lady 1966

BREITLING Transocean Chronograph Edition

THE WATCHES MAGAZINE -WINTER 2014

G irard-Perregaux’s latest model, the Lady 1966, is reminiscent of a delicate compass rose with its wavy and shiny guillochage which gracefully glitters on the dial. A brilliant-cut diamond

dazzles on the tips of the pink champagne bloom’s petals alongside two large gilded Roman numerals at 6 and 12 o’ clock. These stunning indices are like rosebuds about to blossom which make every hour as precious and exciting as time itself. Two rose gold leaf-shaped hands glide over the dial to create a floral and feminine timepiece. The case wraps around a self-winding mechanical GP 03200-0005 movement which brings to life the hour and minute hands in the centre of the dial and the 42-hour power reserve. Last but not least, the 36mm rose gold case bears a rose gold bezel sparkling with 80 brilliant-cut diamonds which delicately trickle onto the lugs to reflect the light of the guilloché iridescent dial.

I f we had to list the top 10 classic watches, the Transocean chronograph would definitely be up there. A glance at the dial’s delicate blend of two tones of silver punctuated by gold indices and hands takes us

back a few decades. Vintage on the outside; modern on the inside!This Breitling is inspired by a 1958 model with a 43mm steel case, two "retro" pushers (at 2 and 4 o’ clock) to activate the chronograph function and a screwdown crown. The back opens like a pocket watch: lift the cover to unveil the movement under sapphire crystal. The COSC-certified self-winding B01 calibre provides a 70-hour power reserve and brings to life the time (hours and minutes in the centre, small seconds at 9 o’ clock), chronograph (seconds in the centre, minute counter at 3 o’ clock) and date display at 6 o’ clock. To make it easier to tell the time in the dark, the applied hour indices are topped by phosphorescent dots whilst the two main hands are highlighted by a luminescent coating.

Thierry Brandt

080 OPINION


081

I n the previous issue we mentioned the controversial blog by tax lawyer Philippe Kenel in which he predicted a slow

decline in Swiss watchmaking in years to come. He believes there will be three main reasons for the slow down: 1) The growing gap between an item (watch) and its price which will trigger a reaction from clients.2) New connected items (smartwatches) gradually taking over and replacing watches.3) Complete detachment between product and function which will render watches obsolete.These three hypotheses are interesting, even if they are difficult to verify. As we all know, forecasters specialise in making mistakes. But the debate rumbles on and that’s why we asked Philippe Kenel to share his views in this article.

We know you as a tax lawyer as you often appear in the Swiss and Belgian media. What qualifies you to analyse the watchmaking market? What have you got against watchmakers?I am no more or less qualified than anyone else to grasp the subject! Let me correct what you said: I haven’t got anything against watchmakers. As I said in my blog, my grandfather was a watchmaker, I love watches and I admire the work

of the Swiss watch industry. That’s not the issue. I’m just thinking about the future and I can’t help but think that the sector is lacking foresight. I am genuinely worried about my watchmaking friends. What’s to say that the current situation will be the same in twenty years time?

Nothing, but there’s nothing to say otherwise either!No. Personally, I use instinct to reason. And I know that my instincts are often right. I particularly like foresight and, to be honest, I like to be right before everyone else (he smiles)!

It’s a bit weak to base such an opinion on instinct…Why? Instinct feeds thought. As you know, I am a tax lawyer. A decade ago, I was one of the first to say that the Swiss banking secret was in danger and we needed to be ready for a long international discussion about it. At the time, bankers, politicians and my colleagues all made fun of me as they thought my hair-brained ideas had no grounds. We know how that turned out. However, I’m not right about everything. I just think it helps to think and have foresight. The watch sector is now doing so well that it doesn’t pay enough attention to its longevity. Honestly, wouldn’t it be better to voice these issues rather than end up trapped

in a corner with blows raining down on you? There’s nothing worse than sticking your head in the sand.

In your article you address the issue of a watch’s value for money. It’s a long-running debate especially in the luxury sector. We all know that the price of a Ferrari, a pair of Berluti shoes, a vintage bottle of champagne or a Christian Dior dress has no relationship with its real cost. But craftsmen make these products. They are status symbols, like watches…It’s true. The price is also down to the rarity and exclusivity of this type of product. The same goes for exceptional watches. In this niche market, brands don’t have to worry too much but it seems more complicated in other areas. People will start asking questions if the price keeps rising. You need to be sensible. The question of status symbol is interesting. You can never forget that they can evolve very quickly with young generations. Take air travel for example. Fifteen years ago, businessmen always travelled in business class even on short flights whilst families and students opted for

low cost airlines. Nowadays everyone travels low cost to these same destinations. Business class seats have significantly decreased yet corporate jets have increased. The wristwatch appeared a century ago to conquer left-handers. How long will it last? I’m only asking.

You advise watchmakers to innovate and diversify but the apple doesn’t fall far from the tree!I’m always amazed that brands as well-known as Patek Phillipe and Rolex still haven’t considered diversifying into other products. Their reputation in the luxury sector is such that they should capitalise on it but not spread themselves too thin. I believe that overly vertical integration could be dangerous in the long-term. When the day comes that companies are really in competition for wristwear, they can make up for it with other products. Swiss

watchmaking is in its golden age. This is the right time to question the sector.

As you say, competitors are coming out of the woodwork namely with Apple’s iWatch. What are your thoughts?Honestly, I don’t really know at the moment. Let’s not kid ourselves; this is only the beginning. This trend is happening and we need to recognise it.

"Watchmakers don’t have enough foresight"

Thierry Brandt

080 OPINION


081

I n the previous issue we mentioned the controversial blog by tax lawyer Philippe Kenel in which he predicted a slow

decline in Swiss watchmaking in years to come. He believes there will be three main reasons for the slow down: 1) The growing gap between an item (watch) and its price which will trigger a reaction from clients.2) New connected items (smartwatches) gradually taking over and replacing watches.3) Complete detachment between product and function which will render watches obsolete.These three hypotheses are interesting, even if they are difficult to verify. As we all know, forecasters specialise in making mistakes. But the debate rumbles on and that’s why we asked Philippe Kenel to share his views in this article.

We know you as a tax lawyer as you often appear in the Swiss and Belgian media. What qualifies you to analyse the watchmaking market? What have you got against watchmakers?I am no more or less qualified than anyone else to grasp the subject! Let me correct what you said: I haven’t got anything against watchmakers. As I said in my blog, my grandfather was a watchmaker, I love watches and I admire the work

of the Swiss watch industry. That’s not the issue. I’m just thinking about the future and I can’t help but think that the sector is lacking foresight. I am genuinely worried about my watchmaking friends. What’s to say that the current situation will be the same in twenty years time?

Nothing, but there’s nothing to say otherwise either!No. Personally, I use instinct to reason. And I know that my instincts are often right. I particularly like foresight and, to be honest, I like to be right before everyone else (he smiles)!

It’s a bit weak to base such an opinion on instinct…Why? Instinct feeds thought. As you know, I am a tax lawyer. A decade ago, I was one of the first to say that the Swiss banking secret was in danger and we needed to be ready for a long international discussion about it. At the time, bankers, politicians and my colleagues all made fun of me as they thought my hair-brained ideas had no grounds. We know how that turned out. However, I’m not right about everything. I just think it helps to think and have foresight. The watch sector is now doing so well that it doesn’t pay enough attention to its longevity. Honestly, wouldn’t it be better to voice these issues rather than end up trapped

in a corner with blows raining down on you? There’s nothing worse than sticking your head in the sand.

In your article you address the issue of a watch’s value for money. It’s a long-running debate especially in the luxury sector. We all know that the price of a Ferrari, a pair of Berluti shoes, a vintage bottle of champagne or a Christian Dior dress has no relationship with its real cost. But craftsmen make these products. They are status symbols, like watches…It’s true. The price is also down to the rarity and exclusivity of this type of product. The same goes for exceptional watches. In this niche market, brands don’t have to worry too much but it seems more complicated in other areas. People will start asking questions if the price keeps rising. You need to be sensible. The question of status symbol is interesting. You can never forget that they can evolve very quickly with young generations. Take air travel for example. Fifteen years ago, businessmen always travelled in business class even on short flights whilst families and students opted for

low cost airlines. Nowadays everyone travels low cost to these same destinations. Business class seats have significantly decreased yet corporate jets have increased. The wristwatch appeared a century ago to conquer left-handers. How long will it last? I’m only asking.

You advise watchmakers to innovate and diversify but the apple doesn’t fall far from the tree!I’m always amazed that brands as well-known as Patek Phillipe and Rolex still haven’t considered diversifying into other products. Their reputation in the luxury sector is such that they should capitalise on it but not spread themselves too thin. I believe that overly vertical integration could be dangerous in the long-term. When the day comes that companies are really in competition for wristwear, they can make up for it with other products. Swiss

watchmaking is in its golden age. This is the right time to question the sector.

As you say, competitors are coming out of the woodwork namely with Apple’s iWatch. What are your thoughts?Honestly, I don’t really know at the moment. Let’s not kid ourselves; this is only the beginning. This trend is happening and we need to recognise it.

"Watchmakers don’t have enough foresight"

Serge Panczuk

082 OPINION


M arketing and consumer specialists are always talking about it. The connected times we live in is that

of individualism driven to excess and sprinkled with a dash of nostalgia. Brands have created "neo vintage" in tribute to the glory days but there’s nothing quite like a "limited edition" to make clients feel special. The idea is simple: a brand decides to produce a small number of one piece with unique details to appeal to clients.

The recipe for a limited edition’s success is simple: - Why? Any reason is good enough.- How? It’s the link between cause and effect.- Come again? Books are judged by their covers. Watchmakers translate this as "limited editions are judged by their dials." Basically, a limited edition should have special features to stand out from "non-limited editions".- How much? Obviously I’m talking about production volume not money.- Where? Any self-respecting limited edition inspires desire.

Yet even after we’ve taken all these factors into account, there are limited editions then there are limited editions. So what differentiates them when there’s no reason behind them? Special editions now cover an almost unlimited spectrum and it’s growing by the day. Anything could inspire limited edition designers: history, culture, celebrities, basketball players, footballers, musicians, rock bands, soldiers, video games, firemen, major and minor events, policemen, elite units, special forces, boats, planes, planets, films, cars, shipwrecks and cities. If you haven’t got a limited edition in 2014 then you’re a complete and utter nobody.But when you take a closer look and delve through the circus of limited editions, you start asking yourself some tricky questions. Who are limited editions designed for? I’m sorry but I sometimes find it hard to believe

that there are people who are happy to fork out serious money to get a watch celebrating a football club. The real reason for these models is often to send a marketing message and attract media attention to "present" other models in the collection. These talking points come and go but they get people talking about the brand. How limited are they? The edition numbers (1/500, 1/1000 etc.) would have you believe that they are pretty limited but the reality is more complex and sometimes shady. There are brands which make "special" models in similar quantities to their limited editions in a bid to attract their regulars with a sexy but false pitch. On the other hand, there are limited editions which are really and truly limited. Only a few dozen of the model are produced which are often the concept car of the car world and stay in the shop or come out for private events. They are rarely to be found on collectors’ wrists. So what’s special about that? Again, the range of solutions which watchmakers and their marketing colleagues use to make a watch special is only limited by their imagination. Limited editions have to be recognisable so any design feature can help them stand out. The dial and case back often get the most attention but after that the case can make classic pieces unique with the coating (e.g. PVD) or material (e.g. bronze). Limited edition models rarely play with the movement as it isn’t worth the difficulty and cost involved in modifications. However, some entry level brands have produced special editions by fitting an often basic mechanical calibre in models meant for quartz movements. More imaginative designers have had fun using vintage and forgotten calibres to give modern models a twist. And there you have it, the special edition is ready. You just need to put it in its special gift box and Bob’s your uncle. Success is guaranteed. Marketing is sorted.But don’t forget, "less is more." By wanting

to make an ever greater impact, brands risk killing the golden goose by making limited editions commonplace. The real question is, in the end, what makes a "good" limited edition?Everyone has their own opinion. I believe a limited edition can be a success as long as it keeps or increases its sentimental and financial value over the years as it changes hands. In that case it needs an ally as rare as it is priceless. It doesn’t need a client; It needs an enthusiast whose knowledge of watches, networks and desire to make his collection stand out makes him the only person capable of giving the piece its true value. He talks about it, he creates the legend and he dissects it. He makes or breaks the limited edition by making it irrational, passionate, controversial or emotive. Some models pass the first test. Others remain commercial pieces which may be successful but go unnoticed by fans of the brand. And that shouldn’t be forgotten…

Are there limitations to limited editions?

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