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Floral skeleton mechanical movement. 18K white gold, set with diamonds. Fine Watchmaking movement designed and developed by CHANEL Swiss Manufacture.

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COVER STORY

| ON ITI ED AL OB GL

G-SHOCK THE WORLD FOR 35 YEARS The G-SHOCK revolutionised the face of the global watch industry.

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OUR COVER

2018 marks the 35th anniversary of G-SHOCK, with a whole series of innovations to be unveiled all year long. Featured on the Cover of this issue, the MRG-G2000HT combines the best of Japanese traditional craftsmanship with cutting-edge technology. The GPS Hybrid Wave Ceptor technology ensures the watch remains accurate in any location on Earth, under virtually any conditions. The watch also showcases the distinctive kasumi tsuchime technique, first used over 1200 years ago to decorate armour and copperware. The bezels and strap inserts of each of the 500 watches in this limited edition are worked by master craftsman Bihou Asano of Kyoto, whose family has safeguarded the tsuchime tradition for generations. This extremely limited edition provides a foretaste of what we can expect in the future.

PORTFOLIO

CHRONOS… TIME: LONG TO SHORT The chronograph imposed itself as THE watch of "the modern man".

SPORTS TIMEKEEPING

PART I: 1964, A TURNING POINT IN CHRONOMETRY FOR SEIKO

CASIO 6-2, Hon-Machi 1-chome / Shibuya 151-0071 Tokyo / Japan Tel. : +81353344111 Corporate: world.casio.com WORLD G-SHOCK: world.g-shock.com

82 ARCHIVES

A FORGOTTEN CONSEQUENCE OF THE KOREAN WAR The 1952 export quotas.

MONTBLANC

WATCHMAKING IN THE DESIGN ERA An exclusive interview with Davide Cerrato.

SHOOTING STAR

HISTORY

WATCH AUCTIONS: THREE DECADES OF A LEGEND PART II The 2000s saw the arrival of “modern” brands in the watch auctions.

FABERGÉ'S DETERMINED FAIRY An exclusive interview with Aurélie Picaud.

SUBSCRIBE TO EUROPA STAR MAGAZINE www.europastar.com/subscribe | SUBSCRIBE TO THE WEEKLY NEWSLETTER www.europastar.com/newsletter | CHAIRMAN Philippe Maillard PUBLISHER Serge Maillard EDITOR-IN-CHIEF Pierre Maillard CONCEPTION & DESIGN Serge Maillard, Pierre Maillard, Alexis Sgouridis PUBLISHING / MARKETING / CIRCULATION Nathalie Glattfelder, Marianne Bechtel/Bab-Consulting, Jocelyne Bailly, Véronique Zorzi BUSINESS MANAGER Catherine Giloux MAGAZINES Europa Star Global (Europe & International) | USA | China | Première - Switzerland | Bulletin d’informations | Eurotec EUROPA STAR HBM SA Route des Acacias 25, CH-1227 Geneva - Switzerland, Tel +41 22 307 78 37, Fax +41 22 300 37 48, contact@europastar.com Copyright 2017 EUROPA STAR | All rights reserved. No part of this publication may be reproduced in any form without the written permission of Europa Star HBM SA Geneva. The statements and opinions expressed in this publication are those of the authors and not necessarily Europa Star. Subscription service |Europa Star Time.Business & Time.Keeper | 5 issues | Worldwide airmail delivery CHF 90 | Subscription orders via: europastar.com/subscribe | Enquiries: contact@europastar.com ISSN 2504-4591 | www.europastar.com |

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Tambour Horizon Your journey, connected.

Editorial

WHO ARE THE BRANDS’ MAIN COMPETITORS?

THEMSELVES!

BY SERGE MAILLARD

he sale of a Paul Newman Daytona for 17 million dollars is just the tip of the iceberg. The vintage (and second-hand) market is stealing a march on the contemporary watch business. What we are now seeing in the watch market has already transformed the art market. On the one hand, you have sales by the big auction houses, which are sustained by a variety of phenomena: genuine collectors, genuine investors… This has all conspired to generate a new kind of customer – more mature but equally wealthy – who is looking for that rare pearl of great price. And on the other hand, person-to-person and agency-to-consumer sales are exploding on platforms such as Chrono24, eBay and Amazon. While you’ll no doubt find it impossible to get rid of your iPhone 4 in a few years’ time, a 1970s watch in good condition offered for sale by some guy in Dallas, may well catch the eye of a budding young collector in London. When it comes to watches, every Homo sapiens is faced with two questions (and most will spend very little time pondering them...). First: should I wear a watch? And second: should I get one from a local shop, or should I order one (perhaps second-hand) online? To be cynical, Swiss watchmakers have been honest to a fault. They have never subscribed to the builtin obsolescence adopted by Apple and Samsung, because back in the day that concept would have been unthinkable. High-quality watch movements were built to last a lifetime. Historically, that was the creed of the industry. The result is that that fifty-year-old construction of cogs and gears, if it has been correctly maintained, can still be passed down from father to son, as the adverts suggest – or from person to person online. All these sales completely bypass the brand whose name is on the dial. E-commerce is fast becoming a fact of life, even where watches are concerned. Leading the charge are vintage watches, which younger generations are buying with increasing confidence, in terms of both authenticity and condition. There’s a whole new sector of the market, defined by the marriage of a new technology (the internet) with a very old one (mechanical watchmaking), which lies completely outside the purview of contemporary watch companies. You may be feeling quite smug about your new iPhone X right now, but in ten years’ time we’ll all be laughing at them. But who will be laughing at your lovely El Primero? Certainly not Zenith... particularly if you sell it to someone who, if you hadn’t placed your online ad, might have made the effort to go and buy one from a brand boutique. Some initiatives are beginning to see the light of day, although they are still few and far between. Vacheron Constantin is one of the few brands with its own vintage department, enabling it to set the terms of how its own back catalogue is marketed. Will others join the fray? It’s unclear. Second-hand watch sales are something of a digital jungle today, and it’s difficult to know where to start. More and more retailers, however, are beginning to offer second-hand watches, sometimes alongside contemporary collections. They’re hoping to get themselves a slice of the action.

Style is automatic. TISSOT everytime swissmatic. UP TO 3 DAYS OF POWER RESERVE.

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The MR-G is the premium line in metal of the G-SHOCK watch. It is as reliable as the iconic watch and fuses Japanese technologies and craftsmanship.

Cover Story

G-SHOCK

THE WORLD FOR 35 YEARS BY SERGE MAILLARD

2018 is the 35th anniversary of a watch icon, the G-SHOCK, which revolutionised the face of a global industry, and which has just shipped its one-hundredmillionth unit. Built around the concept of strength, its bold and distinctive style has introduced legions of young people to the joy of wearing a watch. The G-SHOCK has played a part in many people’s lives, acting as a sort of watch nursery, and the entire industry has reaped the benefits! It is now going premium with the MR-G and G-Steel lines. The dream of Mr Ibe Who better to talk about the G-SHOCK than its creator, Kikuo Ibe? Europa Star went to meet him in Japan. “Exactly 36 years ago, I dropped the watch my father had given me, and it smashed into a thousand pieces,” explains the affable inventor. “From that time on, I was obsessed with building an indestructible watch!” This marked the start of the epic journey that would lead to the conception of the G-SHOCK. “In the beginning, I would throw my prototypes out of the window of the Casio building, using rubber to protect them. Eventually, I started protecting the prototypes’ individual components, so that I could reduce its size. But some of them still didn’t survive.” The revelation came one day as he was walking in a park. “I saw a girl playing with a rubber ball... Suddenly the solution was obvi-

ous: I had to make the watch movement ‘float’! So we developed a shock resistant structure with certain contact points. The first G-SHOCK was finally launched in 1983.” His goal had been achieved, and even the workers on the building site opposite the Casio building could wear the watch with complete peace of mind. “The G-SHOCK has become the world’s strongest watch.” Commercial success was virtually instantaneous. Its unusual design proved widely popular, particularly with a younger clientele. “As far as the design of the watch was concerned, the challenge was to express all the technology the model used to make it so strong,” the inventor continues. “In a way, we had to combine form and function.” Each watch encompasses seven elements; electric shock resistance, gravity resistance, low temperature resistance, vibration resistance, water resistance, shock resistance and toughness. Casio innovations and technologies to prevent it from suffering direct shock include internal components protected with urethane and suspended timekeeping modules inside the watch structure. “In 1994 we set ourselves a new challenge: developing a new, dressier version of the G-SHOCK. That meant making it out of metal,” Kikuo Ibe tells us. “I started the project with eight young engineers. But it was difficult to find an effective way to protect the metal case and bracelet.” This time, the team found their solution by looking to the automobile industry. Car bumpers provided the inspiration for developing a way of protecting the watch bezel. Casio’s ultimate metal watch – the MR-G – was finally born. Kikuo Ibe confides his ultimate dream: “What I’d like to do now is make a watch that will work in space, but this project hasn’t yet got off the ground!” So, in the meantime, back on Earth, Casio is embarking upon a special series of events, with a special series of watches to celebrate the anniversary of its icon. From New York to Tokyo, via London, there are plenty of surprises in store.

A visit to Yamagata

the most appropriate system for the conditions, and supplies the correct time and daylight saving information for the current This is a crucial time for the brand, which is hoping the con- time zone. The companion MR-G Connected smartphone app tinually evolving G-Steel and MR-G lines will take it upmar- provides additional functionality, with World Time for over 300 ket (see our article in Time.Business). The present author has cities, automatic time adjustment and watch status display, over fond memories of the G-SHOCK he, like many of his adolescent a Bluetooth connection. friends, wore in the 1990s. The aim now is to continue to meet But the premium MR-G range is not just about high-tech. It also the expectations of these maturing customers, while appealing showcases the distinctive kasumi tsuchime technique, first used to new generations. over 1200 years ago to decorate armour and copperware. The bezIt’s a challenge on a number of levels, but they can all be summed els and strap inserts of each of the 500 watches in this limited ediup in one generic term: integration. Integration of increasingly tion are worked by master craftsman Bihou Asano of Kyoto, whose luxurious materials in the watch case; integration of traditional family has safeguarded the tsuchime tradition for generations. The Japanese arts such as tsuchime; integration of new designs; inte- age-old metal-hammering technique uses deft strokes of a special gration of new Bluetooth connection technolotool to impart a distinctive pattern to the metal gies as seen in smartwatches – all this in the surface. Here, the technique used on the bezel It’s not until you “smartest” possible way, so as not to dilute the and centre band leaves eye-shaped indentations visit Casio’s flagship highly distinctive identity of G-SHOCK. that ensure that no two watches are exactly alike. It’s not until you visit Casio’s flagship factory in After hammering, the forge-cast titanium is subfactory in Yamagata Yamagata that you really grasp the Japanese jected to a deep layer-hardening process, and a that you really watchmaker’s hitting power. Some 2.6 million blue DLC (diamond-like carbon) coating is apgrasp the Japanese watches per year are produced by around 300 plied to the bezel, case back and metal plate at people. The level of automation is impressive; watchmaker’s hitting 10 o’clock. As well as improving abrasion resistthe systems are engineered to get the best out ance, it provides an opportunity to apply colour power. The future of of both man and machine. The future of the to selected parts of the watch. Casio has develthe G-SHOCK lies G-SHOCK lies within these white walls. Testing is oped a unique shade called Japan Blue, based on a crucial element. More than 170 tests are carried the Japanese indigo hue familiar from traditional within these white out on the brand’s various models. Let’s not fordyed fabrics. Achieving this unique deep shade walls. Testing is a get that, back in 1974, the Casiotron was already relies on a complex and labour-intensive process, crucial element. capable of surviving a fall of 10 metres. Over made even more difficult by the irregularities in the years, an ever more elaborate structure has the hammered surface. been developed to protect the G-SHOCK. Today, for example, the Casio continues to innovate with the G-SHOCK, providing models GPW-2000 Gravitymaster contains more than 400 components. for every price bracket. As Ryusuke Moriai, manager of the watch design, points out: “With the connected G-Steel for instance, the challenge is to create a steel design that fits the G-Shock line. Our The MR-G: an alliance of technology goal is to come up with a completely different design. We chaland craftsmanship lenged ourselves to use just straight lines and circles. We think we have achieved a kind of ‘primitive beauty’ with our watches. It’s all about combining the best of Japanese traditional crafts- It was never our intention to focus on functionality. We wanted to manship with cutting-edge technology. So let’s take a closer show that the watch is connected. We designed a rotating wheel look at what is probably today’s best example of this fusion of inspired by the jet engine.” The GST-B100X is a special model, the possible: the MRG-G2000HT, pictured on the front page of equipped with a unique carbon, a combination of state-of-the art this issue. This extremely limited edition provides a foretaste of Tray Industries TORAYCA®*1 and NANOALLOY®*2 that results in a what we can expect from Casio in the future. bezel with outstanding shock resistance characteristics, made of “The MR-G is now the flagship series of the G-Shock collection,” 37 layers of carbon. This tough model fits the G-Shock concept, notes Chief Engineer Singo Ishizaka. “And we keep enhancing and is a reliable companion even in the most extreme weather. its quality: titanium is used in the case and band. MR-G watches are scratch-resistant. Now they also feature Japanese crafts- *1 TORAYCA®: High-performance carbon fibre material by Toray Industries is used in a manship. Mr Bihou Asano is a master of the ancient technique wide range of applications, including: aerospace, high-pressure vessels, wind power generation, automobiles, bicycles, golf club shafts, fishing rods, and more. of hammering metal. There are many types of hammer tone in *2 NANOALLOY®: Original Toray Industries nanometre structure control technology makes Japan. We chose a pattern in the form of a wave.” it possible to combine multiple polymers on a nano-metric scale (one billionth of a The MRG-G2000HT features the GPS Hybrid Wave Ceptor tech- metre) for performance that is far superior to previous types of materials. This polymeric nology to ensure the watch remains accurate in any location material enables high performance and high function that was previously not possible on Earth, under virtually any conditions. The watch receives with standard micron order (one millionth of a metre) alloys. standard time information via terrestrial radio waves, GPS satellite signals and, now, Bluetooth transmission. The watch selects

CRAFTSMANSHIP Mr Bihou Asano is a master of the ancient technique of hammering metal, used on the bezel and strap inserts of the MRG-G2000HT.

HIGH-TECH The Yamagata factory in northern Japan is at the heart of the G-SHOCK's current and future developments.

Resisting the shocks of nature Speaking of extreme conditions, the GPW-2000 G-SHOCK Gravitymaster has been designed with the needs of aircraft pilots in mind. As well as supremely accurate timekeeping, the GPW-2000 offers superior shock resistance to cope with extreme altitude and speed. The Triple-G construction provides protection from three types of gravitational stress – external shocks, centrifugal force and vibrations – and an anti-magnetic plate within the module prevents the hands from being moved as a result of magnetic forces. The case is constructed from carbon fibre, a material extensively used in aircraft for its superior strength and lightness, with the additional protection of FRP (Fine Resin Parts) both within the watch’s frame and at the ends of strap, to strengthen stress points and provide further vibration resistance. Optimum readability under difficult conditions is assured by bold phosphorescent hour markers and dashes of red, all within a dramatic multi-layered 3D dial. The low specific gravity of the vermilion carbon fibre second hand makes it possible to increase its size while maintaining impact resistance. Night-time visibility is provided by the Super Illuminator, a highbrightness LED. As well as time zone and adjustment functions, the G-SHOCK Connected smartphone app also features a flight log function, which can store location and time data to provide a travel history, including point of departure, interim and final destination, and return destination. A latitude/longitude display and Coordinated Universal Time (UTC) indicator provide further navigational aids. The Triple-G construction of the GPW-2000 G-SHOCK Gravitymaster provides protection from three types of gravitational stress – external shocks, centrifugal force and vibrations.

“Never, never give up!” And this is just the beginning. In October, Casio announced the expansion of the MR-G line and unveiled two new 3-Way Time Sync timepieces, capable of receiving radio waves, GPS satellite signals and Bluetooth transmissions for the most accurate timekeeping possible. Representing the latest Bluetooth connected offerings from the brand, the new models also boast premium materials for the ultimate in luxurious, indestructible construction. The MRG-G2000CB-1A features a bezel with COBARION®* finish, a new material developed in Japan to give a beautiful mirrored surface, as well as increased scratch resistance and anti-allergenic properties. The MRG-G2000HB-1A features a dragon-inspired bezel in deep black, with a specialty Marume-Tsuiki hammer tone finish. Both timepieces boast evolved functionality with city codes and watch modes easily viewed on the right side of the watch face. The bezel is constructed of Cobarion*, a new alloy developed through collaboration between the academic and industrial sectors. Cobarion boasts over twice the strength of stainless steel and a polished lustre comparable to that of platinum. *Cobarion® is a registered trademark of the Iwate Industry Promotion Center, Japan. It is manufactured exclusively by Eiwa Co., Ltd., Kamaishi, Japan.

The new MR-G watches follow three guidelines: self-adjusting (with the GPS Hybrid Wave Ceptor), self-updating (with the Accurate Time System) and self-charging (with the Solar Power Technologies).

Both MRG-G and G-SHOCK timepieces also possess G-SHOCK’s GPS Hybrid Waveceptor technology to accurately measure time and location from anywhere on earth, Tough Solar capabilities for increased battery function, as well as a non-reflective sapphire crystal and black titanium case and bracelet, highlighting their premium construction. Additionally, by utilising the new G-SHOCK MR-G Connected smartphone app, users can easily set world time as well as enhance the reliability of the timepiece through monitoring the watch’s key functions such as self-adjustment, solar charging, and more. Mr Ibe’s dream of creating an unbreakable watch came true… and it seems like it is just the beginning of a new era with the ongoing expansion of the G-SHOCK line. Mr Ibe’s mantra has never been truer than it is today, in the face of a rapidly changing watch industry: “Never, never give up!”

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Portfolio

CHRONOS…

TIME: LONG TO SHORT BY PIERRE MAILLARD

Time measurement developed from the observation of long periods of cosmic time, from the movement of the planets to the determination of 365 days in the year; from the phases of the moon to the regular alternation of day and night... Only with the advent of mechanical time measurement was man able to break time down into the precise measurement of minutes, then seconds, and tenths, hundredths and thousandths of a second. Beyond this frontier, mechanical watchmaking must abdicate, leaving such measurements to atomic clocks and scientific instruments devoid of any mechanical parts. The history of conquering short time periods remains one of the great watchmaking sagas. The chronograph originally heralded a number of geopolitical, scientific, astronomical and technological advancements before losing its supremacy in the field. Simultaneously, it also became increasingly accessible, imposing itself as THE watch of "the modern man". The true practical usefulness of this short time period calculator has often been mocked. Naysayers claim that it would be best employed as an egg timer! There might be some truth to this, since who, today, calculates a driving speed or heart rate using the time scales represented along the bezel of one's watch? Well, that's beside the point. The chronograph – which most people do not even consider a great watch complication – remains one of the noblest complications and one of the most difficult to achieve. Moreover, whether modern or vintage, it remains one of the most sought-after types of watch, as demonstrated by the incredible trend of '50s and '60s steel chronograph throwbacks. Such a vogue might be about functionality, but these days it is most importantly about appearances. 15

THE CHRONOGRAPH,

AN EXPRESSION OF MODERN TIMES (*)

BY DOMINIQUE FLÉCHON, HISTORIAN AND EXPERT IN FINE WATCHMAKING

THE BIRTH OF THE CHRONOGRAPH The chronograph, an ingenious invention of modern times, has taken A tale of astronomy… the measure of human progress for scientific advances of the end of the eighteenth and nearly two centuries. The etymology of The early nineteenth centuries, notably in astronomy, medicine, the word comes from the combination engineering and industry, necessitated the measuring of fractions of seconds. In this field, as in others, there were nuof two Greek roots: chronos (time) and merous inventors and solutions. grapho (writing). To write time is also to Following unfruitful attempts by John Arnold, Louis Moinet write a record of the history of the world. (1768-1853), a Parisian watchmaker who was also a keen as-

tronomer, invented an instrument that measured sixtieths of a second, which he called a compteur de tierces (“counter of thirds”). The “third” refers to the third subdivision of the hour on a basis of 60 after the minute and the second, and is used in astronomy. This counter was produced in collaboration with a watchmaker from the workshop of Abraham Louis Breguet in 1815-1816. In terms of its performance, ergonomics and the readability of its dial, this instrument prefigures the chronometric devices to one-fiftieth and one-hundredth of a second created by Heuer in 1916, a century ahead of its time. As noted in his Traité d’horlogerie, Louis Moinet stated that his ‘counter of thirds’, designed for astronomical purposes, was available to anyone who wished to produce large numbers of it. This offer seems not to have been taken up. And yet it was indeed the very first chronograph.

Chronograph measuring sixtieths of a second by Louis Moinet. Very high-frequency instrument: 216,000 vibrations/hour, 30 Hz. Ruby escapement by Moinet. The counters are reset to zero using a separate corrector stylus. Power reserve indicator on back of chronograph approximately 30 hours. Upper plate signed Louis Moinet. D. 57.7 mm; th. 9 mm.

(*) Excerpts. Originally published for the exhibition Le Chronographe, Expression des Temps Modernes, held by the Fondation de la Haute Horlogerie in 2007–2008, and in the book entitled La Conquête du Temps, 2nd edition. In collaboration with Grégory Gardinetti.

"The culmination of fundamental advances in watchmaking and the point of departure for new research, the chronograph, when the idea of graphically recording time was abandoned, gradually over the decades became a chronoscope – time you could watch passing, and count. First of all on a pocket watch, then on a wristwatch. The chronograph would accompany the industrial revolution every step of the way, right down to the minutest detail of work organisation. The companion of engineers as well as astronomers, scientists, doctors, gunners and explorers, no domain can do without one when it comes to expressing the present moment. As our taste for free time intensifies, it can be found in every sports discipline, individual or team, and over and above its prime function of measuring short times is turning into an identifying code of modern humanity. A humanity which, having mastered technique and speed, now thinks it can master time by stopping and starting a magical mechanism of rare beauty and of a complexity which reflects human intelligence."

Half-brother of Nicolas Joseph Rieussec, one of the founding members of the Jockey Club of France and the Society for the Encouragement of Improvement in Horse Breeds, Nicolas Mathieu Rieussec tested the chronograph of his invention in 1821 on a racecourse. Inking chronograph by Nicolas Mathieu Rieussec, Paris, 1821. Mahogany box, white enamel rotating dial, escapement movement. Left, the mechanism. La Chaux-de-Fonds, International Watchmaking Museum.

Franco Cologni, taken from the preface to Le Chronographe (*).

… and horses The Jockey Club was founded in England in 1751. In the late eighteenth century, the upper echelons of English society discovered racing, in which men, horses or dogs vied for victory. The spectators bet on the winner. At the same time, the breeders were looking to measure their horses’ performance. On 4 November 1799, Ralph Gout filed a patent for a pedometer watch, a device designed to count the number of paces taken by a pedestrian or a horse over a given time. Mounted on a horse’s saddle, it added up the total number of paces taken by the mount, or if fixed to the leg, by a walker. When placed on a carriage wheel, it was able to count the rotations.

On 1 September 1821, Nicolas Mathieu Rieussec (1781-1866), watchmaker to the king, timed a series of horse races on the Champ de Mars in Paris with the aid of an instrument of his own invention. The minutes of the French Royal Academy of Science dated 1821 and signed by Antoine-Louis Breguet and Gaspard de Prony report that on that day, Nicolas Mathieu Rieussec presented a ‘timepiece or counter of distance covered’, which the Academy called a ‘seconds chronograph’. On 9 March 1822, he obtained a five-year patent for it. The instrument is appropriately named since it deposited a drop of ink on the enamel dial at the start and end of each measurement. Inking was then abandoned, resulting in the advent of the chronoscope (improperly called ‘chronograph’), first of all in a pocket, then a wrist version. After that, history speeded up. On 9 February 1822 in England, Frédérick Louis Fatton (18121876), a pupil of Abraham Louis Breguet established in London, obtained a patent (no. 4645) for an inking chronograph, and on 27 September 1822 a second patent for a fixeddial system.

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DURING THE COURSE OF ITS HISTORY, THE CHRONOGRAPH HAS BEEN PRESENT ON ALL FRONTS Chronographs and the art of medicine Even back in classical antiquity, Greek, Alexandrian and Roman physicians noticed that human life was subject to a regularly beating pulse. Around 300 BC, Herophilos of Chalcedon discovered that the heart was responsible for it and devised a means of counting the number and rate of heartbeats using a water clock. In the first and second centuries AD, the Greek physician Discorides emphasised the importance of the water clock in medicine, and Galen of Pergamon used it to measure fever and pulse. Towards the end of the Middle Ages, the mechanic-physicians created clocks indicating medical, astronomical and astrological measurements, which they consulted before practising their art. Several of the first monumental clocks that indicated the signs of the zodiac and the position of the planets automatically also had a painting of a human silhouette called the Aderlassmann, on which the points for bloodletting were marked. This indicated the correlation between parts of the body and the times of the year most favourable for a surgical operation. During the Renaissance, Galileo recommended the use of a pendulum to measure heart rate and irregular heartbeat, and even built a special instrument for the purpose, which he called a pulsilogus. The research of doctors William Harvey and Stephen Hales heralded the age of precision measurement in medicine and corroborated the theory of Sir John Floyer, who prescribed measuring the pulse using a watch with a seconds hand. To this end, he created a pocket pulsometer in 1705. Later, watches with a dead-seconds hand were a valuable aid to practitioners in establishing diagnoses.

It was not until the second half of the nineteenth century that watchmakers invented genuine medical chronographs, the originality of which lay not in their mechanism, but in the graduation of their dials. The pulsometer, also called a sphygmomanometer, counts the number of heartbeats per minute. The asthmometer, also called a pneumograph, counts the number of breaths per minute. These chronographs, the medical functions of which could be grouped together on a single dial, were designed in the nineteenth and twentieth centuries and in the 1920s were miniaturised for wearing on the wrist.

Chronographs and engineers Engineering being such a vast domain, during the course of history watchmakers have had to design chronographs with special chronometric scales to suit the specific problem at hand. The following instruments resulted: • Tachymeters, which mark the speed of a moving body expressed in the local units in use at the time of its production: miles/hour, versts, kilometres/hour or some other unit. • Rangefinders, very useful to the military but also to meteorologists. • Tachoscopes, which are crucial for the correct adjustment of machines and for controlling production. • Productometers, which show the number of items produced in an hour. • Split-seconds chronographs, which today are used in sport, but which for a long time served to time events of differing durations but all starting at the same time in a single experiment. Depending on what they are researching, engineers need instruments that split the second into larger or smaller portions. Chronometric scales are usually graduated into hundredths, fiftieths, twentieths, sixteenths, tenths or fifths of a second according to the application. As soon as watches had attained a sufficient degree of precision regardless of how far the spring was wound, the dials were equipped with time measurement totalisers, generally up to thirty minutes. On contemporary wrist-chronographs, a seconds totaliser records measurements up to a maximum of twelve hours. However, a handful of pocket models are capable of recording measurements of time up to twenty-four hours. Most of these chronographs, manufactured by specialists such as A. Lange & Söhne, Glashütte Original, H. Moser & Cie and Union Glashütte, are the result of technological upheaval and improvements in productivity generated by the industrial revolution.

New automatic watches from Glashütte: sitting smartly under the cuff, working with high precision—for those who are passionate about what they do. The motor within is NOMOS’ sensational neomatik caliber DUW 3001, made by hand in Germany, trimmed for peak performance with high tech. Metro neomatik 39 silvercut and other models are now available with selected retailers. More: nomos-store.com, nomos-glashuette.com

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Chronographs and the military Time is fundamental to ballistic calculations and analysing the use of firearms. Although the speed of the projectiles is too high be measured with a conventional chronograph, chronographs equipped with a telemetric scale were for a long time used by gunners to adjust the range of cannon-fire. Rangefinders are instruments used to measure the distance between an observer and a visible and audible phenomenon. The principle was based on the difference between the speed of light and the speed of sound, arbitrarily defined at 333 metres per second at a temperature of 5-10°C. When applied to the direction indicated by a compass placed on an ordnance survey map, the distance shown on the dial provided a means of locating the enemy cannon and if need be, adjusting the return fire. Today, this instrument is used for peaceful applications and can provide valuable help to anyone at sea or on land seeking shelter from an approaching storm…

Chronographs and scientists

They were of great assistance to Frederick Winslow Taylor (1856-1915), an American economist and engineer, in designing his scientific method of work organisation. Some chronographs, all developed in the nineteenth century, were transformed into wristwatches. Expressing the needs of their times, some graduations – those of the Omega chronographs, for example – are a reminder of the kinds of things then measured: the speed per hour of homing pigeons, trams, hippomobiles, trotting or galloping horses, development times for photographic prints; while others remain shrouded in mystery because many of the applications for which they were intended have now disappeared.

The improvement in the precision of astronomical observations is due to watchmaking in general, and to the chronograph in particular. Until the Renaissance, various instruments were used to observe the meridian passage of the stars. The use of the telescope by Galileo from 1609 onwards revolutionised the technique of observing the stars. Until the nineteenth century, to determine the time of a star’s meridian passage (the vertical plane of the place of observation when oriented north-south), astronomers used what was known as the “eye and ear” method: after reading the time on a clock or chronometer with a pendulum beating the seconds, they counted the number of beats until the

moment when the star reached the centre of the instrument’s field of vision while keeping their eye glued to the viewfinder. The invention of the chronograph rendered this method obsolete, since all the observer had to do was stop the chronoscope, manually first all, and subsequently with the aid of an electric switch. The chronoscope soon gained the addition of a tape on which the results were recorded graphically. It was notably thanks to more and more accurate measuring devices that certain characteristics of the Earth were discovered, the imperfectly spherical shape and the minute variations in speed of which affect calculations of longitude and latitude. The solution to this problem, which was vital for sailors, was found by the English watchmaker, John Harrison, in 1761 thanks to his precision chronometers. One century later, in the nineteenth century, the chronograph, with its three functions – start, stop and reset – was still unrivalled when it came to accurately determining a given point in time or space, whether at sea or on land. Together with the compass, the thermometer and the barometer, it was the instrument of choice for the great explorers.

Chronographs and athletes The first University Boat Race between Oxford and Cambridge took place in 1829. On that occasion, the competitors were timed to a quarter of a second, the balance of the chronographs of the time vibrating at 14,400 vph. In sports, fifths of a second (18,000 vph) were for a long time considered to be the smallest unit compatible with the reaction time required for a human timekeeper to start and stop a chronograph. Today’s circular tachymetric scales usually indicate speeds of between sixty and four hundred. However, the spiral tachymeters on the most recent wristwatches allow a range of measurement from 20 to one thousand kilometres an hour. In 1912, the Stockholm Olympic Games experimented with photographic counters capable of distinguishing tenths of a second. The hundredth of a second was used in 1924 at the Paris Olympic Games. However, the International Amateur Athletics Federation refused to recognise the validity of the results, taking the view that the human eye should continue to distinguish the winner. At the Olympic Games in Rome in 1960, manual chronoscopes were abandoned in favour of photographic and electrical procedures. Nevertheless, from 1892 and perhaps even earlier, certain sports competitions were timed using electrically triggered chronographs, of which Mathias Hipp (1813-1893) was a pioneer. They mark the start of another story, as they took over where mechanical watchmaking technology had attained its limits.

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CHRONOLOGY OF THE CHRONOGRAPH From the balance spring to the moon (1675–1969) 1675 – By inventing the balance spring, Christiaan Huygens takes the watch into the realm of scientific horology. From then onwards, master watchmakers sought to measure seconds and fractions of seconds. ~1720 – George Graham builds a piece of laboratory equipment powered by a driving weight, the pendulum of which marks quarters of a second. This ingenious system made it possible to indicate (in theory) sixteenths of a second. ~1750 – A tiny number of sea captains use watches known as 'dead-seconds' watches. The second hand advanced by jumping forward every second and could be stopped for ease of reading – but doing so stopped the entire watch mechanism. 1779 – Jean Moïse Pouzait (Geneva) presents a watch with an independent dead-seconds hand. This second hand, driven by a separate mechanism, could be started and stopped without interfering with the hours and minutes mechanism. ~1780 – The jumping-seconds hand, or foudroyante, appears on the scene. The jumping-seconds hand had its own mechanism and made one rotation every second, pausing 4 or 5 times to mark quarters of fifths of a second. 1815 – After unfruitful attempts by John Arnold, Parisian watchmaker Louis Moinet (1768-1853) designs a device that measures sixtieths of a second, which he calls a ‘counter of thirds’. 09/03/1822 – Nicolas Mathieu Rieussec (Paris) patents his 'seconds chronograph’.

27/09/1822 – Frédérick Louis Fatton, a pupil of A. L. Breguet, perfects Rieussec’s invention on behalf of Breguet.

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25/05/1822 – Abraham Louis Breguet starts (and completes in November 1823) the manufacture of two chronometers with double observation seconds. One of the hands could be stopped to measure intermediate times.

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ah ors eba ck som ersa ult b y Ea dwe 1838 – Joseph Thaddeus Winnerl (Paris) invents a split-seconds chronograph which ard M uybrid is simplified in 1840 and presented in 1843 to the Society for the Encouragement of the ge (189 3) National Industry.

11/03/1828 – Louis Frédéric Perrelet (Paris) patents his ‘physics and astronomy counter’, a forerunner of the split-seconds chronograph.

14/10/1844 – Adolphe Nicole, a Swiss watchmaker working in London, files a patent under number 10348 for a device that enables the hand of a chronograph to be returned to its starting point thanks to a heart-shaped cam, a part still used today. 1862 – Adolphe Nicole files the 1844 patent again in London and Paris. Henry Féréol Piguet, a watchmaker with the Swiss company Nicole & Capt, builds a chronograph with a reset function, which he presents at the World Exhibition in London. 1868 – Auguste Baud moves the chronograph mechanism from beneath the dial to the bridges side – an arrangement which has remained unchanged since then and facilitates assembly and regulation. 1909-1910 – The first wrist-chronographs appear. 1916 – Heuer files patents for the micrograph to 1/100th of a second and the semi-micrograph to 1/50th of a second, both pocket chronograph counters. 1926 – Patek Philippe makes the first mono-pusher wrist-chronographs. 1928 – Cartier creates the mono-pusher Tortue Chronograph wristwatch. 1933 – Léon Breitling files two patents for a mechanism for a wrist-chronograph with two pushbuttons that allows cumulated times to be measured. The mechanism is an extension of that for the pocket chronograph patented in 1923. 1935 – Universal launches its Compax wristchronograph, later followed by the Uni-Compax, the Aéro-Compax, the Tri-Compax and the MédicoCompax. Although a trademark, Compax became a generic term at the time for any chronoscope with identical functions. 1936-1938 – Longines develops the first wrist-chronograph with a flyback function. Pressing the lower pushbutton returned the chronograph hand to zero, from where it immediately started again. 1937 – Dubois Dépraz (Switzerland) develops a device aimed at replacing the column wheel by a system of cams. 1946 – Albert Piguet of the Swiss company Lémania creates a prototype (not commercialised) of the first automatically rewinding wrist-chronograph. 1968 – Zenith creates El Primero and Dubois-Dépraz the Chronomatic, both automatic self-winding chronographs. 21/07/1969 – Neil Armstrong and Buzz Aldrin take the first steps on the moon, with an Omega Speedmaster on their wrists.

THE ORIGINS OF THE BREGUET 7077

INDEPENDENT CHRONOGRAPH

Starting in 1820, Abraham-Louis Breguet got to work on what he called a “double seconds, or observation” watch. Finally perfected in 1823, it is considered to be one of the forerunners of the modern chronograph. This “observation” watch is so-called because it can be used to precisely measure intermediate periods or the length of time taken by two separate and simultaneous events. Moreover, as far back as 1796, Breguet had already finalised his first “subscription watch”, with a very particular feature forming its technical characteristic and aesthetic appeal: a large central barrel with gears laid out completely symmetrically on each side of the barrel. This symmetrical layout inspired Breguet’s now famous Tradition collection, which began in 2005. An approach that, by revealing for the first time the whole of the movement, profoundly influenced a number of chronographs - and other mechanical movements - which have since also shown off their ‘innards’. One of the outcomes of the Tradition collection is the 7077 Tradition Chronograph, which is notable for the separation of the hour mechanism from the chronograph. Each of these mechanisms has its own symmetrical escapement with balance and gears. The two balances vibrate at different frequencies, 3 Hz for the hour and 5 Hz for the chronograph - which gives an autonomy of only 20 minutes but an impressive accuracy of +/-0.04 seconds. This very short power reserve is due to the use of a blade spring rather than a barrel, a technique dating back to 1825 (Breguet model no. 4009) which means the chronograph is engaged instantly and the balance is immediately working at the right amplitude. The blade spring is wound by simply pressing in the stop push-piece of the chronograph, which also resets it. This makes the chronograph instantly ready to take a new measurement of a maximum duration of 20 minutes. It is therefore quite a unique construction, neither a chronograph with an additional plate, nor a classic integration with a column wheel, and it highlights the perfect symmetry that Abraham-Louis Breguet was always striving for.

CH 29 535 PS 224 Calibre

THE DEVIL IS IN THE DETAIL

PATEK PHILIPPE MANUAL CHRONOGRAPH CALIBRES November 2009, Place Vendôme Thierry Stern made his first major appearance since becoming the new president of Patek Philippe. It was a dream event, as he had just presented the Ladies First Chronograph, which features the first manual chronograph movement made entirely in-house, the CH 29-535 PS Calibre. Behind this austere name (which becomes obvious when you know that ‘CH’ stands for chronograph, ‘29’ for the diameter – 29.6mm to be exact – ‘535’ stands for the height – 5.35mm – and ‘PS’ is for its Petite Seconde, or Small Seconds) hid a new, magnificent and very fine chronograph movement designed to replace and overtake the famous CH 27-70 Calibre, based on the Nouvelle Lémania (property of the Swatch Group), which had been used by Patek Philippe up until then. The programme took five years. Although in 2009 the trend was for the most spectacular threedimensional structures possible, this new Patek Philippe calibre, so eagerly anticipated by collectors of the brand, decided to play it ultra-classic: a column wheel with a polished cap, S-shaped toothed-clutch lever system, an elegant and refined chronograph gear bridge and minute counter gear bridge, large four-arm Gyromax balance and four poising weights vibrating at a frequency of 4 Hz, which is 28,800 vibrations/hour, and a Breguet balance spring. All of the 269 components are harmoniously contained in an extremely small space. But under this most traditional of appearances, under these stylish pieces and old-fashioned chamfered, polished bridges adorned with the Côtes de Genève motif, under these refined, classically crafted surfaces, hide six new patents that aren’t looking to revolutionise watchmaking in terms of appearance, but that want to improve the substance – and that makes all the difference. Because watchmaking is all about detail. These six new patents relate to a very comprehensive improvement of details that contributes to a deeper understanding of the art of the chronograph. Not only do they bring im-

provements in terms of better energy transmission, reducing friction, increasing precision and reducing vibrations or unevenness of the hand movements; they also directly affect the work of the watchmaker. The large ‘eccentric cap’ placed directly over the column wheel makes it easier to set, meaning greater operational reliability. Moreover, the calibre has a sophisticated and instantaneous 30-minute counter. A rhythmic touch that enhances the sought-after readability.

But let’s go back a little further In 2005, Patek Philippe had already introduced the flattest manual split seconds chronograph (5.25mm) ever created, reference 5959P – the first wrist chronograph to be entirely designed, developed and made by the manufacture. Produced in a traditional way and in a very small quantity in Patek Philippe’s fine watchmaking workshops, this prestigious movement features two column wheels and can memorise a reference time. In 2006, it was the turn of reference 5960P, the first automatic chronograph entirely designed, developed and produced by the manufacture. Enhanced with the famous patented Annual Calendar mechanism, this new automatic column wheel chronograph has a flyback feature, a power reserve display and a day/night indicator. With its highly original construction, it offers an elegant, dynamic, balanced face as well as its characteristic mono counter, which brings together the chronograph’s hours and minutes counters. The same calibre would also go on to equip the Nautilus chronograph, but without its annual counter. All these creations would lay the groundwork for the new manual calibre presented for the first time under the charm of the Ladies First.

2009 – Reference 7071 Ladies First Chronograph CH 29-535 PS Calibre A new chapter in the history of Patek Philippe women’s watches with reference 7071, Ladies First Chronograph, equipped with a new traditional column wheel chronograph movement, the CH 29-535 PS calibre. Reference 7071 features an elegant, cushion-shaped pink gold case and contains 136 diamonds unusually set on the flange of the dial, highlighting the exclusivity of this women’s complication watch.

2010 – Reference 5170J CH 29-535 PS Calibre The new traditional column wheel chronograph movement is presented in a yellow gold case with rectangular pushpieces, in a nod to the retro style of major Patek Philippe wrist chronographs from the 1940s-50s. Reference 5170 embodies the classic chronograph in all its purity. It contains the new CH 29-535 P5 calibre, developed and produced according to Poinçon Patek Philippe standards.

2011 - Reference 5270 CH-20-535 PS Q Grande Complication Calibre Patek Philippe adds to its classic chronograph collection with the introduction of a new perpetual calendar model. Reference 5270 features a new column wheel chronograph movement, CH 29-535 PS Q calibre. The day and month appear in a double window at 12 o’clock, along with a pointer date display.

In 2010, this same new CH 29-535 PS Calibre had just been used in the men’s reference 5170J. Very pure and stripped back, with no additional complications, in order to preserve its absolute readability, this chronograph features harmonious proportions that evoke the 1940s-1950s (a 39-mm diameter with a thickness of 10.90 mm and a lug width of 21 mm). One of the first to be awarded the Poinçon Patek Philippe, it stood out for the elegance of its stylish pieces, its traditionally crafted bridges, and the attention paid to the finish of all the surfaces, which are usually handdecorated. An instant classic in the world of chronographs. Having ‘overtaken’ the famous and historic basic 27-70 calibre of the Nouvelle Lémania, on which it had developed the most beautiful chronographs, Patek Philippe pursued a new area devoted to developing and perfecting the art of the classic chronograph. In 2011, Patek Philippe bolstered this new line of chronographs with a first complication with the CH 29-535 PS calibre, the Perpetual Calendar. Deriving from the 5270 reference presented in 2011, it is remarkably slim and slender, contains 182 components but only measures 1.65 mm (for a total movement height of 8.70 mm)

The dial of the Reference 5270 perfectly expresses the classicism of its movement: day and month in a double window at 12 o’clock, pointer date display at 6 o’clock with integrated moon display, small seconds at 9 o’clock and instantaneous jumping 30 minute counter at 3 o’clock. Following in a great tradition. In 2012, this same Perpetual Calendar Chronograph calibre acquires a split seconds mechanism. It equips the Reference 5024 chronograph. Here, too, the absolute classicism of the approach doesn't prevent the creation of two technical innovations that, once again, play on the perfecting of ‘details’: a new isolator system removes the permanent contact between the split seconds lever and its centre, which means that when the split seconds wheel stops it doesn’t affect the amplitude of the balance. Moreover, a subtle mechanism reduces the small alignment problems (by 75%) between the split seconds hand and the chronograph hand. But as they say, the devil is in the detail! And that’s all the more true when it comes to chronographs.

2012 – Reference 5204 CHR 29-535 PS Q Calibre Grande Complication Grande Complication Patek Philippe highly sought after by connoisseurs and collectors, the split seconds and perpetual calendar chronograph in platinum is available with a new ebony black dial with hands and applied chapter markers in white gold.

A BRIEF HISTORY OF

AUDEMARS PIGUET CHRONOGRAPHS

Pocket split-seconds and lightning chronograph, dating from 1889.

Central instant minute counter pocket chronograph, dating back to 1899.

Audemars Piguet is one of the Swiss manufacturers with the longest expertise in chronographs. It goes back almost to the founding of the manufactory in 1875 by Jules Louis Audemars and Edward Piguet, in Le Brassus, in the Vallée de Joux. Installed not far from their first establishment, a certain Charles Adolphe Nicole filed a patent in 1844 on the resetting of chronographs, which were previously lacking. But it was not until 1862 that one of his watchmakers, Henri Férréol Piguet, developed and built the first pocket watch equipped with this zeroing mechanism. This was the birth of the modern chronograph. The two founders of Audemars Piguet were immediately seduced by this novelty. Between 1880 and 1890, they produced 1625 pocket watches, including 627 chronographs. Of those, 299 have a fly-back hand and six a jumping second.

The chronograph grows rare With the appearance of the wristwatch, the chronograph is rarer at Audemars Piguet. Until the dawn of the 80s, the total production amounted to 320 chronographs, most of them different from each other, which today makes them rarer and attractive to collectors. The oldest of these chronographs have only one pusher at 2 o'clock or integrated into the crown. The double pushers only appear from 1936, and the hour counters only in 1941 on about a hundred watches. Between 1942 and 1959 we also have 20 chronographs with a full calendar. The post-war era sees an explosion in the popularity of the chronograph and production in Switzerland reaches large quantities. As a result, Audemars Piguet largely abandoned its production. In fact, it was not until the 80s that the manufacturer reintroduced the chronograph, first in small, precious batches, hand decorated or even skeletonised, then, eventually massproducing its first automatic chronographs.

Skeleton chronograph in 18 karat yellow gold, from 1981. Chronograph in 18K yellow gold from 1936, oversized for the time (38 mm).

The Royal Oak Offshore signs the return of the chronograph The real revival of the chronograph by Audemars Piguet would only occur in 1993 with the launch of the Royal Oak Offshore, an ultra-sporty watch, of which almost all versions are chronographs. From then on, the chronograph function, with or without a fly-back hand, would combine with many other complications: calendar, repeater, tourbillon ... But curiously, it was not until 1997, 25 years after its creation in 1972, that the Royal Oak welcomed its first chronograph calibre. Since then, in all its variations, it has been a major success for the le Brassus Manufacture..

The new range of Royal Oak chronographs launched this year offers a return to a design that made its appearance in 2008. The seven models of the 2017 series display a two-tone dial with novel details: the angle of the date window, oversized counters at 3 and 9 o'clock, shorter and wider indexes, thicker luminescent coating for increased readability, and new characters and decals. This new design is available in a wide variety of finishes, divided into four versions: one in pink gold with brown or blue 'Grande Tapisserie' dial, and three in steel with black, silver or blue 'Grande Tapisserie' dial.

Audemars Piguet Royal Oak Offshore Tourbillon Chronograph Special Edition 25th Anniversary Audemars Piguet introduces a new Royal Oak Offshore special series available in either stainless steel or 18-carat pink gold, each one limited to 50 pieces. These two models are inspired by the previous Royal Oak Offshore Tourbillon Chronograph (26388PO & 26288OR), with an entirely redesigned movement, developed exclusively to celebrate the 25th anniversary of the Royal Oak Offshore collection. Featuring the combination of materials that is often presented on Royal Oak Offshore models, the crown and pushpieces are now crafted in ceramic instead of metal and rubber. The new Royal Oak Offshore Tourbillon Chronograph also presents a brand new dial constructed as a true piece of contemporary architecture. 34

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A BRIEF HISTORY OF

SEIKO MECHANICAL CHRONOGRAPHS

BY PIERRE MAILLARD

WITH THANKS TO GISBERT BRUNNER FOR HIS RESEARCH

The Seiko 5 Speed-Timer, the first automatic chronograph in the world to be marketed. 30-minute counter, day and date.

In the mid-60s, a race was raging: who Oscillating at a frequency would manage to release the first auof 3Hz (21,600 vph), the automatic calibre 6139 is tomatic chronograph wristwatch? equipped with a column United in a consortium, the Swiss wheel and an innovative brands Breitling, Heuer, Hamiltonvertical clutch. Buren and Dubois-DĂŠpraz, as well as Zenith on its own, were determined to do so quickly. But Seiko would outdo them by releasing, in mid-May 1969, the "5 Speed-Timer" which became the first automatic chronograph on the market. This model, now considered a historic landmark, was outfitted with the 6139 movement, developed within two years by the Seiko engineers. With a diameter of 27.4 mm and a height of 6.5 mm, this movement was equipped with a central rotor coupled with the famous "Magic Lever". Created in 1959, this ingenious device greatly boosts the winding power of the mainspring and its rotation speed by exploiting the energy created by the oscillating mass in both directions, clockwise and counterclockwise. Fully wound up, the watch offers a 36hour power reserve with the chronograph in operation.

An automatic chronograph equipped with calibre 7016, with 30 minutes counter.

The following year, in 1970, Seiko releases another automatic caliber, the 6138 which differs from 6139 by displaying the seconds and has an hours counter. Another feature, its pushers are located at the top of the watch and not on the side. 1970 also sees the arrival on the market of the calibre 7017, an ultra-thin automatic 5.9 mm thick, then setting a world record. A real achievement, accomplished by restricting the number of components and removing the minute counter. But in 1971, its successor, the calibre 7018, with the same thickness, allows the reintroduction of the 30 minutes counter. Seiko will release two more automatic chronograph calibres before ceasing all production of mechanical chronographs in 1977, and mechanical watches in the early 80s. Watchmakers around the world believe that it is the end for mechanics.

The 5 Speed-Timer of 1970

The 1970 Speed Timer chronograph, equipped with the 7017 automatic calibre. 37

Ananta Diver Chronograph, equipped with Calibre 8R39, launched in 2014.

The first Japanese chronograph, released in 1964, with manual winding. Power reserve of 38 hours with chronograph switched on.

Birth, purgatory and rebirth This considerable effort, which allowed the Japanese Seiko to beat Swiss watchmakers, actually began in 1964 – just in time for the Tokyo Olympics – with the release of Japan's first chronograph wristwatch, equipped with the hand-wound calibre 5179. This calibre of 6.1 mm, already equipped with a column wheel and a vertical clutch, had the particularity of a single push button placed above the crown, commanding start, stop and return to zero. But this chronograph did not have a minute counter and was fitted instead with a rotating bezel marking the 60 minutes. After starting the chronograph, the bezel is rotated so that the zero is placed on the current minute. From the beginning of the 80's, Seiko puts an end to its production of mechanical chronographs. But the story, similar to what occurred at Zenith with the famous El Primero, is repeated in Japan: watchmakers who were supposed to scrap the machines used for the production of mechanical chronograph calibres refuse the orders and do not destroy them. Good for them! Because, as we know, mechanical watchmaking will be reborn, but this time it is the Swiss who are ahead. A few years later, Seiko's machines come out of their purgatory, the old retired watchmakers are recalled, and the production of Seiko mechanical chronographs restarts in 1998. But the Japanese, who have become dominant on the quartz watch market no longer believe in the international appeal of their mechanical production and confine it to their prestigious Credor line, then reserved for the Japanese market alone. Under the Credor label, Seiko launches several new automatic calibres, gradually updating them with various

improvements, up to the calibre TC78 which they decide to sell to third parties. TAG Heuer, eager to escape the tutelage of ETA, will not only buy some but will conclude an agreement to be able to "reproduce" it by transforming it somewhat and manufacturing it under the name "calibre 1887".

Back to international It was not until 2009, 40 years after the "5 Speed Timer" and its calibre 6139, that Seiko made its international comeback in the automatic mechanical chronograph with the launch of the Ananta collection. The calibre 8R28 launched then takes the traditional elements of Seiko chronographs, such as column wheel, vertical clutch and "Magic Lever", while bringing some innovations such as the simultaneous return to zero of all chronometric indications. But if one moves away – partially – from the only mechanical chronograph, it is important to emphasise that Seiko, in parallel with its traditional production, has launched new lines of research that led to the Spring Drive line, released in 2005. Its technology combines mechanical energy production and its conversion into electrical and magnetic energy. As tradition dictates, the Spring Drive chronograph is equipped with a column wheel and a vertical clutch, but its control system offers superlative precision compared to the traditional chronograph: +/- 1 second / day. Precision being one of the major qualities required for a chronograph, the Spring Drive movement deserves a place apart.

The Grand Seiko 55th Anniversary Spring Drive Chronograph, presented in 2015. A specially tuned version of Spring Drive calibre 9R96, providing an accuracy of 1 / - 0.5 second/day (+/- 10 seconds per month). A limited edition of 400 pieces. 39

A CURATED SELECTION OF TEN

VINTAGE CHRONOGRAPHS

SELECTION AND COMMENTS BY LORENZO MAILLARD, COLLECTOR

The '50s, '60s and '70s were the apogee of the chronograph. These ten chronographs, selected from hundreds of models, demonstrate the technical vitality and creative liberty of these years, which continue to thrill collectors today.

Mathey-Tissot (~1970) With its Supercompressor case, its Singer dial that has browned with age, its minute counter with regatta markers and a bright red direct-drive seconds hand in the same hue as the markers, this Mathey-Tissot chronograph is flawless. The 40 mm watch is of a considerable size for the time, bringing it a certain modern touch. This magnificent piece is driven by the faithful, robust and handsome Valjoux 72 calibre.

Zodiac â&#x20AC;&#x201C; Zodia-Chron (1953) For many years, Zodiac was considered a watchmaker that never failed to push back the limits of design. The Astrographic and Olympos might demonstrate this, but the brand's boldness is not limited to three hands, and the Zodia-Chron perfectly embodies its creativity. Launched in 1953, this luxury chronograph appeared on the market one year before the Rolex Cosmograph Pre Daytona models were released. This chronograph has it all: the Valjoux 72 (the Rolls Royce of chronograph movements), a tachymetric bezel rather similar to that of a Speedmaster, and a sublime brushed dial with infinite undertones and subtle red touches on the markers. Difficult to capture in a photograph, this rare, elegant piece features a design with a nearly perfect balance so characteristic of the time. 40

Universal Genève Space Compax (~1969) Universal and its chronographs require no introduction: they are renowned and sought-after by collectors, but this rare – and, to say the least, original – example deserves special attention. Its case becomes deliberately thicker around the push-pieces, much like the case of its cousin, the Polerouter Sub; its screw-in crown and rubber push-pieces betray its diving capacities. In fact, with a water resistance of up to 200 metres, this Universal is one of the last "tool watches" produced by the Geneva-based watchmaker, which began producing practically all its watches in quartz shortly afterwards. As if that weren't enough to set it apart, the art deco 12 hour marker adds a funky little touch that makes this watch truly lovable.

Seiko 7A28-703 Synchrotimer (1983) Some people call this timepiece the Poor Man’s Speedmaster. I wouldn't go so far, but it is undeniable that the 7A28-703 Seiko Synchrotimer chronograph has its own special identity. First of all, it is necessary to point out that this chronograph has a quartz movement... But not just any quartz movement: it is a mechanical/ quartz combination with an independent motor for each subcounter and 15 jewels on the mechanical part. The electronic portion offers a reliability and precision far beyond the performances of a strictly mechanical movement. The built-in strap and gold-tone part of the tachymeter bring it a unique, very '80s look. In fact, this watch has a special pedigree, since another version of the 7A28 was worn by Roger Moore in the James Bond film A View to a Kill.

Citizen Record Master (1967) A lot of people are familiar with the Citizen Bullhead chronograph, but few know that the Japanese brand also produced a handwound and column-wheel mechanical chronograph. Its limited production and late launch, in 1967, only brought it only modest success. Nevertheless, this chronograph has real charm. Its streamlined aesthetic, mechanical simplicity, rudimentary display (devoid of a minute counter), lovely steel strap and reasonable price all make it a unique, truly desirable object.

Wakmann Triple Date Chronograph ref. 72.1309.70 (~1960) Wakmann Watch Company is an American brand founded in 1946 that became famous through its partnership with Breitling, for which the company retailed â&#x20AC;&#x153;Wakmannâ&#x20AC;? brand watches designed for the American market. The Triple Date Chronograph is surely the brand's most successful model. Equipped with the Valjoux 730 (a more high-performance version of the Valjoux 72 at 21600 vph), it features not only a chronograph but also displays the date, day and month, making it the perfect tool for daily use. Despite all these complications, the magnificent "panda" dial remains balanced and understated.

Mido Multi Centerchrono (~1940) Once you get into the production and history of the brand Mido, you will be amazed by the variety of products and their unique aesthetic, characterised by a surprising orange patina. The Multi Centerchrono, developed in the midst of WWII, offers a striking design and a higher legibility compared to a two-counter chronograph. In fact, the minute counter is located in the white area surrounding the dial, and the red direct-drive hand indicates passing minutes. With its modest 34.5 mm diameter, the Mido is characteristic of pieces from the 1940s which symbolise the golden age of watchmaking design. Equipped with the 1300 calibre based on the Valjoux 23, this Mido is not just another pretty face; it is noble and reliable. Beautiful inside and out!

Angelus Medical chronograph (~1965) No need to be a doctor to appreciate this timepiece by Angelus. The brand, renowned for its manufacture calibres, brings us a truly functional tool in an aesthetically appealing form. Designed to calculate patients' heart rates, the chronograph can be used to time either respiration or pulse. A particularly surprising detail: the plexiglas crystal features a cyclops that covers the base 10 pulsation section of the dial. This piece, equipped with a modified version of the Valjoux 22, is particularly rare, especially with the two-push-piece configuration. 42

Longines Conquest 1972 Olympico For Longines, the Conquest ref. 8614 is the quintessence of 1970s watchmaking design. It was designed for the Games of the XX Olympiad in Munich, held in 1972, which became unfortunately memorable because they were interrupted by a terrible tragedy. The watch is driven by an in-house manufacture single-pushpiece chronograph. Its rudimentary simplicity reflects its utilitarian profile, bringing it a unique charm. The dial makes me smile, personally, since the single counter at 3 o'clock brings to mind a monocle and I can't help but think of Mr Monopoly.

Seiko 5718 Olympic Chronograph (1964) Produced for the 1964 Olympics in Tokyo, the reference 5718 is surely the rarest chronograph â&#x20AC;&#x201C; if not the rarest timepiece â&#x20AC;&#x201C; ever produced by the Japanese watchmaker. Its cousins, the 5717 and 5718, were also designed for the Olympics, but they are more rudimentary, since they do not feature a minute counter or the incredible manual counter. The manual counter, which is activated by the left-hand push-pieces, was probably designed to count runners crossing the finish line. By activating the upper push-piece, you progress along the numbers 0 to 9 in the counter to the right, while the lower push-piece activates the counter to the left. The minute counter also includes a seconds hand. The column-wheel movement that drives this exceptional piece was manufactured by Seiko exclusively for this model. Its scale-design strap brings a unique harmony and truly Japanese soul to the chronograph. 43

CHRONO

GALLERY

Vacheron Constantin, Traditionnelle Chronograph Perpetual Calendar For the sake of legibility, the dial features various nuances of grey with finishes that differ according to the function, just like the Vacheron Constantin chronographs of the 1940s. The 1142 QP calibre, a latest-generation movement entirely designed and developed by the manufacture, replaces the 1141 QP. This movement features perpetual calendar functions: it indicates the date, day of the week, month, leap year and phase of the moon, in addition to the central direct-drive chronograph function, 30-minute counter at 3 o'clock and, opposite, the small seconds at 9 o'clock.

Eberhard & Co, Chrono4 130 To mark its 130th anniversary, Eberhard & Co brought out a special model of its famous Chrono4, the only chronograph to present four horizontally aligned counters: minutes, hours, 24 hours and small seconds, offering immediate legibility. This commemorative edition reveals the counters' cogwheels through a sapphire glass bridge measuring just 3/10ths of a millimetre. 42 mm steel case. Edition limited to 130 pieces. 45

Baume & Mercier, Clifton Club Shelby® Cobra 1964 The Clifton Club Shelby® Cobra collection has been extended to include two limited edition chronographs produced in 1964 pieces each. The two variants are equipped with the self-winding Valjoux 7750 movement. Directly inspired by the Shelby Cobra Daytona Coupé, all the aesthetic elements of these chronographs were designed in collaboration with the automobile designer Peter Brock. The 44 mm satin-finished stainless steel case reflects the aerodynamic lines of the Daytona Coupé. The modern dial – available in a silver-tone or Daytona blue hue – features Arabic numerals, a day and date indication at 3 o'clock, and a tachymetric scale on the inner bezel. Inspired by the car's dashboard, the encircled and vertically aligned chronograph counters are emphasised by touches of red, while the hour and minute hands are coated with blue Superluminova.

Blancpain, L-Evolution "Super Trofeo" Flyback Chronograph Blancpain joined forces with Lamborghini to bring forth an automobile championship series with six events per year, the Super Trofeo, where the new Lamborghini Gallardo models face off. To celebrate these races, Blancpain presents a new flyback chronograph, the Super Trofeo. A resolutely sporty watch limited to 600 pieces. To reinforce its dynamic character, the mechanical movement of the Blancpain Super Trofeo, Calibre F185, has undergone an NAC galvanic treatment that blackens the bridges and baseplate of the movement. A self-winding mechanical chronograph, the Calibre F185 features a 40-hour power reserve. In addition to hours, minutes and small seconds, it displays the date in a window at 6 o'clock, and features chronograph indications, direct-drive seconds, a 30-minute counter at 3 o'clock and a 12-hour counter at 9 o'clock. The black dial stands out with its red-and-white 9 and 12 numerals, stylised in the image of the numbers featured on Lamborghini Gallardo LP560-4 sportscars.

Richard Mille, RM 50-03 McLaren-F1 The RM 50-03 is the most lightweight split-second chronograph in the world at just 40 grammes, including the strap. This performance is accomplished through the use of highly technical materials – including titanium, TPT carbon and Graph TPT for the case – and a thoroughly openworked structure. The movement itself only weighs 7 grammes. The TPT™ carbon cage attached to the case middle – the shape of which is inspired by the suspension wishbones of a McLarenHonda Formula 1 – supports the calibre RM50-03. This atypical structure, which does not include a casing ring, guarantees that the movement is ideally integrated into the case. All these technical solutions provide the complex piece with extraordinary shock resistance, tested in-house with 5000 G shocks. 47

Lang & Heyne, Albert Monopusher Chronograph The goal of Lang & Heyne was to create a chronographic movement which gives the watch a classy and noble look on the outside, while housing a movement with exceptional technical precision. Driven by a column wheel mechanism, both the seconds hand and the minutes hand operate from the centre of the watch. Large two-hundred-tooth gold chronograph wheels lay the foundation for a perfect start and smooth hand operation. The Albert appears sharp and austere with its Roman numerals and white enamel dial or galvanic black dial in solid silver. The full accuracy of the time indicated is not disturbed by additional dials, and the monopusher integrated into the crown helps perpetuate the classic look of the watch case.

Mido, Multifort Special Edition Chronograph The Mido Multifort collection is one of the most prominent Mido watch collections. In a special edition in black PVD-treated 316L steel, this self-winding chronograph is equipped with a Mido 1320 movement based on the ETA Valjoux 7750, and it features an Anachron balance spring, a Glucydur balance wheel, and a Nivaflex NM mainspring. This chronograph movement is finely decorated, including blued screws and an oscillating mass with an engraved Côtes de Genève finish. The hours, minutes, seconds and 60-second chronograph appear at the centre, while the 30-minute counter is displayed at 12 o'clock and the 12-hour counter at 6 o'clock. The day and date appear at 3 o'clock. 44 mm 316L steel case. Transparent caseback. Water-resistant to 100m. Sold with two interchangeable bracelets in black calfskin and orange crocodile-stamped leather. 48

Raymond Weil, Freelancer Chronograph The brand-new edition of Raymond Weil's star chronograph seeks to combine elegance and power. With a 42.5 mm steel case offering water-resistance to 100 metres and driven by a self-winding mechanical movement featuring a 46-hour power reserve, the latest addition to the Freelancer collection is available in several models, with a silver-tone or black dial and a leather or steel strap. The screw-in crown, tachymeter and guilloché bezel make this new Freelancer chronograph an elegant yet manly model for all occasions. Hours, minutes and small seconds at 9 o'clock. Date and day-of-the-week display at 3 o'clock.

Hermès, Arceau Chronograph Titane In 1978, Henri d’Origny designed the Arceau: a round watch to which he added asymmetrical stirrup-shaped fastenings and a unique, easy-to-identify typeface. With a chronograph complication and a 41 mm sandblasted titanium case, this sporty self-winding version is incredibly lightweight. The three counters and date display are harmoniously arranged along the dial. The straps of both models – in natural Barenia and embossed black Barenia leather – reveal the Hermès tradition of leather-crafting excellence with their saddle stitching and delicate textures.

Singer, Track1 The new chronograph "motor" by Jean-Marc Wiederrecht, the head of Agenhor, drives this year's two most interesting chronographs: the Visionnaire Chronograph by Fabergé (see opposite) and the Track1 by the new brand Singer. The chronograph's hours, minutes and seconds are indicated coaxially at the centre of the dial, on a 3x60 scale (60 seconds, 60 minutes and 60 hours), making it possible to read the time display in a simple, intuitive, immediate way. This 34.4mm calibre beats at a frequency of 3 Hz and its two barrels ensure a power reserve of more than 60 hours. This exceptional motor is structured around a series of openworked cams driving the central display of the chronograph functions. Moreover, the innovative clutch – exclusive to Singer – provides unprecedented comfort. The titanium case with pure, dynamic lines is a modern interpretation of the chronographs of the '60s and '70s. Its barrel shape presents a fine bezel and is delicately curved for optimal ergonomics. Polished and sun satin finishes are alternated throughout the 43mm diameter watch.

Fabergé, Visonnaire Chronograph One of the principal codes of Fabergé's Visionnaire collection is to place the complication at the centre of the watch, as in the previous Visionnaire DTZ (which stands for Double Time Zone). With the involvement of Jean-Marc Wiederrecht (see opposite the Singer Track1 based on the same movement), Fabergé presents this Visionnaire Chronograph, loosely inspired by the preparatory drafts of the 1917 Constellation Egg (which was never finished) and its exterior time measurement ring. The chronograph complication therefore appears at the centre of the dial, indicated very clearly with three hands (24 hours, 60 minutes, 60 seconds), while the passing hours and minutes are indicated on scales outside the dial by two indicator tips which protrude from underneath the central dial of the chronograph. (See in this edition the interview with Aurélie Picaud, the source of Fabergé's watchmaking revival). 51

Longines Avigation BigEye The "winged hourglass" brand revisits one of its recent acquisitions as part of its Heritage collection: a chronograph with a 1930s design that takes its place in the great pilot watch tradition, the Longines Avigation BigEye. It features a very legible dial emphasising the minute counter, imposing push-pieces that may be handled while wearing gloves, and a 41 mm case containing the L688 columnwheel chronograph calibre produced exclusively for Longines. The indications are perfectly easy to read against a semi-shiny black dial with Arabic numerals coated in SuperLuminovaÂŠ. With an oversized 30 minute counter at 3 o'clock, a 12-hour counter at 6 o'clock and small seconds at 9 o'clock. A domed glass and brown leather strap complete this piece, surfing in on the vintage wave.

Omega, Speedmaster 38 mm "Orbis" The long Speedmaster line is expanding: the new Speedmaster 38 mm collection now includes a special model, "Orbis", as part of the brand's support to Orbis International and the ophthalmological missions of its hospital-aeroplane, the Flying Eye, throughout the world. Case and bezel crafted in stainless steel with tachymetric scale on a blue aluminium ring. Blue sunburst dial with light blue horizontal oval subdials and a vertical oval date display at 6 o'clock. All with an attractive allure. Mounted on a stainless steel strap, the watch is driven by the Omega Co-Axial 3330 calibre. 52

TAG Heuer, Autavia Special Jack Heuer The Autavia is a limited edition of the iconic Heuer chronograph to celebrate the 85th birthday of Jack Heuer, the watch's creator. This new reissue, limited to pieces from 1932 in reference to the year of Jack's birth, was designed by Jack Heuer himself. More imposing than its predecessor, it boasts a 42 mm diameter compared to 39 mm in the 1960s, a 12-hour graduated bezel, and a new Heuer-02 calibre proprietary chronograph movement. This latest-generation Autavia carries the DNA and aesthetic codes of the original, and has been modernised for today's market. Its functions are tailored to modern requirements: a self-winding calibre, 80 hours of power reserve, a date at 6 o'clock, and water resistance of up to 100 metres. In black aluminium, the bi-directional notched bezel encircles a silver dial with three black snailed counters in an optimal layout. A legible, balanced display with hands and steel applied indexes coated with beige Super-LumiNovaÂŽ.

Montblanc 1858 Chronograph Tachymeter Limited Edition - 100 pieces Wide, traditional cloisonné cathedral hands with luminescent coating cross paths with blue chronograph and seconds hands against a salmon-coloured sunburst dial. Luminescent Arabic numerals, a classic minute track and the original 1930s Montblanc logo in its historical font. All this in a 44 mm bronze case: other than the size, it doesn't get much more vintage than this. Not to mention that inside this single-push-piece chronograph beats a calibre inspired by the original Minerva 17.29 designed for 1930s pocket watches and wristwatches. With an identical design, the calibre MB M16.29 is a hand-wound column-wheel chronograph with horizontal links, a V-shaped chronograph bridge, a large screwed balance wheel with a frequency of 18 000 vibrations per hour, and a power reserve of approximately 50 hours. A work of art.

Montblanc TimeWalker Rally Timer Chronograph Limited Edition 100 With a white dial and three black counters, it’s a panda. With a black dial and three white counters, it’s a reverse panda. In the wake of the Minerva Rally Timer chronometer manufactured by Minerva in the 1960s – rooted, as the name suggests, in automobile racing – Montblanc brings a reverse panda dial to its TimeWalker Rally Timer Chronograph Limited Edition 100. This versatile wristwatch is mounted on a patinated Sfumato calfskin strap, but it may easily be transformed into a pocket watch or even a desk clock thanks to two supports on the back of the watch case. As if that weren't enough, the chronometer may be used as a stopwatch, with the strap serving as a handle; or set into a leather-coated metal plate to be installed on a dashboard. The transparent grill-shaped caseback offers a view of the chronograph's Manufacture MB M16.29 calibre. Single hand-wound push-piece, column-wheel, horizontal links and 50-hour power reserve.

Oris Chronoris Date The iconic Chronoris was launched in 1970 and brought Oris and motor sport together for the first time. The new Chronoris echoes the original, with its retro design cues and racing-inspired styling. The Oris Chronoris 39 mm multi-piece stainless steel case is protected by a sapphire domed top glass. It is powered by an automatic winding date Oris 733, base SW 200-1 movement. Centre hands for hour, minutes and seconds, instantaneous date, date corrector, fine timing device and stop-second.

Hanhart, Pioneer TachyTele Chronograph Inspired directly by a model from the 1930s, Pioneer TachyTele features, in addition to the stop function, two practical scales which are easily readable against the dial thanks to their red finish. The tachymeter scale for measuring average speeds is integrated in the centre of the dial in a spiral formation. This scale allows for a total of three revolutions of the stop indicator hand, considerably extending the measurement range and enabling even relatively slow speeds from 60 km/h down to 20 km/h to be measured. The telemeter scale, which is printed on the peripheral edge of the dial, is used for measuring distances, by using the speed of sound. The red buttonâ&#x20AC;&#x201D;the distinctive trademark that has characterised Hanhart since the company first introduced its chronographs in 1938â&#x20AC;&#x201D;has been painted mainly to prevent pilots from unintentionally zeroing the stop time. Automatic chronograph movement HAN3703 (bicompax), asymmetrical button arrangement, 28,800 vibrations per hour, 4 Hz, 27 jewels, power reserve of 42 hours min.

Breitling, Super Avenger 01, Boutique Edition For the first time, the Super Avenger 01 chronograph features a manufacture calibre Breitling 01 in a special limited edition of 100 pieces, available exclusively from any of the 60 or so Breitling boutiques throughout the world. The COSC-certified chronometer stands out with its black dial, featuring tone-on-tone dials enhanced by the red "Limited edition" inscription and large, luminescent hands and markers. The steel case combines an imposing 48 mm diameter with a very professional aesthetic. The chronometer, water-resistant to 300 m, has an ultrarobust construction with screwed-in push-piece reinforcements and a massive screw-in crown with non-slip relief. Your choice of strap: leather, rubber, high-resistance military textile fibre or steel. The special engraved caseback features a pin-up with a vintage appearance (here we go again!) and the words "Special delivery".

Louis Vuitton, Tambour All Black Chronograph Developed in 2002, the Tambour watch marked the beginning of the Louis Vuitton watchmaking story. Fifteen years after it was launched, a new version was released: the Tambour All Black. The Tambour All Black Chronograph brings a sporty spirit to the watch while conserving its elegance. Within its imposing 46 mm steel case is a self-winding calibre offering chronograph, hour, minute, second and date functions. 56

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Sports timekeeping

PART I: 1964,

A TURNING POINT IN CHRONOMETRY FOR SEIKO

BY SERGE MAILLARD

The Olympic Games held in Tokyo in 1964 changed Seiko for ever. That edition, the first ‘technological’ Olympics, brought the Japanese company into the international arena. The numerous innovations it developed at that time still mark the group’s image today.

n 1964, Seiko already had a long and rich history behind it in Japan as a precursor of the watchmaking tradition in that island state. But the brand was seeking a more international thrust. The Olympic Games held in Tokyo that year, a symbol of rebirth and a showcase for the 'new‘, post-war Japan, provided the perfect opportunity. Shoji Hattori went all out for it and obtained the mandate to time the competitions. It was a watershed moment in the brand’s history. Because these Olympics also aimed to be the first ‘technological’ games, and on that count Seiko delivered… “Just imagine: no fewer than 1,278 devices were designed especially for the competition!” exclaims Robert Wilson, a British veteran of the Japanese brand and one of the best 'bridgebuilders’ between the European and Nippon watchmaking

cultures. "The company's reputation skyrocketed. The creation of a new generation of chronometers was enough to convince the sports establishment of the time, who hadn’t even heard of the company before!” Seiko would subsequently be selected as timekeeper for a further five Olympic Games (as well as numerous Asian and Commonwealth Games) – until the mandate went to Omega and the Swatch Group subsidiary, Swiss Timing. We’ll come back to that in the next episode of this series on sports timekeeping.

From quartz to printer But back to 1964: those Olympic Games triggered a techno- may have to wait a little longer for confirmation of the aclogical leap at Seiko in several respects. Certain innovations tual result, which explains the minor adjustments that may were subsequently applied to the production of regular occur between the times issued immediately afterwards and watches. Here are some of the most important ones: a new the official results. generation of high-precision chronometers; the first elec- A few graphics at the end of this article show the technolotronic display board; and the first portable quartz chronom- gies that Seiko covers today, from starting system to photo eter, the precision of which, paradoxically, many people finish (note that it’s an athlete’s torso that counts for the mistrusted! result, it’s not worth stretching your arms out), and in beOn another level, as information technology developed tween that measurement of distances and wind speed, and the results had to be supplied to journalists faster. That was the times of the marathon runners who run outside the stawhen the company first began producing printers, resulting dium equipped with a transponder. One general trend is bein the creation of Epson, which today is by far the most im- coming apparent quite apart from the computerisation of portant business line of the Seiko-Epson Corporation. procedures: video installations are increasingly ubiquitous Bolstered by these successes, Seiko became the official and Seiko is a pioneer in this type of innovation. timekeeper of the International Association of Athletic Federations (IAAF) starting with the World Indoor Games in Paris in 1985 and the World Athletics Championships in What's the return on investment? Rome in 1987 – a mandate it still holds. “Since then, we’ve covered 150 competitions, including the World Championships A dedicated team, ultra-sophisticated equipment, coverage in London this year, with 2,034 athletes from 200 countries of numerous competitions… but what does Seiko get in return? “There's no real way of measuring in 47 disciplines,” says an emphatic Robert the return on investment,” replies the exWilson. “Our Seiko Timing Services strucperienced Robert Wilson. “At the Olympic ture supplies these services to the IAAF In a fraction of a Games in Barcelona in 1992 I really noticed free of charge. We pay a small amount of second, the results a clear correlation between our timekeepsponsoring, but it's a fraction of the cost of ing of the competitions and a sales boom, the equipment." of the competitions especially in Spain. That’s no longer the are displayed on the case today.” A crack team giant screens placed This business is not a profit centre for Seiko, unlike at Swiss Timing, for example. around London’s And on that subject, Europa Star had the So why do they persist in doing it? “First chance of going backstage and seeing of all for logical reasons of visibility, with Olympic stadium. how the timekeeping was done at the 2017 700,000 people at the stadium over ten London World Athletics Championships. days and an accumulated TV and online The dedicated team is made up of 60 engineers, mostly audience of 6 billion people for the World Championships! British, as well as Japanese. The equipment fits into eight Our logo is in full view on the screens and we also issue a containers and it’s not cheap... One scoreboard costs a hefty special watch for the occasion.” 500,000 dollars and Seiko deploys no fewer than eight dur- There are also ‘sentimental’ reasons, as Robert Wilson goes ing the championships, all in the highly recognisable yellow on to explain: “All these instruments can lead to innova‘official timekeeper’ colour of such competitions. This one, tions, like they did in 1964, which was a historic milestone notably, marked the last official appearance of the legend- in our development; so sport is a part of our history and our ary Jamaican sprinter Usain Bolt (world record holder in the identity and we want to give something back to this commuflagship disciplines of the 100 and 200 metres). nity that has helped us so much." Of course, backstage, in front of the screens that line the In actual fact, Seiko has the capacity to cover many more box reserved for Seiko's timekeepers – who are in perma- competitions: “If, like us, you have the wherewithal to time nent contact with the race officials – you soon realise that swimming and athletics, you can time anything, from cythe stopwatch of yore has long been replaced by an entirely cling to motorsports and regattas!" To their great regret, the automated measuring system, which is, moreover, increas- 2020 Olympic Games in Tokyo will not be timed by Seiko like ingly digitalised. the historic Games of 1964. So the return to home ground In a fraction of a second, the results of the competitions will have to wait a little longer. But the Japanese watchmakare displayed on the giant screens placed around London’s ers are known for their perseverance and long-term vision Olympic stadium. The spectators, whether in the stadium or – unlike their Swiss counterparts, very often… So the watchin front of their TV, don't like to be kept waiting! But they word is – patience!

History

WATCH AUCTIONS:

THREE DECADES OF A LEGEND

PART II

BY OLLIVIER BROTO, WATCHONISTA CONTRIBUTOR, AND JOÃ&#x2039;L A. GRANDJEAN, CHIEF EDITOR OF WATCHONISTA

During the 2000s, the sector saw the arrival of so-called “modern” brands in the watch auction catalogues. Charity events began to emerge... uring the 2000s, models by so-called “modIn April 2002, the Patek Philippe 1415 HU achieved 6.6 M CHF. ern” brands, in other words belonging to recent or “open” collections, started finding their way into the feverish auction halls. In the meantime, Rolex was increas- 2007, returns and new records ingly stirring the passions of collectors. It was the start of Rolexmania. This period also saw the arrival of one Aurel The year 2007 marked the departure of Osvaldo Patrizzi Bacs, who was working for Phillips in their new Geneva of- and the takeover of Antiquorum. The modern-day artisan of watch auctions sold his business fices. However, following Bernard Arnault’s and hurtled headlong, unbeknownst to decision to reduce LVMH's stake, Phillips “The year 2007 also him, into a legal wrangle that would end powered down its watch auction activisaw the advent of the in his favour only ten years later, in 2017. ties in Geneva. Aurel Bacs therefore joined Omegamania themed He bequeathed to the company a dataSotheby’s, where he pursued his stellar cabase of all the models sold since 1989, i.e. reer in the sector. In April 2002, the Patek auction in Geneva, around 65,000 timepieces. Christie’s, in Philippe 1415 HU achieved 6.6m CHF unthe very first auction the meantime, mounted the first step of der the Antiquorum hammer, sending all broadcast by satellite the podium. prices sky-high in the process and setting a 2007 was also the year of the Omegamania world record for wrist-watches that would on a big screen in the themed auction in Geneva, the very first not be beaten for some time. We were in a heart of Baselword.” auction broadcast by satellite on a big period of euphoria. screen in the heart of Baselword, in the Another phenomenon was gradually beginning to take shape, namely the staging of high added presence of the late Nicolas Hayek Senior. Never before had media value charity events. In 2005, Luc Pettavino, CEO of an Omega watch reached such a price! The 413,700 CHF paid the Monaco Yacht Show, together with Antiquorum and for the timepiece would make the Platinum Constellation under the distinguished patronage of H.S.H. Prince Albert Grand Luxe, a platinum model boasting a diamond index II of Monaco, set up the Only Watch auction, which would embellished dial and manufactured as a small series in the take place once every two years. It became a major institu- 1950s, an icon of the auction industry. Osvaldo Patrizzi, the tion in the sector. Taking advantage of the sudden surge in architect of these themed sales, thus firmly established his interest in watch auctions, it succeeded in raising consider- historical reputation as a pioneer, immediately prior to his able sums, while offering worldwide visibility to the brands departure from the company he had created in 1974. participating with their one-of-a-kind creations. The event Meanwhile over at Patek Philippe, which has been topping therefore played an introductory role for many of today’s the record lists for years now, the most expensive watch ever brand names, given that a good auction result has the advan- sold in the United States (New York, Antiquorum), the Sky tageous effect of immortalising the reputation and intangi- Moon Tourbillon, achieved 1.38m CHF on 14 June 2007. One of the only two ultra-complicated pocket watches known in ble value of a watchmaking brand for all eternity. the world, complete with double chronograph, flew off the blocks in Geneva in May for 928,000 CHF.

Patek Philippe ref. 2499

2007, the golden age The Asian market, especially fond of enamelled timepieces, went from strength to strength, posting performances in June 2007 across all houses 20% higher than those recorded in November 2006. Since then, no watch auction could overlook the auction houses of Shanghai, Taiwan, Hong Kong, Singapore and Tokyo. Then in Geneva, the autumn sale of the same year hit 20 million CHF and set eight records with, among other pieces, the Rolex Yellow Gold GMT, Master Perspex Bezel (ref. 6542), ref. 6239, a Doctors Cosmograph, which went for triple its original estimate, and a 1940 triple chronograph by Audemars Piguet, selling for 447,000 CHF. Sotheby’s scored high in the satisfaction stakes, despite an 11% downturn. Geneva posted results of 13,507,403 CHF, New York topped the 12 million CHF mark, Hong Kong 9.6m CHF and London did well with 5,539,894 CHF. In other words, a total of over 41.4m CHF in sales, with a record model, the term now used in the sector to refer to a timepiece having beaten all previous records. In this case, it was The Franklin D. Roosevelt Clock, a table clock made by Pierre Cartier and given to the American president as a symbol of the European fight against Nazism. Dubbed “The Hour of victory in the world”, the splendid, magical five-dial desk clock was an eight-day timepiece crafted in silver, onyx and nephrite (Ed: a type of jade). Outside of the unstoppable Patek Philippe, other brands also played the game admirably well, including Vacheron Constantin, Breguet and Piguet & Meylan. 68

Another highlight was that Antiquorum, the pioneer in wristwatch auctions, was knocked off the top spot by Christies' performance. The sheer tenacity, impressive teamwork, reputation and international resources of the house, not to mention the amount of time spent on painstaking historical and cultural research, continued to pay off. Geneva, New York, Dubai and Hong Kong exceeded all expectations, reaching the unbelievable consolidated total of 103m CHF in 2007! And the variety of the lots on offer meant that Christie’s was able to uncover a few delightful rarities, a trend that was also confirmed among its competitors. These included the sublime ref. 4293 by Vacheron Constantin, whose movement was crafted in 1943 and whose rose gold case was made in 1957. The three-calendar minute repeater wristwatch had pulses racing high in October’s sale in New York when it reached a staggering 548,460 CHF. It was in November in Geneva that the leading house could legitimately claim to have sold the most expensive watches ever in the history of auctions. The lot in question, no. 223, comprised five watches. Be that as it may, Patek Philippe enjoyed a considerable lead, mainly by nearly tripling the original estimate for its ref. 2499, a chronograph with perpetual calendar and moon phases in rose gold, sold by Gobbi Milano and manufactured around 1957. The auctioneer’s gavel sent this piece flying to the top of the list of the most expensive watches ever sold by Christie’s, for the sum of 3,283,560 CHF.

2017: the golden era of Aurel Bacs The future of the auction: mixed fates and promises Today, however, some of the parameters have changed. How come, for example, the US dollar has remained the reference currency since 2002, while its rate against the Swiss franc continues to fluctuate? Just as factors such as rarity, seniority and quality determine once-stable prices, so do today’s trends fluctuate rapidly and influence new buyers with recently acquired buying power. All this has come about as a result of the activities not only of watchmaking specialists, but also bloggers, websites and those whom the trendies of marketing have dubbed the influencers. The inevitable knowledge regression that occurs sometimes prompts the emergence of true connoisseurs. Such as when certain industrially manufactured pieces are as expensive as hand-crafted workshop pieces. The indefatigable expert, Dr. Helmut Crott, gives us his insight in no uncertain terms: “New collectors and buyers need to be taught more about the quality of the watchmaking arts and about the different levels and subtleties of quality that exist.” Basically, judging by the efforts undertaken to recruit the best experts, it would appear that the players in the field already know this.

The watch auction landscape in 2017 was chiefly dominated by the aura of auctioneer Aurel Bacs, the new star of the field. Bacs, the man responsible for giving Christie’s the top spot, also brought about the return of Phillips auction house to the stage in 2015 after a twelve-year absence. As well as remaining at the helm of his own consultancy and expertise firm giving advice to private collectors, brands in search of historic recognition and indeed horological museums, he also supervises and organises sales. Bacs is a man who understands buyers’ tastes. He travels the world paying personal visits to the most seasoned connoisseurs, while tracking down rare pieces likely to bring about a bidding frenzy. Better still, insiders believe that he also has the capacity to influence the market. Be that as it may, in terms of results, he managed to put Phillips back in the limelight and in the process led a high-profile sale in November 2016 when the Patek Philippe ref. 1518 went under the hammer for 11m CHF. It’s a staggering amount. It stands out in letters of gold for all adventure-seekers looking to rise to the challenge and smash the record.

ALMOST 20 MILLION FOR A STEEL ROLEX? THE WORLD’S GONE MAD! BY JOËL A. GRANDJEAN, PR JOURNALIST / WATCHONISTA

The topic up for debate is whether the auction system is out of control. Is the race to beat the record counter-productive for the watchmaking sector? One thing’s for sure, it’s obscuring a few realities… Here’s why. Between the time this article was begun (see Part 1 in our previous issue and at Watchonista.com) and the time it was published, something extraordinary happened: on 26 October 2017, at a New York auction headed up by Aurel Bacs, undisputed star of the watch auctions, a Rolex Daytona Cosmograph crafted in steel, having once belonged to Paul Newman, sold at Phillips for the record sum of 15.5 million USD! Add the auction house’s commission of 12.5% and you’ve got a grand total of 17.8 million USD! We should perhaps add that it was purchased by the actor’s wife back in the day for around 300 USD! That means it has topped 59,333 times its original price in just under 60 years. What an investment! It knocks the previous record off the top spot, thereby securing Aurel Bacs’ Midas-like reputation for just about everything that comes under his hammer.

The downside Up until now, the auction business, which has been gathering momentum for more than 30 years, has been beneficial for the entire watchmaking sector. Firstly, for the brands concerned, who obviously have brand new products to sell and are therefore happy to take advantage of the free publicity. And secondly, for all the other brands concerned by the subsequent promotion of the micromechanical arts and exceptional craftsmanship. Thanks to the articles regularly penned on these pages, they have indirectly received the benefit of a wide audience, its appetite whetted by the enthusiastic bursts of media attention. Today, however, after the incredible amount achieved at auction in New York, a sum without any bearing on reality, new questions have arisen. Is there a downside? The sheer extent to which these auctions have developed has the drawback of highlighting another reality. The continuing good health of the collectors’ vintage market is at the same time countered by the declining fortunes of watches featured in current collections. What of the auction catalogues, which are currently brimming with references from the past? Might they not be overshadowing new watches in today’s brands’ catalogues? In this respect, the race to beat the record is inevitably a double-edged sword in the long run, even for the more prosperous brands, such as Patek Philippe, or Rolex.

The after buzz, a time of hope: Tudor, Dufour, etc… As for Phillips, clearly its mastery of the social platforms is second to none at the moment. Bloggers and influencers have all been sucked into the viral spiral. The house has created a planet-wide buzz for a potential star, a model that was named at the very inception of the themed watch auction, since it was Phillips, not Rolex who gave it the Newman epithet. Big enough to attract well-to-do watchmaking virgins, Hollywood stars and the newly wealthy to the watch auction universe. Also noisy enough for long-standing experts and collectors to shake their heads at the thought of such madness. Eclipsed by the media noise, their keen knowledge of other objects has already been expressed in no uncertain terms. While it was clearly a strategic move on the part of Phillips, from the oncethe-fuss-dies-down-the-real-business-of-sales-will-start school of thought, you must admit it has been rather successful. On the one hand, we have optimum media coverage and on the other, the serene progress of the sales themselves, which, to the non-connoisseur may well appear somewhat long-winded due to the sheer number of lots. Unfortunately eclipsed by this sale were other lots worthy of mention. For example, the outstanding achievement of lot 11, a steel-clad Tudor ref. 7032/0 “Monte Carlo Black”, which confirmed all predictions by selling for the upper limit of the estimate: 118,750 USD! We also had a promising performance by the independent watchmaker, Philippe Dufour, with his Duality in platinum, a study in pure elegance, which went for almost double its maximum estimate. Estimated at between 200,000 and 400,000 USD, it approached the million mark with a flurry of bids taking it to 915,000 USD. Aside from the buzz, it’s just the type of encouragement that does a brand good, the kind of boost that’s reassuring. The man himself is still alive and kicking, with a brand that’s full of real values. He stands for the transfer of skills that are fast dying out, skills on which new generations of bidders will come to depend. Read the first part of our “Watch auctions, three decades of a legend” in the June 2017 edition of Europa Star, Europa Star Première and on Watchonista. You can find this article (in French and English) on Watchonista.com

Shooting star

AURÉLIE PICAUD

FABERGÉ'S DETERMINED FAIRY

INTERVIEW BY PIERRE MAILLARD

THE OBJECT: DVD of the documentary film Signé Chanel by Loïc Prigent, released in 2013, that follows the production of a Chanel Haute Couture collection from A to Z. "I have always been fascinated by Gabrielle Chanel and her whole story. I love her sharp character and avant-garde choices, the way she laid claim to menswear codes to revolutionise the way that women dress, liberating them from constraints and corsets. She is a role model for me. And I admire the brand's strict continuity, timelessness and chic elegance, and how it always manages to include a hint of rock n' roll. And intransigence, besides!"

Photograph: Fabien Scotti | Arcade Europa Star

Few – precious few – women are at the heads of watchmaking brands. The young Aurélie Picaud, head of the Fabergé watchmaking division, is one of those rare exceptions. In a few short years, she has managed to bring the Fabergé brand front and centre, with very creative, technically innovative watch propositions like no other (picking up two grand prizes at the Grand Prix d'Horlogerie de Genève on the way for her first two models). Europa Star met up with her during one of her trips to Geneva, where a workshop has opened; and London, where the parent company headquarters is located. She was happy to answer our questions with a sweet smile and a kindly demeanour which conceals her uncommon determination. Clearly, Aurélie Picaud knows very well where she wants to take the watchmaking division of Fabergé.

Your career has been completely atypical. How did you become the head of a watchmaking brand like Fabergé?

Let's shoot for Baselworld 2015 with several new collections. They knew one thing: they wanted a ladies' complication from the beginning.

I was born in Normandy, France, and I chose to attend an engineering school in Lyon, ITECH, which notably specialises in chemistry, cosmetology and plastics processing. I Great, but how? How do you start from a blank page... thought of majoring in cosmetics, but in the end I chose And fill it up so quickly, within 14 to 15 months? leather technology, leather goods and therefore fashion. Then I left for a six-month work placement in Germany I started by immersing myself as much as possible in the with an automobile components manufacturer supplying Fabergé jewellery world and its incredible history. People are Porsche, Audi and VW. There, I participated familiar with the Fabergé eggs, but generin the research of leather for dashboards. I ally much less with the rest of the brand's "The CEO, Sean ended up staying there for two years as creative opulence. Very impressive and part of the R&D team. But I didn't have a very stimulating: great liberty, the expresGilbertson explained passion for the automobile industry, and I sion of happiness, the tricks of the trade, to me that he wanted was looking for something more creative. and so on. I started to discuss and work I was not at all familiar with watchmaking, with the Fabergé jewellery designers. to entirely revise but as luck would have it, I was hired by From there, I sought to determine the funthe watchmaking the Swatch Group to develop watch straps damental attributes of the Fabergé style division. It would for all their brands. There, as part of the in order to bring a coherent structure to Quality Management unit, I performed aumy approach. The brand's specific propormean reconsidering dits on various suppliers and was in charge tions, propensity to mix materials, very ineverything, starting of quality criteria. And I developed a pasdepth art of colour, and tendency to often sion for timepieces. over from a blank page." include a playful surprise... At the confluI then became a junior product manager ence of technical achievement and creaat Omega. My responsibilities were no tive expression. longer limited to watch straps: I worked on the entire Just think of the eggs and the surprise that they were meant product with the technical department. That lasted three to create, even in the eyes of a tsar. Something that makes us years, including work for Breguet. smile, tells a story, or evokes a particular emotion. From there, I received an offer from Audemars Piguet, a brand Moreover, Carl Fabergé was used to working with master that I appreciate, which made a statement with the Royal craftsmen on various projects. I thought that I would apply Oak in its time. They wanted to recruit me as product man- the same method to watchmaking. I began to plan out my apager, first for ladies' watches, and then for part of the Royal proach: nothing but mechanics and originality: a beautiful Oak men's watches. That finally gave me a 360° vision. I was mechanical object that expresses something special. involved not only in the product but also in the marketing strategy and communication. I was happy, and I was working closely with designer Julie Dicks… Then I was contacted by So it's the end of 2013 and you still have no team: you are Fabergé, who said they wanted to meet me. all by yourself, you leave for Switzerland, and you make some decisive contacts That was not long ago, in 2013... I went to see them. You never know. I had heard of Fabergé and its famous eggs, but I didn't know much else about the brand. I had an interview with the CEO, Sean Gilbertson, who explained to me that he wanted to "clear" the watchmaking license that would soon be coming to an end, and that he wanted to entirely revise the watchmaking division. It would mean reconsidering everything, starting over from a blank page. I never dreamed that I would be selected, but against all odds, they made me an offer. I found the adventure tempting. In November 2013, I was given the objective of presenting a collection at Baselworld 2014! I said no, that's just impossible.

I settled on four projects, and for each of these projects I decided to form a separate, autonomous team that would each cover their entire project. Before long, I had a decisive meeting with Jean-Marc Wiederrecht, from the Agenhor manufacture. I was determined to meet him and explain my ideas to him: my project to create a truly feminine complication. And I managed to convince him to embark upon this project that – thanks to his poetic watchmaking approach and specific concept of the retrograde complication – became the Lady Compliquée Peacock. In parallel, I assembled three other teams: one for a purely jewellery watch, Summer in Provence; another for the entry-range collection, the Flirt, equipped with a Vaucher movement; and

a final team for the men's watch Visionnaire 1, a project led by Giulio Papi featuring a flying tourbillon at 9 o'clock. I found myself on my own again, with all the coordination still to organise: the logistics, quality control, marketing, graphic charter, and a thousand other things. Not to mention the need to find a location in Geneva and to set up a workshop for the assembly line.

The collaboration resulted in this year's Visionnaire Chronograph, which is devoid of the traditional counters in favour of a central hands display. Some consider this a major innovation, obtained by way of a revolutionary movement. That being said, the movement remains the property of Agenhor, but we were able to be the first to make use of it.

And now it's Baselworld 2015...

We now know that Fabergé makes original creative propositions and remarkable technical solutions. But what about distribution?

Of course, I was nervous, but people immediately began showing their interest. Word-of-mouth amplified the phenomenon, and in the end, everyone wanted to see our creations. It must be said that Jean-Marc Wiederrecht became an enthusiastic Fabergé brand ambassador. But that is where the business part of the adventure truly began: seeking out partners. Fabergé is a well-known brand, but "thinking outside the egg" and getting across what Fabergé is doing today was – and still is – a different story. It is about informing the public, demonstrating the founder's incredible creative legacy, explaining Fabergé's watchmaking legitimacy, and so on. Back then, Carl Fabergé worked with Heinrich Moser, who lived in Russia.

Communication efforts must continue to be a priority, of course, and it will take time. Moreover, times are relatively hard for everyone, there's no denying it; but we are developing our network well in this difficult context. We now have 150 retailers: in the Middle East – established from the beginning – and now in Europe (France, Italy, Germany, the United Kingdom), the USA, Japan and Hong Kong. In addition to this retailer network, we have Fabergé boutiques in London and Houston as well as space at Harrods. We also organise a number of events and maintain direct contact with our clients.

And what came next demonstrated that this was a truly productive inspiration?

And how many watches do you sell annually?

Today we sell close to 200 watches annuIn 2016, back at Baselworld, we presented ally. Our objective is to reach a thousand. new collections such as the Dalliance, and But we wish to remain a niche brand, a particularly the Fabergé Lady Libertine. The jewellery brand and a watch complication "Fabergé is a welloverarching idea of this very special line brand. The group's intention is strong, was to occupy the centre of the watch with and the investments are considerable. The known brand, but a slightly raised disc from whence emerge long-term Fabergé project is to divide the 'thinking outside the two openworked hands. This design conactivity into 45% watchmaking, 45% jewelegg' is a different story." lery and 10% objects. cept frees up large spaces in the centre and around the edge of the dial, making them But for now, my priority is to consolidate. entirely available for decoration. One examWe have developed a great many models, ple is the enormous moon at the centre of the Lady Levity. we have staked out our territory, and we now have a recogAnd, still in parallel, we pursued our very fruitful collabora- nisable identity. We will be concentrating on our two leadtion with Jean-Marc Wiederrecht, asking him to work on a ing lines, the two award-winning lines: the Lady Compliquée second time zone display at the centre of the dial. This led to and the Visionnaire. the DTZ with its second time zone in a central display, which once again had people talking. The watch is both innovative [Editor's note: Fabergé is 100% held by Gemfields (emerald, ruby and very easy to read. and amethyst mines), which belongs to the private equity fund This idea of placing functionality at the centre of the watch was Pallinghurst, the owner of platinum mines and other resources. particularly opportune, since Jean-Marc had been working for Sean Gilbertson is the CEO of Fabergé and Gemfields] a long time on his own to design a movement that would be "empty", so to speak, at the centre, opening the horizon for new central complication display modes.

Montblanc

DAVIDE CERRATO

WATCHMAKING IN THE DESIGN ERA

INTERVIEW BY SERGE MAILLARD

Why are vintage and tool chronographs so sought-after at auction? Is this minimalism a passing fad or a genuine groundswell? After years of mechanical escalation, the industry finally seems to be reining in. We meet Davide Cerrato, head of Montblanc’s watch division, who turns his keen eyes on the ongoing changes, and reveals his satisfaction at this newfound appreciation of simplicity.

ust as the fragrance industry has its “noses”, Davide Cerrato is known as an “eye” in the watch business. This Italian native, ever charming and impeccably groomed, now places his visual acuity at the service of Montblanc’s watch division, having contributed significantly to turning around the fortunes of Tudor, a company now enjoying a new golden age thanks to the winning formula of chronographs, vintage chic, accessible pricing and legibility, which at the same time has sparked a resurgence in the brand’s value at auction. So, why Montblanc? Because... behind Montblanc, there’s Minerva. It was Montblanc’s acquisition of this historic manufacture, known for its stopwatches, that first drew Davide Cerrato’s attention. Minerva celebrates its 160th anniversary next year, which provides a convenient opportunity to take stock of the main aesthetic trends in the market. The age of technical extravagance seems to be drawing to a close, and the conversation is now turning to design and minimalism.

THE OBJECT: “I’ve just returned from London, the only place where I can comfortably go out wearing a British bowler hat. I love hats. In fact, I recently treated myself to an American park ranger’s hat! In Switzerland people don’t wear hats so much, and that’s a shame. Someone once asked me what I wanted to bring to the watch industry. Style!”

Photograph: Fabien Scotti | Arcade Europa Star

Europa Star: If we compare current watch production with that of five years ago, it seems like the aesthetic codes have been toned down. Many new watches today are strikingly similar to models from fifty years back, while the 50-year-old originals are doing very well at auction, particularly chronographs and sports watches.

Nevertheless, the internet has multiplied the possibilities for buying and reselling second-hand watches. That has to change things, doesn’t it? It’s true that these days, not only does everyone own a watch, but everyone can become a watch trader. It’s an amplification of a pre-existing phenomenon.

Davide Cerrato: Let’s take a step back. In the 1970s, quartz came as a terrible shock for the Swiss watch industry, and the industry’s response was to make mechanical watches Some brands are now trying to take control over seceven more technical. At the same time, design fell somewhat ond-hand watch sales, and over the destiny of their old by the wayside. products. Is Montblanc one of them? The 2008–2009 crisis marked the beginning of the end of this technical phase. We have returned to an era of design, No, this applies mainly to more high-end brands. But I won’t and a desire to take the best of mechanical craftsmanship rule out the idea of paying closer attention to auctions in the and form. In watchmaking, as in any industry, design deter- future. Today, events like Only Watch provide a benchmark mines the first impression; it’s the most important element. for the value of a brand’s heritage. Today, we are increasingly attracted to minimalism, and we can see the importance of "The question we design. The question we should ask is not Let’s talk about your heritage. Next year should ask is not what we can add, but what we can remove marks the 160th anniversary of Minerva, what we can add, but from our watches. which is now part of Montblanc. Why Let’s not forget that the raison d’être of a did you not revive the Minerva brand, what we can remove watch is primarily to be a measuring ingiven that it is greatly appreciated by from our watches." strument. We are reclaiming the watch’s connoisseurs? primordial features; the legibility of sports watches, which is so keenly appreciated today, and their pure- I should point out that Minerva has always been more foly functional quality. A new cycle is beginning, drawing inspi- cused on the product than on its own brand. Its primary role ration from vintage models. was as a supplier. Minerva watches are rather rare. Today, our movements are signed Minerva, and we have extended the life of the manufacture. That seems to me to be coherThis cycle isn’t necessarily favourable for today’s watch- ent. With Minerva, we have a truly creative laboratory, along makers. On the one hand, many new entry-level players with the brand’s technical and design heritage, which enare targeting young people by using vintage inspiration compasses dials and cases as well as movements. The comto create a luxury image at a competitive price. And on pany archives are a rich source of value. We have already the other, many collectors seem to prefer the originals, begun to exploit Minerva’s heritage through our 1858 and and are turning to auctions! TimeWalker collections. The RallyTimer, for example, brings back Minerva’s stopwatch spirit. Stopwatches were the comI don’t believe that this is blurring the lines of luxury, be- puters of their day! They were true instruments, with very cause the difference between a luxury item and a fashion clear requirements in terms of readability. item rests on two elements. First: analytical depth, which means that you can continue to explore your past and learn from every stage. And second, technical quality; we have con- Speaking of readability, it’s easy to feel lost amid ducted research into materials, which has led to the develop- Montblanc’s continuing expansion – perhaps a legacy ment of watches like the TimeWalker Pythagore UltraLight of Jérôme Lambert’s creative activism – which now Concept, which weighs less than 20 grams. It could scarcely stretches from smartwatches to grand complications. be more minimalist. It is here that design meets innovation. What is Minerva’s role within this very broad range of Moreover, I believe that every era experiences its own cycle products? of rebirth, creating new collectors. In my view, the markets for new and old watches have always coexisted. Retailers The integration of the Minerva manufacture has enabled us have always stocked second-hand watches. Vintage is part of to create high-end pieces like the ExoTourbillon, and we can the system. now apply these innovations more widely to the rest of the

company’s products. The ExoTourbillon is a good example, because it then gave birth to the slim model. Our stock-in-trade is simple: mechanical watches. We do mechanical watchmaking with a high intrinsic value, a good entry price and, in addition, some very accomplished complications. The Summit smartwatch has broad appeal with Millennials, and we are now applying our vintage dial designs to smartwatches. But you have identified an important element: we will gradually move from ten to six collections, to make our company’s offer more “legible”, with a fundamental demarcation between sport and heritage. For each theme, we offer a broad range of fine watchmaking, at the right price positioning. There is no reason for us to change our strategy, as some brands are doing, because we have always built our brand around the concept of fair value. Our core business remains the segment between 2,000 and 5,000 francs, but we also have ranges between 20,000 and 100,000 francs.

Montblanc 4810 ExoTourbillon Slim

“We will gradually move from ten to six collections, to make our company’s offer more legible, with a fundamental demarcation between sport and heritage.”

Montblanc ExoTourbillon Chronographe 79

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