Two words, which appeared back in the 60s and 70s epitomizing a desire for speed and exploration on land and in the skies, would blend together to breathe life into the name of a legend: Autavia. This first wristwatch, imagined by Jack Heuer back in 1962, based on eponymous horology instruments integrated in the dashboards of automobiles and the panels of aircraft from 1933, which would go on to become a fully-fledged collection over time, is celebrating its sixtieth anniversary this year. To mark this respectable age, TAG Heuer showcases three new Autavia, two chronographs boasting a flyback
function, one of which features on the cover of this issue, and a three-hand piece equipped with a date and GMT. The Autavia 60th Anniversary, highlighting a panda layout face with two dark patches illustrating the chronograph’s snailed hour and minute counters (30 minutes at 3 o’clock, 12 hours at 9 o’clock) set on a sunburstfinish silver face, conjures up a timepiece from the Sixties yet flaunts the best of up-to-the-minute technology. In a nutshell, the Heuer 02 COSC Flyback calibre beats inside the 42 mmdiameter, 15.68 mm-thick stainless steel body, encircled by a black ceramic
rotating bezel and emphasized by two piston-type pushers on the caseband. The automatic movement, which beats at a standard frequency of 4 Hz and delivers a comfortable power reserve of 80 hours once fully wound, is visible through the sapphire-crystal caseback. As well as measuring short-cycle time, it drives the running hours and minutes positioned in the centre of the dial and the small seconds, which also hosts the date, at 6 o’clock.
This quote from Henri Matisse (18691954), one of France’s great artistic personalities, whose potent shapes and blends of colours I love so much, sums up in a nutshell what I believe to be the perfect definition of what life is: an eternal spring. A time when nature is born anew, awakens, stretches out like an old cat, buds and blooms, swarms, nourishes itself with new sap. Winter coats are cast aside at last, chunky pullovers are thrown into the back of the wardrobe with their bonnet/glove/scarf pals, and the sun starts to shine stronger, longer. Days take on a different feel. As this mildness comes around, spring, which I could talk about for hours on end given that this season, which is my favourite, makes me so happy, marks the beginning of a cycle, the prelude to a story, an exquisitely-crisp white page just waiting to be scribbled over with new adventures.
Spring is, above all, a time for transformation, especially after two difficult years... Actually, no, “difficult” isn’t fitting here, I don’t like this term, it makes you feel instantly uncomfortable and creates pointless pressure, “different” would be more the word. Two different years that shook up our
habits, obliged us to think, consume and work in another way, made us draw on resources within us to help us advance. Two years that enabled some to develop other talents, initiate creative projects, spend more time with their family or on their own, two years that enabled others to change their rhythm and vision of the world, even if I in no way dispute the harmful effects this pandemic has brought in its wake. But, as Henri Matisse said, “There are always flowers for those who want to
see them” and, for me, this complicated period was a blessing, even though it was occasionally sprinkled with rather unpleasant episodes. I did indeed see the flowers. On my daughter’s smiling face, in my son’s bursts of laughter. In the books I devoured, the plants I watered, the artwork I hung on the walls. And even in my father’s cordial lilting voice, my mother’s affectionate messages, despite the distance and the lockdowns that separated us.
This season, symbolizing renewal that’s both essential and inexorable, as I tried to explain above before I got lost in the twists and turns of my thoughts, is an opportunity to embrace change, even to trigger it, to set the oh-so famous “spring cleaning” in motion. As always, with the caring nature we are renowned for, we have inspired some change in our magazine; change that is smooth, considerate, change that continues to enkindle our desire to delight you and to delight ourselves. We knuckled down throughout the winter, like hardworking little marmots, to ensure that when springtime would come around, our magazine would be even more magnificent, more enriching, more captivating. For you, for us.
Which way do you see time? There is objective time, units derived from the Earth’s motion around the Sun. There is subjective time, which is time as it is experienced, processed and retained by our consciousness. The ancient Greeks had terms for this binary approach: Chronos and Kairos.
Chronos is an absolute quantity; it is the procession of time displayed by our watches and iPhone screens.
Kairos is a relative dimension; it dilates and compresses, moving slowly when we await test results, disappearing on Sunday nights.
In other words, Chronos is the time that can be counted and Kairos is the time that counts.
We tend to see time in terms of its units, which we all have in common. Less frequently, we reflect on how our individual perceptions of time might be vastly different.
A quote often misattributed to Albert Einstein goes like this: “When you sit with a nice girl for two hours you think it’s only a minute, but when you sit on a hot stove for a minute you think it’s two hours. That’s
relativity”. Glibness aside, the quote nevertheless illustrates that whilst Chronos stays constant for everyone, Kairos is an elusive, shifting beast, experienced differently according to our individual relationships with time.
I say “relationship” even though it’s a one-way dynamic. We have no effect on time, while time leaves its indelible marks on us.
If the inexorability of Chronos depresses you, we can turn to the Kairos incarnation of time, which is entirely androcentric, based on what is and is not significant to us.
Let’s put it this way. We often refer to someone’s life and someone’s story as if they were the same thing. They are not.
In life, we have very little agency. We can’t control the circumstances of our birth and family, and even in our dayto-day lives, we often can’t control the way we think or behave.
In our stories, however, we taste omnipotence. We are author, narrator and protagonist, all at once. Stories let us reclaim agency in a chaotic world. It is the triumph of Kairos over Chronos. There is a phrase I’m fond of: “It’s
ironic how we know so much about timepieces and so little about time”. It’s a statement about how we see Chronos and Kairos; it also articulates the chasm between our knowledge of things and our knowledge of self. This is why we love timepieces. Through their chronometric function, they are anchored in objective time. Because we often acquire them at major points in our life-story, they are also linked to subjective time.
Chronos is the time that can be counted; Kairos is the time that counts. In your watch, Chronos and Kairos are one.
Following the success of the Re-Volt Skeletonized, Rebellion Timepieces marks a new chapter in the history of its collection with a remarkable sporty evolution: the Re-Volt Chrono. An all-time first for the Re-Volt collection! A new timepiece approaches the starting line, a concentrate of the bold world of REBEL watchmakers.
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The Royal Oak, imagined in just one night in 1972 by the designer genius Gérald Genta (1931-2011), is celebrating its 50th anniversary this year. This watch, considered as out-of-the-ordinary even subversive when it was created, epitomizes the definition of watch icon to a T, an object of desire that catches aficionados and collectors’ eyes. To celebrate this half century of success, Audemars Piguet proposes a new Royal Oak “Jumbo” Extra-Thin, in its original diameter (39 mm, deemed too “big” back in the days, reason for its Jumbo nickname, yet just perfect for our times) as well as in its original material (steel).
Even though there appears to be no change in its silhouette when compared with the Seventies version, certain elements are nonetheless totally in tune with the 21st century. Its new automatic movement for one, the Calibre 7121, which replaces the legendary 2121 and features a large barrel for enhanced accuracy as well as a patented date mechanism that is more energy-efficient. This high-performing motor vibrates at a frequency of 4 Hz, delivers a power reserve of 55 hours and boasts a special “50th anniversary” oscillating weight crafted in rhodium-plated 22-carat gold.
The dial, covered with the chequered Petite Tapisserie pattern, keeps its famous “Night Blue, Cloud 50” hue, which was historically made using dip plating and now obtained through PVD coating. The applique indexes and central hands fashioned in white gold, filled with luminescent material, are baignoire-style, i.e. a very elongated and hollow oval shape, and the date is displayed in white at 3 o’clock.
LIMITED TO 24 PIECES
The case of this timepiece is crafted from the carbon brake pad used during the development phase of the new Peugeot 9X8 Hybrid Hypercar entering the FIA World Endurance Championship in 2022.
In partnership with
Change your outlook, scrap conventions!
This upgrade of Ulysse Nardin’s Moonstruck Worldtimer indulges in a never-imagined-before encounter between the Sun and the Moon. On a fascinating starry aventurine dial, our two stylized stars make their respective elliptical revolution around a domeshaped rendering of the northern hemisphere. The base of this embodiment is encircled by a 1-to-31-graduated rose gold scale marked by a discreet luminescent triangle. Our relief-type Sun fashioned in bronzite and our satellite unveiling its phases in an aperture move at their real speed as observed from
our planet. The data that is highlighted along their paths invites to discover the lunar cycles and coefficients of the tides. The UN-106 calibre, equipped with a silicon escapement and balance spring, and driving the data ever-so accurately, nestles inside the 45 mm-diameter case sculpted in black DLC titanium and ceramic. This self-winding movement, assembled using some 335 components, delivers a power reserve of 50 hours. In addition to traditional time information, it also synchronizes world time. As such, the flange features the 24 reference cities of our planet’s time zones. The solar disc animates a 24h scale displaying a day/
night indicator. Two pushers, perfectly integrated in the caseband, make adjustment wonderfully easy. With the Blast Moonstruck, fruit of a partnership with the watchmaker Ludwig Oechslin, the man behind the Freak model and other astronomical timepieces, a new Space Odyssey hits the stage!
© Ulysse Nardin
CARRÉ DES HORLOGERS
Although the first wristwatches featured non-tempered mineral glass, as the 1930s came around, watches were covered with acrylic alternatives that were less vulnerable to shocks, yet not to scratches. The Seventies, which rhymed with technical progress, brought new opportunities. Crystal boasted hardness of some 400 Vickers. The industrialization of synthetic sapphire crystal, fruit of an invention patented in 1902 by French chemist Auguste Verneuil (1856-1913), led to unprecedented possibilities. Extreme resistance was the watchword: 1,800 Vickers. Henceforth, this material would protect the dials of our precious timepieces and could be flat or domed and up to 14.3
mm, as seen in Rolex’s Deepsea Challenge. Its presence on casebacks was an invitation to admire engineering magic. Technology would also go on to render it tactile.
Towards the end of the first decade of the 21th century, mastering sapphire crystal production and crafting would become strategic. Being able to propose other options than steel to stand out
in a competitive watchmaking world became a ‘must’. CNC tooling and milling centres, equipped with diamond-tipped engraving tools, would machine sapphire crystal blocks to give them the shape desired. In 2010, MB&F showcased its creativity with its Horological Machine No.2 Sapphire Vision. The entire top part of the translucent case centre staged the movement of this futuristically-designed series. Since then, this material has taken on a variety of concave profiles in the watches the Geneva-based brand has presented. In 2012, Richard Mille’s RM 056 excelled with its case sculpted directly from a solid block of sapphire crystal which required
colour now calls THE TunE of THE TimEs. sappHirE crysTal would adorn bEspokEnEss. TransparEncy was no longEr colourlEss!
1,000 hours of machining. A year later, the firm’s RM 56-01 went beyond the limits. 90% of the components of this piece were crafted from synthetic sapphire crystal. Light reigned everywhere supreme.
As for Hublot, “makingtheinvisiblevisible” would become a leitmotif. The impressive case of its MP-05 LaFerrari offered a 360° show of the calibre imagined like a GT engine. Its Big Bang Integral Tourbillon Full Sapphire (2021) placed the accent on total transparency as its bracelet was also fashioned in sapphire crystal. More than ever, this material would play a role in the design of highly-collectable limitedseries creations. How could anyone not be tempted by Zenith’s Defy Zero G and Defy 21 Double Tourbillon?
Colour now called the tune of the times. Sapphire crystal would adorn bespokeness. Transparency was no
longer colourless! It was infused with blue and pink on the pieces of Richard Mille’s RM 07 collection. Other rainbow hues bedecked Hublot’s Spirit of Big Bang Yellow Sapphire and Tourbillon Automatic Orange Sapphire as well as Rebellion’s RE-Volt Sapphire Red.
Sapphire crystal is also great at keeping secrets and weaves its way into movements. The most well-known of them all drives the “Mysterious” complication, Cartier’s preserve. The hour and minute hands seem to defy the laws of gravity. They are set on two sapphire-crystal discs decorated with serrations around the edges. Chopard chimed a totally different melody. In its L.U.C Full Strike (2016), sapphire-crystal gongs rang out the hours, quarter-hours and minutes. More than ever, sapphire crystal dazzles our senses!
Frédéric Arnault, blessed with prolific entrepreneurial spirit and daring vision on the market, joinedTAG Heuer in 2017 before moving on a little less than two years ago to take over the reins of the watchmaking firm, specialist in sports watches, owned by LVMH Group since 1999. We had the good fortune to spend some time discussing with him about the Autavia collection and TAG Heuer’s future.
How long did it take to develop these three new Autavia pieces? What were your sources of inspiration? The development of these new Autavia
timepieces took around a year and a half. Our teams worked on several series of prototypes to perfect the design of these watches, in particular
It’s worth knowing that the name Autavia comes from two of Heuer’s fields of expertise of the times, Automobile and Aviation; so, we drew our inspiration from three important features of its history: the pushers, the crown and the numerals on the dial, which were reproduced from the Autavia on-board chronometers dating from 1933 to 1957.
as regards the dial and the pushers. Through these creations, we wished to pay tribute to the 60th anniversary of this iconic watch, which was the first wristwatch that Jack Heuer imagined.
Why did you decide to produce a GMT version to celebrate this 60th anniversary?
Historically-speaking, Autavia is our collection dedicated to timing long-cycle time and, as such, it naturally conveys
opEning nEw avEnuEs, Exploring and bEing aT THE cuTTing EdgE HavE always bEEn parT of our dnaTag HEuEr cEo
the notion of travel. With this in mind, the addition of a GMT version to the threehand family makes perfect sense.
What’s more, this new Autavia GMT conjures up the Autavia GMT pieces from the 1960s and 70s, which boasted two-tone bezels at the time. For this 2022 version, our teams modernized the bezel insert and made it extremely durable by using two-tone ceramic. And I think the result is highly successful!
The three models are not limited editions and that’s something rare for anniversary pieces. For what reasons?
Even though the three new TAG Heuer Autavia models are produced in quite small quantities, it’s true that they are not limited editions. As such, they can exist alongside TAG Heuer’s key collections and that’s important for us.
The Autavia family of watches is really important for our manufacture; it’s one of the oldest names in the watchmaking business so it’s vital for us to preserve this collection.
In what ways does Autavia stand out from the other chronographs included
in TAG Heuer’s catalogue, such as Carrera, Monaco and Formula 1?
As far as I’m concerned, Autavia really holds a special place in the TAG Heuer family. To answer your question precisely, I’d say it stands out in two ways. First of all, it boasts a pilot style that’s one-of-a-kind in our collection. This ever-so particular design is inspired by its original past as an on-board chronometer, with hours displayed by Arabic numerals, whereas our other collections generally tend to use baton-style appliqués apart from some limited-series pieces.
Secondly, the Autavia collection is the only TAG Heuer chronograph family to feature a revolving bezel, which intrinsically differentiates it from the brand’s other chronograph collections which all have fixed bezels.
In the 1960s and 70s, automobile and aviation symbolized modernity and conquest; do you think this is still the case today?
The spirit of conquest is perhaps less prominent today than it was at the outset of these industries that changed our world, but I think that heading off in a plane or in a car is still synonymous with freedom, travel and unforgettable adventures for many people. And after the periods of restrictions we have just experienced, this feeling is more precious than ever.
In 2022, after having lived through two complicated years that disrupted our daily lives and obliged us to rethink our way of life, has your vision for TAG Heuer changed? Do you wish, like a lot of us, to shake up the codes, explore new avenues and perhaps occasionally take risks?
It’s true to say that the past two years were intense. Like our whole industry, we were impacted by the pandemic and although things seem to be going in the right direction now, there will most likely be some uncertainty in 2022.
Having said that, the outlook is very
encouraging for TAG Heuer: our product plan is sound and ambitious, our retail traffic has resumed in earnest and we’ve accelerated our digital transformation, which will enable us to cover 95% of our e-commerce markets by the end of the year.
We also have a really intense product launch agenda, including highlyanticipated new models for our key collections, a major launch for the new TAG Heuer Connected generation and a host of wonderful surprises to come with our partners such as Porsche. Our teams remained agile, creative and met all the challenges that this crisis brought about. I’m extremely proud and I’m persuaded that we will come out of this difficult period even stronger. Opening new avenues, exploring and being at the cutting edge have always been part of our DNA since the firm was created back in 1860, and we will continue to innovate and pursue this route in the future.
The first-ever wristwatch imagined by Jack Heuer a short while after he joined the family-run business is celebrating its 60th anniversary in 2022. The legendary Autavia, combining two industries that were rapidly evolving when it was created and a can’t-do-without piece in the history of modern-day watchmaking, continues to symbolize a desire for speed, a longing for freedom and a need to explore the world.
actually appeared back in the 1930s. “At the end of the 19th and the dawning of the 20th century, the Heuer family, in particular Édouard, realized something
Two realms
a
watch Although the first Autavia to be worn on the wrist was unveiled in 1962, with Jack Heuer in the driving seat, its name
could be done around automobiles and aircraft, which were just taking off” explains Nicholas Biebuyck, appointed Heritage Director of TAG Heuer a year ago. Basically, the young Édouard Heuer (1840-1892), who had just turned twenty
and who had opened his workshop in Saint-Imier, in the Berne Jura, in 1860, quickly grasped the potential of these two future industries that were rapidly evolving at the time and, above all, the usefulness of developing chronographs to accompany them. In the 1880s, his mechanical watchmaking innovations, especially the patented improvement of the oscillating pinion, enabled shortcycle time measurement to advance incredibly, and production to be rolled out in series.
In 1911, the highly-creative Heuer designed “Time of Trip”, a sturdy round-shaped instrument, inserted in
"THE TimE of Trip was a vEry largE-sizEd clock To suiT vEHiclEs and aircrafT".
car dashboards and aircraft instrument panels, which boasted a fluted monopusher crown at the bottom of the case that just needed to be gently tapped to trigger the mechanism that would display journey time (reason for its name Time of Trip). A red dot appeared instantly at 9 o’clock to confirm “trip” mode had been initiated, the duration was indicated accurately in a counter at 6 o’clock that echoed the small seconds set at 12 o’clock, whilst the running hours and minutes featured on the main dial. A second tap on the crown stopped the mechanism – the red dot was replaced by a white one – and a third tap would reset the device for the next journey.
“Andthiswasaverylargeclockthatwas suitable for both vehicles and aircraft. Well,aircraftmainly,anditwouldenable pilots to know how long they’d been flying and drivers how long they’d been driving”, pursues Nicholas Biebuyck before adding “As things evolved, the idea to create a smaller version came to mind. And, the Autavia was born out of this observation, this need for these two disciplines to have a smaller-scale on-board instrument that told the time and as well as measured time”. In a nutshell, in 1933, four decades after the death of Édouard Heuer who had passed the torch onto his children and, at a time when the firm was already well established in precision sports timing, the terms AUTomobile and AVIAtion, merged to create the name Autavia, a chronograph displaying seconds in the centre and minute (60) and hour (12) totalizers respectively at 12 o’clock and 6 o’clock on the black dial, often accompanied on dashboards by a Hervue clock – “Really popular at the times” according to Nicholas Biebuyck – equipped with two central hands, a small seconds and a power reserve of eight days.
Even though Heuer is synonymous with state-of-the-art watchmaking, one man would change the game by
bringing his daring nature and dynamic spirit to the family firm, which he joined after his studies. This man was Jack Heuer, great-grandson of the founder and fourth-generation descendent.
Jack Heuer narrated his beginnings in an interview for the magazine L’Express in 2017: “I really became aware of the hold the brand had on the automobile world when, after graduating from Zurich Polytechnic University with my engineering diploma, my father offered me a MGA and I drove down to the Monte Carlo Rally in it as a journalist and observer.
It was here that I discovered that twothirds of the drivers and cars were
equipped with Autavia on-board counters and Heuer hand-held stop watches”*. Autavia became the first ever wristwatch imagined by Jack Heuer, in
“We lost the race by just a minute. I was really frustrated and I decided to create a more readable on-board watch (...) We’d had classes over a semester to learn to create dials that were optimally readable in the heat of the action”
1962, following a misadventure during a race where “(…) his co-driver read the time incorrectly and instead of finishing first, he finished third” explains Nicholas Biebuyck. And Jack Heuer specifies:
Why did he decide to use a name conjured up by his grandfather in 1933? “Since the 1950s, brands had a tendency to use references instead of names for their models but Jack, with his great feeling for design, marketing and communication, knew that this name wouldn’t just be attractive and easy to remember but would also be adaptable to a host of
languages” explains Nicholas Biebuyck. As such, the Autavia, a pioneer, proposed a dusky-hued rotating bezel featuring a tachymetric scale with light-coloured numerals; the contrast between the two shades resulted in fast data reading. The same play on opposition between light and shade invited itself in on the black dial set off with snailed, silvered counters. To ensure the idea of travel reigned, the watch was equipped with a second time zone in 1967. A myriad of variations, reeditions like the “Rindt” in 2016, special pieces like the 1,932 pieces produced for Jack Heuer’s 85th birthday in 2017 and the bronze versions showcased at Baselworld in 2019, to name but a few, were added to TAG Heuer’s catalogue over the years, making Autavia an everso rich collection.
For Nicholas Biebuyck, whose job it is to analyse the past and observe its
influence on the future, “The Autavia, the Carrera and the Monaco form the three fundamental pillars of the history of our firm, three chapters that tell really different stories, and its portfolio of products”
Timeless design 60 years on and the legendary Autavia still epitomizes curiosity, a desire to wander the globe on land and on sea, and to open up new perspectives. The world has changed since it was created but, like any great adventurer, it has been able to adapt to today’s yearnings, has found its identity and has pursued its own route, and after two years of pandemic, it passionately embodies total freedom. Measuring time with no constraints whatsoever is literally its core ethos. “As far as I’m concerned, with the Autavia, there’s this idea of travelling long distances,
whether you’re on your motorbike for a solo round-the-world trip or on a boat crossing the Atlantic, something that can’t be measured in sixty minutes or in twelve hours but on another time zone” confides Nicholas Biebuyck.
To celebrate this anniversary, TAG Heuer has unveiled a trio of 42 mmdiameter Autavia models comprising two chronographs with flyback function on a leather strap and a three-hand model hosting a date and GMT display on a link bracelet. Each of these steelfashioned pieces centre stages radically different styles of faces: a “panda” layout face for the version that feels quite Sixties with its silvered dial and two black totalizers, an elusive look similar to that of historic military watches such as the Flieger that Heuer launched back in 1935, emphasized by its black DLC coating, and a blue-tinted glow jazzed up by a bright orange-varnished hand.
The two chronographs are driven by the new Calibre Heuer 02 COSC Flyback, a high-performing movement beating at 4 Hz and delivering a power reserve of 80 hours. Its skeletonized, blackened oscillating weight captivates as it twirls festively through the transparent caseback.
The case, with its screwed crown and piston-style pushers, is enhanced with a bidirectional bezel featuring a ceramic ring with a carved-out scale, as such heightening the relief-effect even more.
The white or green Super-LumiNova®filled applique-type Arabic numerals boost this three-dimensional allure, also magnified by the combination of sunburst, snailed and finelysandblasted surfaces.
For the three-hand version, the calibre 7 COSC GMT breathes life into the ticking hours, minutes, seconds and second time zone, and animates the date display
EacH of THE nEw auTavia 60TH annivErsary piEcEs cEnTrE sTagEs radically diffErEnT sTylEs of facEs.
at 6 o’clock. Here, the face takes on a 24-hour scale with day/night indicator spread across the blue and black twotone ceramic insert of the bezel, hovered over by an orange arrow-tip hand, ensuring GMT reading is child’s play. This time round, the caseback is solid, waterproof to depths of 100 m and decorated with an engraving portraying the “nose” of a propeller plane, a tip of the hat to Autavia’s past and illustration of a major human saga.
Sometimes, you just need a pet to turn your life around, to add that little spark of love and caring to make it sweeter (or livelier, depending on the type of fourlegged friend you choose...). Animals have had a great feel good power on us since time immemorial. We’ve challenged them, transformed them into lucky charms, erected them on protective totems soaring high to the sky.
The lunar-solar Chinese calendar, a can’t-do-without in Asia, boasts a bestiary comprising twelve animals. Each has its own personality traits, its special gifts and, when combined with an element, they generally embody
good omens. Since 1st February this year, which represents the beginning of a new cycle, we’ve entered the era of the Water Tiger. This predator, the third animal in order of arrival, symbolizes emotional
past two years. For sure, it’s pretty difficult to imagine it as a companion in your apartment, and even more so given it’s a protected species, but the way it is illustrated in watchmaking is ever-so attractive. Spectacular is the right word actually, especially when métiers d’art become involved. Amongst the myriad of watches unveiled for the year of the Water Tiger, here are three interpretations that are totally different yet incredibly interesting.
creativity, courageous strength and energy-filled adventure. Its appearance heralds great change and prosperity, something we’ve been longing for these
Leaping into the light Looming out of the darkness, claws ready to pounce, to be dazzlingly
THE waTEr TigEr HEralds grEaT cHangE and prospEriTy, somETHing wE’vE bEEn longing for THEsE pasT Two yEars.
centre staged in a halo of golden light is the element of surprise chosen by Jaeger-LeCoultre that we discover on the caseback of its new Reverso Tribute Enamel “Tiger”. This special watch, exclusively made to order, which also celebrates the opening of the brand’s new store in Shanghai, required over 70 hours of craftsmanship to create the artistry on its caseback.
The Métiers Rares® workshop, hosted in the Joux valley manufacture, worked for almost 55 hours, using the modelled engraving technique, to carve the entirely-relief-styled upper part of the feline’s body, portraying an animal that appears to spring forth, jaws wide open, polished fur adorned with brushed stripes, out of the black Grand Feu enamel backdrop, which took the craftspeople around 20 hours
to complete, with its series of layers of pigmented material and firing in the kiln. This same dusky coating also features on the timepiece front, where the railwaystyle minute tracker-fringed dial is bedecked with arrow-tipped indexes and two dauphine-shaped hands. Everything is gilded like the twinkling stars in an inky-black night.
The hours and minutes are driven by the in-house 822A/2 calibre, a hand-wound mechanical movement that delivers a power reserve of 42 hours, and nestles inside the famous rectangular case (45.5 x 27.4 mm), fashioned in rose gold this time round.
Crouching in the jungle Jaquet Droz showcases the predator, not just on one but on four new references – six if we include the two automaton
watches. The firm from La Chaux-deFonds, forever true to its reputation as a poetic watchmaker, brings together a wealth of know-how that it masters perfectly. Work on stone, enamelling and engraving. The Relief Petite heure Minute Tiger series throws open the doors and invites imagination in for those with the soul of a dreamer. The somewhat curious tiger peeks its head through at 6 o’clock whilst its stripy body appears in filigree fashion, partially concealed by the colourful iridescent vegetation. It then lounges along moonlit blue-hued water and finally stretches out, nose pointed towards the stars. This interlude, this getaway in the predator’s habitat comes to life thanks to the talent of the engravers who chiselsculpted its silhouette, detailed its head and its intimidating gaze and portrayed its striped fur, the enamellers who
created a night-time scenescape where the darkened sky merges delicately with the deep blue of the water and the stone-cutters who cut opal discs flaunting shimmering shades and black onyx for the hour and minute display offcentred towards 12 o’clock.
Time is animated by the automatic 2653.Si calibre (4 Hz, double barrel) that, like most Jaquet Droz watches, delivers a power reserve of 68 hours. The transparent caseback of the 41 mmdiameter red gold or white gold cases invites to admire the twirling dance of the richly-decorated oscillating weight.
This final portrayal of the Water Tiger is radically different from the previous two as it does not call on métiers d’art, does not draw its inspiration from the animal’s natural environment or from traditional
Asian folklore. Or it does so just enough to show the creative energy the feline epitomizes as it covers the whole left part of the dial in SevenFriday’s limited editions whilst the right side takes on urban dynamics. And, as the brand from Zurich has a great sense of humour, it has named its watches T3/04 GRRRREEN, for its green-hued version, and T3/05 GRRRR-ED for its red variation, producing each reference in 500 pieces. To obtain this three-dimensional architecture look, four layers comprising, above all, an initial tinted translucent disc and a skeletonized second one based on the outlines of the tiger's head were used. This design play is set off by the stylized hour and minute hands in the
centre – brought to life by the automatic Seiko Skeleton TM NH70 movement (40-hour power reserve) –, the crossedthrough Arabic numerals and the russettinged ring framing the minute tracker.
On the back of the “virtually” square (45 x 45.6 mm) black PVD-coated steel case, an engraved medallion reiterates the big cat’s features and hosts a NFC check chip (near-field communication chip) that, via SevenFriday’s app, lets you access NFTs (non-fungible tokens, i.e. cryptographic assets) protected by a blockchain, technology for storing and transmitting information. In addition to the watch’s authentication certificate, you can access one-of-a-kind digital objects.
Lightning acceleration, extreme spin, deceleration. The analysis of the various phases that makes Rafael Nadal’s famous “buggy whip lasso” forehand fatal impresses with its effectiveness. Few opponents during the ATP Cup tours have been able to counterattack. And, even though the left-handed player wears his watch on the other wrist during his tennis matches, the watch’s mechanics, just like Rafael’s rivals, are put to a serious test. His watchmaker friend’s brand, though, has just rolled out a successful solution to safeguard the watch during any intensive sporting encounter or practice. Because, once the spring-coiled energy source is
totally wound, a slipping-bridle slides against the inside wall of the barrel to prevent over-winding. “The less this bridle issolicited,thenthelongerthelifespanof thebarrelanditsmainspring”, emphasizes
this risk Richard Mille’s Technical Director of Movements and his team developed an ingenious reflex and implemented it to stop the gyrations of the rotor of an automatic calibre on demand.
Salvador Arbona. “However,thisprinciple is, of course, called into question if the rotor continues to spin at full speed when it’s worn by a sportsperson...”. To address
Taking direct action on the architecture of an oscillating weight and controlling winding based on a sports activity is the expert feat finalized following three years of research. With the RM 35-03 Automatic Rafael Nadal watch, complexity is now geared towards simplicity. A tap on the pusher set at 7 o’clock shifts the timepiece’s centre of gravity. And the result? The two-part RMAL2 calibre rotor mutes from
THE roTor muTEs from a TradiTional-looking roTor, aka Half disc, To onE THaT TakEs on a sHapE known as "buTTErfly".
a traditional-looking rotor, aka half disc, to one that takes on a shape known as “butterfly”. This modusoperandi interrupts the winding process and prevents the oscillating weight from rotating at incredible speed whenever an extreme sports activity is in play. The sapphirecrystal caseback invites to delight in this instantaneous metamorphosis.
Just like all the latest creations showcased by Les Breuleux workshops, this masterpiece of fine watchmaking enjoys design that’s on a par with performance. The case (43.15 x 49.95 mm) available in blue or white Quartz TPT®, featuring a caseband fashioned in the same material or in Carbon TPT®, protects a remarkable mechanical composition with great style. On the skeletonized dial, the openworked hour and minute hands hover over a coloured, cross-shaped geometric scenescape. The
grade 5 titanium baseplate and bridges are topped with a grey electro-plasma and PVD coating, which highlights the graphical style. To optimize timepiece use, a pusher at 2 o’clock completes the automatic movement control system. A single tap lets the wearer switch to W mode, wind, to N mode, neutral, and to H mode for setting the time.
What’s more, an on/off position indicator at 6 o’clock lets the wearer quickly know whether the rotor is enabled or not. The RM 35-03 Automatic Rafael Nadal is ready and raring to accompany you in all your feats!
If ever there was a feeling that was as pure and as immutable as a diamond, well... it’s love! But unlike precious stones, it can take on various forms, far from the traditional bonds that link two people. Sometimes it’s platonic, concealed behind friendship, or weaves its way subtly in like a sort of good-natured admiration. Love, like beauty, is everywhere for those who know how to look. It adorns a dazzling aura, makes eyes twinkle, makes the heart flutter for those who feel it deep within.
Can we imagine love between Caroline Murat (1782-1839), the Queen of
Naples and younger sister of Napoleon Bonaparte (1769-1821), and AbrahamLouis Breguet (1747-1823), the exceptional master watchmaker? In a certain sense, and even if it may shock
some, yes we can. The enchantment that a piece of work can spark is a form of love, the loyal trust a customer extends to a creator is one too. Between 1808 and 1814, Caroline Murat purchased
34 timepieces from Abraham-Louis Breguet, including a wristwatch – the first in the history of watchmaking! –boasting complications, commissioned in 1810 and delivered two years later. This piece, for which only traces in the archives remain, which expresses the mutual admiration between a woman who was liberated for the times, and a watchmaking engineering genius, changed over the years to become a sort of appreciation through the Reine de Naples collection.
Love, or rather, all the forms of love live and breathe on a daily basis. “Love is the only beauty” wrote Victor Hugo over
LovE adorns a dazzLing aura, makEs EyEs TwinkLE, makEs THE HEarT fLuTTEr.
a century and a half ago, a quote that is totally in tune with every period of time. And what better way to embed one’s feelings in eternity than to illustrate it on the face of an object that is synonymous with... time! A wish fulfilled by Breguet, the modern-day manufacture, with the Reine de Naples 8905 edition, limited to only 26 pieces. Everything about it diffuses love, from the presence of a myriad of red stones that fly off towards 12 o’clock on the white mother-of-pearl dial to indicate the energy remaining, the double heart that beats the second passionately at 7 o’clock, the fan-shaped aperture that unveils the night-time star, to the finely-hammered white gold disc set against a starry sky. Every detail that we are invited to admire is ravishing, the ensemble is extraordinarily refined. The oval bezel, strewn with diamonds, centre stages a dazzle that is perfectly echoed by the stone-set flange. The
black-hued Roman numerals encircle a guilloché-engraved decor where two blued hollow moon-tip Breguet hands hover over the hours and minutes. The mesmerizing small seconds features a wavy engraving on its backdrop like a nautilus shell, a stylized sun.
This vision of love is animated by the automatic 537DRL2 calibre, which beats at a frequency of 3.5 Hz and delivers a power reserve of 45 hours, nestling in a white gold oval case (36.5 x 28.45 mm). This precious case, enhanced even more so by a ruby on the crown at 4 o’clock embraces the wrist with passion, enlacing it with its vermilion alligator strap.
* extract from the poem “Les Chansons des rues et des bois” (1865) by Victor Hugo (1802-1885), French writer and poet
There are colours that are addictive and that have been nestling, warm and cosy, in our minds since childhood. Water-mint, emerald, turquoise – no matter what we call it – it’s one of these hues. We all have a nostalgic recollection of it: be it an Indian ring we yearned for in a beach-side boutique, a bandana tied around our necks for our first-ever kiss, a fringed jacket worn when heading off to uni for the first time, a Blue Lagoon ordered to remind us of Tom Cruise, the legendary barman in Cocktail (1988)... This pool-coloured shade, a mix of blue and green, is a real Pandora’s Box! Yet, there’s also a brand that cannily
chose to make it its emblem back in 1945: Tiffany & Co. Charles Lewis Tiffany (1812-1902), its founder, initially wished to epitomize a spirit of optimism, energy and love. A luscious idea and a
York jeweller’s blue box continues to be a benchmark, a signature that, literally, makes your heart skip a beat. This is exactly what happened on 6 December 2021 when Tiffany & Co. and Patek Philippe presented a steel Nautilus reference 5711 watch boasting a lagoon-hued dial.
successful bet! The front cover of the brand’s Blue Book, a volume unveiling the collection of jewellery to be launched, would become iconic. Today, everywhere around the globe, the New-
Just try and imagine what such a timepiece conjures up. Firstly, a carefully protected, emblematic colour on which Tiffany & Co. had established its reputation, which was valued at 14 billion dollars when purchased by LVMH on 21 November 2019. And, secondly, a sports model,
THis pool-colourEd sHadE, a mix of BluE and grEEn, is a rEal pandora’s Box!
the Nautilus 5711/1A-010, launched by Patek Philippe in 2006 that everybody was fighting to get their hands on. The speculative madness even led Thierry Stern, CEO of the Geneva firm, to withdraw the reference from the catalogue in February 2021. Damned, not even one piece left to feed our fantasies. Except, perhaps, the latest variation released in April 2021 that everyone agrees is, without a doubt, the last one.
So, on this famous 6 December past, when the two prestigious companies co-signed a 170-piece limited series, well, the announcement went off like a bomb. Ok, admittedly it wasn’t the first time they’d partnered together because an agreement concluded in 1851 made Tiffany & Co. the first official retailer to sell Patek Philippe products on the
American market. But with this opus of the saga, celebrating 170 years of shared history, and centre staging a “Tiffany Blue®” dial, social media went crazy, bids went through the roof: the Nautilus presented by Phillips in association with Bacs & Russo in New York on 11 December (with proceeds going to an environmental organization, The Nature Conservancy) was hammered down for 6,503,500 dollars! It’s now one of the most coveted watches in the world. To anyone out there who dreams of owning one of the remaining 169 pieces (count 52,000 dollars): head out West! The models are proposed in Tiffany & Co. stores in New York, Beverly Hills and San Francisco exclusively. In other words, when the American dream is born again.
“A man must be very inert to have no character at all”. This thought from La Bruyère (1645-1696), who excelled in his portrayal of the human being, is also rather appropriate for the personalities of watches. Time and contemporary luxury call for nonconformity. Fortunately, at Hublot, insipidness is unbecoming. Every creation strives to enliven the wrist. And, to do so, from the word ‘go’, the brand would shake up traditional stylistic watchmaking codes. In 1980, and for the first time ever, its Classic Original would combine a yellow gold case with a rubber strap. Since then, the firm’s mastery of precious and high-tech materials and its ability
to conquer colours constantly push back the limits of what’s possible. To celebrate this faculty to espouse the improbable, the LVMH Watch Week 2022 is, without a doubt, the place-to-be for unveiling the star pieces of this new year.
The spotlights all turn to centre stage the Yellow Gold collection. This collection, comprising outstanding models, conjuring up the signature of the Nyon
watchmaker, showcases timepieces created around a 42 mm-diameter 18-carat yellow gold case. The Classic Fusion Chronograph reiterates the finery of the model that helped spark the sporty-chic spirit. The Big Bang Unico references harmonize elegance and precision, just like the sculptural, high-performing Spirit of Big Bang. A trio of Big Bang Integral watches places the accent on ultimate grace. In addition to a piece crafted entirely in the noble metal, two other versions adorn precious gems. These pieces, revealed back in 2020 in 42 mm, become slimmer with their Time Only upgrades. Hublot proposes an unprecedented size
and brilliantly reinterprets the traditional three-hands with date yet ensures its DNA reigns. A 40 mm-diameter case, waterproof to depths of 100 m, embraces a smaller-scaled automatic calibre that powers the essential time data. Three versions are available. A 250-piece All Black limited edition that takes on a total black ceramic look. Complemented by yellow gold and titanium variations, new to the catalogue. Aspiring musthaves, for sure!
Highly-demanding wrists questing sophistication haven’t been left aside. The diamond-set or paved Big Bang One Click 33, 39 and 42 mm stand out with their springtime shades through a wide choice of brightly-coloured rubber straps.
Hublot continues to wow with its limited editions. Its 2022 vintage of
its architectural Big Bang Sang Bleu II goes for scratchproof materials with 18K Magic Gold and black or green ceramic. This option exhibits the threedimensional geometric scenography. And, the only watch capable of memorizing the number of shots on an 18-hole golf course rolls out a vitaminboosted cocktail of just 98 grams to stroll along the greens in its Big Bang Unico Golf Orange Carbon version. As for the Spirit of Big Bang Carbon Gold Tiger, its case dazzles with speckles through the use of carbon fibre integrating a frosted effect and gold inclusions. Hublot celebrates the Lunar New Year subtly and majestically. The motto of the Year of the Tiger, disguise yourself to better stand out?
nEw sizE, prEcious and HigH-TEcH maTErials, a widE array oF colours: HubloT sETs THE TrEnd.
A. Lange & Söhne’s Zeitwerk collection, launched in 2009, is without a doubt the most intriguing as it is surprisingly different from the Glashütte manufacture’s traditional watchmaking. Its double digital jumping hour and minute display would create a little revolution and fuel a great many discussions. Was it appropriate for a brand known for its Germanic classicism? Would collectors be convinced? Well, the answer was immediately: yes and yes again.
The collection has its fans and illustrates that drastic design-level innovation paves the way for new perspectives, even in traditional fine watchmaking.
With this in mind, A. Lange & Söhne have chosen to issue a 200-piece limited series that embraces two other brandproprietary innovations. To begin with,
the watch boasts a 41.9 mm-diameter case crafted in Honeygold, the firm’s own gold alloy, which harmoniously blends subtle elegance and distinctive charm with its warm, delicately-amber-
hued tones. But, it’s above all the use of the “Lumen” transparency technique on this model that makes it ever-so one-of-a-kind. Zeitwerk was already very modern looking. The Lumen treatment endows it with a resolutely futuristic character that enhances its appeal. The pleasure to watch the luminescent jumping digits on the slightly-smoky dial is undeniable and boosts the uniqueness of its look even more. The readability of the hours and minutes – already excellent before – is also centre staged in an outstanding way. The digits jump literally as you gaze on in the middle of the ballet performed by their peers shaded-down under the
THE lumEn TrEaTmEnT Endows iT wiTH a rEsoluTEly fuTurisTic cHaracTEr THaT EnHancEs iTs appEal.
semi-transparent sapphire crystal. It’s impressively effective.
But, there’s more to come as the Saxonybased manufacture has also rolled out a brand new fine-watchmaking calibre to drive this new Lumen opus: the L043.9. We discover the usual untreated German silver 3/4 plate even though its look differs slightly with the minute winder visible and the large double barrel. The brand’s proprietary decorations, such as the hand-engraved escape-wheel cock and the mirror-polished angles, are meticulously created. Moreover, the power reserve has been doubled thanks to this double barrel and now delivers 72 hours. The escapement is still the patented constant-force one that offers optimal precision. In the great tradition of state-of-the-art watchmaking designed to be easy to use, a new pusher is set at 4 o’clock to adjust the hours independently from the minutes. The jump of the hours and minutes is valued for its instantaneousness as well
as for the characteristic muted sound of the totally-Germanic “click”. A handwound digital watch like few others.
With this Zeitwerk Honeygold “Lumen”, A. Lange & Söhne unconditionally carves out its own route in the fine watchmaking scenescape. Collectors will definitely not be mistaken and the series will be clearly sold out in no time at all. Lovers of dazzling up-to-theminuteness and world-class calibres, you’ve been warned!
Evolution oblige, dive watches have succeeded in tailoring to on-land environments. Take, for example, Longines’ reference 6921 Nautilus Skin Diver unveiled back in 1959! This timepiece, a trailblazer in underwater exploration, never stopped adapting to the elements and to the stylistic trends of its era. Its direct descendent, the 7042 Super Compressor from 1960, introduced a second crown at 2 o’clock along its caseband in addition to the crown dedicated to setting the time that moved to 4 o’clock. Thanks to this second device, divers could adjust the mobile flange that bore the same indications as a rotating bezel,
a graduated 60-minute scale. And, its existence wasn’t just a question of style. It eliminated any risk of unintentional turning during immersions! The 2007-launched Longines Legend Diver
ocean-limits further and make sure we’re totally in tune with the times. In 2009, a date appeared on the scene at 3 o’clock on the amphibious models. Since then, a host of dial variations make watchmaking yearnings come true.
Watch boasts similar genes. Every piece in this collection, perfectly at home with aquatic- and city-life adventures, has all it takes to fulfil our desires, push our
As this year dawns, the brand from Saint Imier reveals unprecedented adaptations espousing the sturdy 42 mm-diameter steel case, waterproof to depths of 300 m. The new faces, adorning sandy-beige or gradienttoned ash-grey and lacquered and topped with a domed sapphire crystal, gift the hour and minute hands with an ever-so soft decor. The existence of a
THE brand from sainT imiEr rEvEals unprEcEdEnTEd adapTaTions Espousing THE sTurdy casE.
matching fabric strap boosts this visual harmony even more. Yet, this natural elegance in no way affects the watch’s marine penchants. The indexes, hands and numerals, set off with white SuperLumiNova®, ensure optimal readability under any conditions of light.
Longines also proposes novel dial interpretations for its 36 mm cases, a size showcased for the first time in this range in 2019. The true-to-you royal blue, deep burgundy and delicate gradient-toned ecru meet the style wishes of discerning up-to-the-minute wrists.
Whichever diameter or shade you choose to go for, all these references are driven by self-winding movements equipped with a silicon balance spring insensitive to the negative effects of gravity. The bigger model pursues its route with the highlyefficient, reliable L888.5 calibre. It delivers
a power reserve of some 72 hours. As for the 36 mm watches, they host the L592.5 calibre that ensures autonomy of at least 45 hours. These devices are protected by a screwed caseback decorated with the traditional engraved diver, a signature design since the 1960s. Timeless, pareddown lines, accurate movement and an array of suitable colours ensure The Longines Legend Diver Watch is as attractive as ever.
Among the most renowned independent watchmakers, one name has been constantly mentioned for years now: Kari Voutilainen. This great master of handengraved guilloché-work is also reputed for the outstanding finishes of his movements and for his creations that are sturdy and easy-to-use. In 2022, he celebrates the twentieth anniversary of the creation of his own brand. The time was therefore ripe to review the many developments his business has undergone over the last few years.
His journey began back in his native Finland, at the Tapiola school of
watchmaking, then at the prestigious WOSTEP in Switzerland where he finetuned his craftsmanship on watch complications. In 1989, he joined Michel
which meant he could devote the rest of his time to his dream: to create his own brand. In 2002, he founded his business. The rest is part of the history of independent watchmaking.
Parmigiani’s workshop. He stayed there ten years. But, the desire for independence led him to accept a parttime teaching position at WOSTEP…
Eight GPHG prizes later (awarded the Men’s Watch Prize five times in 2007, 2013, 2015, 2019 and 2020 and the Artistic Crafts Watch Prize three times in 2014, 2017 and 2019), Kari Voutilainen is at the helm of a small empire. Actually, his business has grown brilliantly to say the least. He explains to us with his characteristic modesty: “I don’t think we can talk about an empire. Today, I still work
"wE safEguard our sTrong dna. THE facT THaT wE HaVE sEVEral businEssEs HElps mE sEcurE our fuTurE."
in the Voutilainen workshop. I deal with customers a lot and I continue my casing up and finishing hands. But, I’ve also learned to delegate a lot of the operationalsidefortheotherbusinesses”.
It would take a sort of omnipotent Shiva to be able to successfully manage all the firms he’s involved in and that enable him to have full control over his production. In a nutshell, Comblémine S.A., purchased in 2014, produces all the dials for his own watches and subcontracts for others. Voutilainen & Cattin, founded in 2018, procures cases in the same way. And, it goes without saying, all the components of his eponymous brand continue to be produced in his workshop, which has been perched high above Fleurier on the Chapeau de Napoléon since May 2021. In just a decade, Kari Voutilainen has invested to create a real watchmaking manufacture that delivers, firstly, secure supplies as well as the optimal quality he quests and, secondly, a very sound financial base through his subcontracting business.
Yet, he has never intended to produce large volumes. The master watchmaker prefers to focus on quality and on
transmitting traditional know-how. As such, only 64 Voutilainen-signed watches were produced in 2020 and 53 issued in 2021. His order book is already completely full for 2022, 2023, 2024 and only a few orders still remain open for 2025. Success is unquestionable and 80% of business is exclusively carried out directly with end customers!
Notwithstanding, with all these developments, the question of fanning out and of downplaying, raised by some collectors concerned about continuing to showcase the exclusiveness that makes the brand stand out, comes to the fore. Isn’t there a risk that the Voutilainen name could lose its soul with all these partnerships that are being initiated? The watchmaker-entrepreneur answers in all honesty: “We shouldn’t mix everything up. We’ve subcontracted dials for some brands that we get on well with, such as Grönefeld ou Armin Strom. I’m still part of the MB&F adventure, mainly at design level. The only real partnership was with Schwarz Etienne for the Roma Synergy where we redesigned the case. We safeguard our strong DNA. The fact that we have several businesses helps me secure our future. And, as I’m only
"iT’s brillianT To sEE THaT THE passion for indEpEndEnT waTcHmaKing Has nEVEr bEEn morE aliVE THan now."
involved a bit in the operational side, I can devote more time to creation”
But what about the purchase of the Urban Jurgensen brand in 2021? Kari Voutilainen was a watchmaker there back in 1996 and developed movement prototypes until 2000. “They were my biggest customer when I began my independent business”, states the most Swiss of all Finns “but the brand never managed to get off the ground. They’ve also always been dependent on their subcontractors. The bottom line would be to create a real manufacture that was productionindependent…but that’s a long-term outlook! We’re going to develop little by little. For the time being, we’re looking for the best partners to collaborate with and we’re working on the launch of a new collection to celebrate the 250th anniversary in 2023. It’s a really exciting challenge, real motivation for enhancing the image of this historic brand” Yet another CEO hat for the discreet artist. Yet, here once again, he delegates, and his daughter, Venla, has already taken over the after-sales, key entry point for current customers. Voutilainen’s empire pursues its route forwards, at its own pace, forever boasting the same vision of quality and independence.
Yet, since the 2000s, things have changed incredibly. The watchmaker confirms: “When I started out, independent people were deemed ‘do-it-yourselfers’ by major brands and only a few collectors knew us. The media and Internet helped independent people to exist and ensured information was disseminated to as many people as possible. The customer base has changed greatly since then. New markets have opened up, such as China and the Middle East. New types of customers have appeared. 20 years ago, my customers were all older men. Today, there’s a wide variety: men, women, from 20 to 80 years old, of every nationalityandeveryculture.It’sbrilliant to see that the passion for independent watchmaking, for ancestral know-how, is passed on and has never been more alive than now”
Something to be proud of after all these years of relentless work. With his magnificently-humble smile, Kari Voutilainen adds: “My teams do amazing work, we’re just like one big family that continues to grow. And, I’m really delighted that my daughter has chosen this profession too”. The empire’s future seems to be well and truly in hand!
A few years ago, watchmaking terminology integrated a word that has now become commonplace, far removed from its original definition, to qualify a timepiece whose personality makes an impression so powerful that it transcends time: icon. Watches that embrace the intrinsic qualities of this sort of description – “ages well”, is perfectly in tune with the times yet never sells its soul, persists but never gets boring, pursues its status as a desirable object, is an ambassador of style –are few and far between, even though they’re the focus of attention for a majority in the business. Occasionally,
the icon disappears for a few years even decades, tucked away in the archives or in the corner of the mind, then hits the stage again, more powerful than ever. And, occasionally,
it continues to express itself through an existence overflowing with variations, it embodies the beginning of a brand new story. Rules and laws don’t
really exist but avenues to explore do, something that Zenith does with incredible intelligence. Over the past five years, the manufacture based in Le Locle has dazzled through perfect performance that deserves a standing ovation. Whenever a new piece is launched, creative effervescence is tangible whether it’s in “Revival” models, these reissues that root Zenith’s heritage in the present day, in state-of-theart pieces such as the Defy Extreme or great success stories like in the Chronomaster Sport, unveiled in 2021 and that everybody wants to get their hands on.
"wE managEd TO kEEp TO THE prOpOrTiOns OF THE TimE, EVEn bY cHanging THE mOVEmEnT."
As this year dawned, it goes without saying that impatience reigned supreme pending the chapter-tocome, as the firm ensured temperatures would rise with their teaser buzzes on social media. Then, on 17 January, the curtain opened on a spectacular reedition, the Defy Revival A3642. “We’d expressed ourselves immensely on El Primero and iconic models such as the A384, A385 and A385 that we’ve reissued in our Revival programme since 2019 and the time was ripe for us to move on to another story, to open another door, this time round for Defy, our other flagship collection, and go back to an avant-garde design” states Romain Marietta, Zenith Products Development & Heritage Director.
On his wrist, a Defy from 1969, firstever octagonal watch imagined long
before this geometric shape became fashionable and instigator of the Defy collection What’s more, it was with this model that the “i” would become a “y” because George Favre-Jacot (1843-1917), the founder back in 1865 of the future Zenith, had registered the name in 1902. “He already had the audacious idea of having pieces boasting a name that conjured up the function, a challenge, “défi” in French, for precision, sturdiness, to create watches as sturdy as possible. In 1969, this vowel change corresponded to a goal of becoming an international firm and, today, Defy’s sturdiness is obvious in the modern-day, sandwich development of the cases and the high frequency of the movements that beat faster and are, as such, more resistant to shocks” explains Romain Marietta.
The Defy Revival A3642, available in just 250 pieces, was reproduced based on the original design plans and Romain Marietta specifies that: “We managed to keep to the proportions of the time, the work carried out by our predecessors, even by changing the movement as we switched from a calibre 2552 that beat at 21,600 vibrations an hour, the ancestor of the Elite introduced in 1994, to the Elite 670 beating at 4 Hz and offering a power reserve of 50 hours. It wouldn’t have made sense to keep the same movement. We wanted to modernize it without altering it”. And, it’s true, when the two watches are placed side by side, the differences are mainly in the virtually-invisible details: the glass now a sapphire crystal inviting to admire the star-shape-crafted oscillating weight, the transparent
instead of solid caseback, and the Super-LumiNova® that replaces the tritium. For the rest, the piece keeps its sporty look that would shake up the codes in the Seventies and continues to fascinate to date. Its nickname “strongbox” or “safe” comes from its 37 mm-diameter hexagonal case, featuring a 14-sided bezel and a screwed crown, and hermetic enough to withstand immersions down to depths of 300 m. In addition to its silhouette that sparks admiration, its face is a real eye-catcher. In 1969, the dials known as “smoked” with their gradient-toned colour, a taupe hue for Defy, were really rare. The applique, ribbed indexes, the swordshaped hour and minute hands and the direct-drive tipped with a luminescent triangle enhance the relief-worked architectural aspect of the ensemble.
This reissue explains the natural evolution launched a week later: the new Defy Skyline, equipped with the automatic El Primero calibre (5 Hz and a power reserve of 60 hours). “The direct link between the two is their angular shape composed of a special 14-sided bezel in the case of the first watch that we reduced to 12 for the second watch. The 14 sides add a vintage touch whilst the 12 sides, already found on the Defy Extreme, are visually more in harmony as each is opposite an index” reveals Romain Marietta. With its redesigned lines, the Defy Skyline diffuses a versatile, sporty yet classic style, depending on whether it’s worn on a textured rubber strap or a steel
link bracelet, both interchangeable in two clicks, literally. “We also rethought the flow of the bracelet” continues Romain Marietta “so that it would be suitable for as many wrists as possible, and always with the spirit of being unisex in mind”. Even the finest wrists can take on its 41 mm-diameter, 11.60 mm-thick case comfortably thanks to the work carried out on the watch’s overall wearer-friendliness. As regards stylistics, the Defy Skyline’s sunburst dial is superb with its exclusive pattern made up of tiny stars positioned to form a checkerboard. At 9 o’clock, the recessed 1/10th of a second counter complements the central hands that hover over facetted indexes, all coated
with Super-LumiNova®. Three shades are proposed for the moment: blue, black and silver. We can’t wait to discover what’s coming next!
“Passion delivers compelling arguments for overcoming obstacles”. This quote from French businessman Antoine Riboud (1918-2002) has in all likelihood driven a whole generation of entrepreneurs. Georges Brunet is one of them. When he joined the 1904-created familyrun firm in 1997, the company hadn’t produced any timepieces since the 1980s. However, amongst ZRC’s creations, a phoenix was waiting to rise, the Grands Fonds. This dive watch, imagined back in 1964, met the requirements of the French National Navy’s specifications. It was resistant and reliable and would accompany clearance divers for two decades. The
brand’s 111th anniversary provided him with the opportunity to give it a new lease of life with a limited edition that reiterated the philosophy of the original model and was enhanced with shrewdly-
chosen innovations. The strength of the piece’s one-of-a-kind design, hexagonal case and crown at 6 o’clock, added the final touch to the watch’s success.
Since then, ZRC has relaunched its production and is forever expanding its catalogue. La Grands Fonds 300 is proposed in a wide array of dial colours. It has also been joined by the GF3000 Titanium, the only watch without a helium escape valve that’s waterproof to depths of 5,000 m. Most of the development focused on programmed deformation of materials. Basically, titanium, the caseback’s steel armour, the sapphire crystal and ceramic don’t behave in the same way under pressure or under temperature variations. It took the Swiss firm nearly 18 months of research to finetune this delicate assembly. These
iTs ExclusivE sTylE and THE qualiTy oF iTs craFTsmansHip makE iT wondErFully appEaling.
upgrades were then incorporated in the latest GF300 generations. All the 41XXX references boast them and embrace the collection’s technical particularities. We discover the Crown Protection SystemTM, which prevents the strap from being attached and closed if the crown isn’t screwed correctly. The Easy Clean SystemTM that effectively prevents salt from crystallizing between the bezel and its mount. The addition of a ceramic insert makes it even more efficient. Userfriendliness has also been optimized. The unidirectional bezel is aligned with the inner side of the case chamfering to ensure it isn’t unintentionally turned.
The Super-LumiNova®-coated Magnum-style hands are combined
with a “lollipop” direct-drive. The automatic Sellita SW200-2 calibre in its sophisticated version drives, depending on the variations, a date set at 3 o’clock. Its exclusive style and the quality of its craftsmanship make the GF300 wonderfully appealing. Whether it’s under the oceans or on firm ground!
Being everywhere at once. Only divinities from Antiquity and photons in quantum physics are endowed with this ability to be in several places at once. When it comes to us mere mortals, our life is governed by space and time. Having said that though, watchmaking offers roaming souls the opportunity to zoom across time zones in style and in the best possible conditions. To satisfy their every wish, Bvlgari proposes a travel watch that embraces features deemed can’t-do-withouts for longhaul journeys and professional activities connected to a host of places across the globe. The 2017-launched Octo Roma collection is, as such, enhanced with a
new reference, the Worldtimer which, as its name suggests, boasts the practical world time complication.
The GMT standardized system of time, replaced in 1972 by UTC, Universal Coordinated Time, divides our planet into 24 separate zones. To find out quickly and easily the time in each of them, the Swiss master watchmaker Louis Cottier presented an ingenious
system back at the beginning of the 1930s that was impressively effective. The central hand gives local time. Around the edge of the dial, a ring bears the names of key cities, New York, London, Moscow, Tokyo, etc. This ring interacts directly with a second graduated from 1 to 24. Once its reference time zone’s been placed at midday via the crown, all the cities are immediately coordinated with their respective time. This mechanism, which became a great classic, charms with its easy adjustment and has taken centre stage ever since on a myriad of models, irrespective of the brand. And, this is exactly what the Italian-Swiss
THE ocTo roma worldTimEr offErs us a passporT for EvEry dEsTinaTion on THE globE.
manufacture adopts for its Octo Roma WorldTimer! The time data is driven this time round by the BVL257 calibre assembled using 261 components. The presence of this self-winding movement, beating at a frequency of 4 Hz, delivers at least 42 hours of autonomy to the timepiece.
Bvlgari has rolled out this model in two attractive variations. The first combines its facetted octagonal case topped with a round, satin-brushed and polished steel bezel with an elegant blue sunburst-finish face. The second goes for a total black look through its DLC (Diamond-Like Carbon) coating and its dial. The Super-LumiNova®-adorned indexes and hands stand out perfectly in this monochrome scenescape. The chic-sporty spirit of these pieces with their ever-so one-of-a-kind design is boosted even more by their versatile
size, 41 mm diameter and 11.35 mm thick, and by their waterproofness tested to depths of 100 m. A musthave companion for thrilling lifestyles enlivened by never-ending adventures. To ensure these pieces are wearerfriendly, each version comes with a special matching wraparound, a metallink bracelet or a textured rubber and textile strap, attached by a folding clasp or ardillon buckle. Even though all roads may lead to Rome, the Octo Roma Worldtimer offers us a passport for every destination on the globe.
Over the past decade, Roger Dubuis has been exalting the Arthurian legends with its limited Excalibur Knights of the Round Table series with their captivating style. The common thread of all these watches is the exquisitely micro-sculpted knights that replace the indexes and numerals on a traditional hour chapter. Each watch makes them revolve around the dial that boasts a striking scenescape.
This year, the manufacture transposes them in an inhospitable realm conducive to their heroic quest. Unlike the previous variations, these newcomers, all different, are frozen in action. Arms wield swords and other weapons from the
Middle Ages. The twelve meticulouslycarved rose gold figurines encircle a sulphurous landscape created thanks to the exclusive know-how of the Venetian craftspeople. In a nutshell, a totally-
relief-style, smooth and glossy black landform, comprising fragments of glass from Murano cracks under the pressure of intense-red magma fashioned in the same material. The ensemble
reigns supreme in a 45 mm-diameter 18-carat rose gold case. To marvel at this sumptuous scenography from every angle, a sapphire crystal has been placed between the case and the bezel.
The magic really works. You can’t help but admire the incomparable work, finalized with ever-so delicate métiers d’art.
And, as a pledge to excellence, the 28 pieces of the Excalibur Knights of the Round Table are, like all Roger Dubuis’ production, stamped with the Geneva Seal (Poinçon de Genève). By looking attentively at the timepiece, the finishes stand out, such as the one on the crown. It is
primed like a diadem, espousing precious metal and Serenissima glass. A protection, on both sides, visually emphasizes the impact of the element identical to the hilt of the mythical sword embedded in its rock. Its presence lets the wearer adjust time data and wind the RD821 calibre. Moreover, Roger Dubuis’ watchmakers were dedicated to magnifying this state-of-the-art movement that drives the pair of hour and minute hands that hovers over the fascinating composition. This automatic movement that delivers a power reserve of 48 hours stands out with its novel openworked oscillating weight. This device, imagined using two levels of inverted pyramids, breathes life into a geometric structure boasting powerful design that invites to be discovered via the caseback.
Like all the references in the collection since 2012, Merlin’s oath is showcased
on the watch. “Around this table, the bravest knights will gather as equals. They will set forth in search of adventure, righting wrongs, protecting the weak and humbling the proud”. So, to accompany the happy few in their quests under the best conditions, each piece is worn on a comfortable black calfskin strap. The strap can be easily changed as wished thanks to its quick release system. Once again, excellence strikes with precision and mastery!
Loyalty and faithfulness epitomized, amongst other things, gallant love during the Middle Ages. Afterwards, attentions were transmitted in a variety of forms. Incomparably-intense epistolary relationships, proofs of affection forever renewed. Charm and grace united the watchmaker Constant Girard and the artist-painter Marie Perregaux. In 1854, one of the most prestigious manufactures was born from this romantic partnership. In 1860, the business adventure became reality with the unveiling of a tourbillon chronometer that boasted something rather special: three slender, pointed gold bridges, which replaced a
second baseplate. This technical option meant the barrel, the geartrain and the regulating device could be aligned. The movement, patented in 1884 and featured in a pocket watch called La Esmeralda, won the Gold Medal during the 1889 World Exhibition in Paris. This one-of-a-kind engineering feat has become a stylistic signature since 1991
as the famous golden bridges set off the design of the dials of the timepieces finalized in La Chaux-de-Fonds.
The Swiss brand does its utmost to infuse undeniable prestige into fine watchmaking through its exceptional creations. The latest to date, crafted in just three numbered pieces, renews this attachment to transmitting and triggering visual emotion. The exclusive Tourbillon with Three Gold Bridges Ruby Heart dazzles with its sophisticated personality. “Passion makes one think in a circle” stated Oscar Wilde (18541900) in The Picture of Dorian Gray
THE opEnworkEd dial fEaTurEs a vibranT fucHsia HuE obTainEd by THE prEsEncE of ruby HEarT.
At Girard-Perregaux, this geometric form takes on the features of a circle in a 38 mm-diameter rose gold case. This delicate case protects a selfwinding movement that delivers a power reserve of at least two days. Like many of the manufacture-made references, the mechanical elements play a preponderant role in stylistics. Here, the openings on the dial centre stage a lyre-shaped tourbillon cage assembled using 79 components, which weighs but a mere 0.3 grams. Above, the hour wheel breathes life into the dauphine-type hands. Under the upper bridge at 12 o’clock, a barrel decorated with a white gold disc glitters in unison. There are no indexes, no numerals to cloud this harmonious layout. The large sapphire-crystal caseback invites to admire the mechanism’s complexity as well as its traditional finishes and its micro-rotor.
To highlight its calibre assembled using 283 components, 56 brilliantcut diamonds totalling 1.245 carats and 18 sparkling rubies embellish the bezel. Its openworked dial features a vibrant fuchsia hue obtained by the presence of ruby heart, a natural stone carved into thin layers. The same gem tops the crown. A large-scaled carmine alligator strap attached by a rose gold folding clasp set with 18 diamonds adds the final touch to this ode to creative passion.
How can you stand up to a situation that’s virtually monopolistic? How should you go about striving for independence?
The quest for answers to these two questions led Ulysse Nardin to initiate a special strategy as the 21st century dawned that focused on a metalloid boasting a host of attractive properties. Silicon, insensitive to the negative consequences of magnetic fields and stainless, can moreover be sculpted to the nearest micron in the size desired. And, given its intrinsic lightness, it has the advantage of making a calibre more immune to the Grossmann effect, which heightens isochronism defects observed when a
watch’s position is changed. So, the watchmaker drew on the expertise of one of its subsidiaries, Sigatec, and its mastery of DRIE (Deep Reactive Ion Etching) already used for manufacturing processors.
In 1999, the Freak became the first watch to host a silicon escapement. In 2007, the Freak DIAMonSIL® model
would centre stage years of research and development. This timepiece didn’t just stand out through its breakthrough design and architecture but also through its patented escapement imagined using a diamond and silicon alloy. But, this piece would place the accent on exclusivity. For Ulysse Nardin, it was highly-instrumental to be able to create a calibre that could take on industrial volumes. Four years later, the goal was reached when the UN118 was unveiled. This self-winding movement was the first the firm had totally developed and assembled on its premises. As such, the brand became part of the very small circle of
THE Un-118 comprisEs a diamonsil® EscapEmEnT wHEEl and ancHor and a silicon balancE spring.
manufactures that could produce all the mechanical parts required.
The UN-118, designed using 260 components, comprises a DIAMonSIL® escapement wheel and anchor and a silicon balance spring. It showcases upto-the-minute features and is adorned with traditional finishes like Côtes de Genève that decorate the bridges and the baseplate. This calibre, delivering a power reserve of 60 hours, is also set apart thanks to its accuracy, as it meets the criteria requisite for being granted COSC certification from the stringent Official Swiss Chronometer Testing Institute.
In 2012, the Marine Chronometer Manufacture beat to the rhythm of the UN-118, at a frequency of 28,800 vibrations an hour. This device would, of
course, drive the hour and minute hands. It would also breathe life into the power indicator display set at 12 o’clock and a small seconds and date positioned at 6 o’clock on the immaculatelyenamelled dial. This layout would be perpetuated down through the years in Ulysse Nardin’s production, in particular in the elegant Marine Torpilleur 42 mm pieces presented in 2021. Amongst other models, the movement can be found nestling inside the titanium and rose gold case of the Marine Diver 44 mm watch, waterproof to depths of 300 m. By choosing this calibre, the firm continues to place the accent on exclusivity. The 300-piece Diver X 44 mm Antarctica limited edition is a convincing demonstration of Ulysse Nardin’s ability to pursue its odyssey.
I had been warned beforehand. “You’ll see,DubaiWatchWeekistotallydifferent from anything you’ve experienced up untilnow,it’sgotarealchillatmosphere, virtually the opposite of the shows you’re used to going to”. I remember down to the very last letter what a colleague and friend had told me some time ago. So, yes, I was ready, I’d gleaned info from other journalists, I’d read all the details about Dubai Watch Week (or DWW, for those in the know) and about “how it rolled” before flying off to the United Arab Emirates. And, yet, I was surprised. By everything. The place, the organization, the brands present, the atmosphere. Everything.
Dubai Watch Week was born out of a passion for measuring time, and was founded in 2015 by Ahmed Seddiqi & Sons, the watch retailer of the Middleeast region that has been the must-of-
musts for over half a century now and that manages the distribution of fiftyodd brands that were virtually all present
during the last edition of this young trade show already boasting international reach. Although the first edition had brought together some 2,500 visitors around 14 brands, this one, which took place from 24 to 28 November 2021, attracted nearly 17,000 people, 50 watch firms, and totalled over a dozen launches of new pieces. Over the years, the programme was enhanced to include conferences, get-togethers and masterclasses, because as Hind Abdul Hamied Seddiqi, Director General of DWW, explains in the preamble, “Our goal is to create an unparalleled educational, experiential and networking event”
As well as these figures that keep growing with each edition, proving the success of the concept, visitor impressions are paramount. After 17 years in this business, I must admit that the fact that we weren’t stuck inside an impersonal, overheated, crowded exhibition hall, plays a key role in the wellness that flows over (and through) us once we step inside. Even though, in actual fact, there is no door: everything takes place outside and you have to weave your way from one block to the next to discover the stands. Historic brands such as Rolex, Audemars Piguet and Chopard have their own independent spaces, a bit like gigantic pop-up stores, where they showcase their products and greet customers and journalists, set up around a covered building. Here, we discover, grouped together in a row, all the
firms that make watches, without any distinction between types of products, positioning, target or age. Young talents rub shoulders with old hands.
I move from Ferdinand Berthoud to Laurent Ferrier, from Greubel Forsey to the exhibition of the watches that won awards in the Grand prix d'horlogerie de Genève; I interview Max Büsser and Fabrizio Buonamassa Stigliani about how the MB&F x Bvlgari co-creation came about (definitely one of the most exquisite pieces of 2021); I chat with a young stranger who’s holding his grandfather’s Zenith pocket watch in his hand – a pure delight! –; I sip a coffee in the sun with Rolf Studer, Oris co-CEO, from whom I borrow the new Big Crown Pointer Date whose navy-blue dial fascinates me, just to take a wristshot; I rush off to attend the
Horology Forum conference, with guest speaker Manuel Emch who is behind the amazing Louis Erard collaborations; I take time out at the Rebellion stand to discuss a bit with the firm’s CEO, Calim Bouhadra, who tells me just how delighted he is to be here at DWW and informs me of the upcoming opening of the brand’s first store.
Every single instant of my rich day rhymes with an encounter, a discussion, always informal and even totally natural. Even the meals that see a host of personalities come together – collectors, associates, creatives, managers – are an opportunity to share, to discover, to be spellbound. And, the fact that everything is readily accessible, in a laid-back atmosphere, makes connecting with people easy, whether you’ve met them before or
not. At DWW, the old race literallyspeaking against time doesn’t exist where I generally have to run from one appointment to another to keep to my schedule. Here, you just need to go up to a stand, to say who you are if need be and come back a little later if there are too many people.
Amongst the firms exhibiting in the main building, there are some that I had never been able to approach for a variety of reasons. This time round, I discovered the wonderful Kanister that François-Marie Neycensas, the CMO of Reservoir, presented to me, then I listened to the explanation about the concept, which is both philosophical and architectural, of Trilobe watches, as I held a Nuit Fantastique Secret in my hand. DWW is also an opportunity for young creators just starting out and
who can’t have their own stand (for the moment) as it boosts networking, and this led me to discuss with Kevin Oualli, the founder of Halchimy, along with his wife Anne. His story, which began with a dream, mesmerized me and I found the idea of his watches with modular, interchangeable lugs based on your mood really groundbreaking. Exactly the type of watchmaking treasure I love to uncover so that I can share them here, with you.
As a member of the press, the good fortune to be able to hold and handle timepieces after two complicated years and to glean information right there and then about specific models directly
from the mouths of their creators is priceless. Of course, since 2019, we’ve participated in a few one-off, local events, with varying numbers of people based on the “limits” authorized, but none were on a par with the quality here, the people here, or the programme proposed here. This heterogeneous style – and I really must insist on the fact that nothing was categorized here and that everyone was on equal footing – means you leave enlightened, intellectually fulfilled, from the instructive four-day Dubai Watch Week experience. It ticks all the boxes of what we expect from an international watch show. And, this is the way I, personally, think contemporary watchmaking should be.
I’ve no idea if it’s a distinctive characteristic of my astrological sign but I adore freedom and harmony. I also love dreaming and if my desires don’t come true some day, well, something deep inside of me tells me that if I work hard, they will indeed become real sometime. Here, this column is a bit like my blank page. I narrate my childhood memories because it’s through them that I draw the energy to build my future, because it’s these memories that forged the person I am today. It may seem silly, but it’s like that, and I reckon I’m not the only one in the world to think like this. Here, in the peacefulness of my
bedroom, where I love to seek refuge from time to time whenever I find the world too noisy, too turbulent, I open the door to memories. They fly free like birds frenetically released from their cage, they twist and twirl, wings flapping disorderly above my head, or more so inside my head, until I grasp hold of one by chance. I’ve always got to dive back into my own past, it’s more powerful than me. The meek fragment of memory I hold metaphorically-speaking in the palm
of my hand makes me smile. In fact, it’s the humour that life occasionally effuses that makes me smile. When we’re 20, we crave for something we no longer want at 40, or the opposite, when we’re 20, we refuse a certain lifestyle that we long for eagerly when we’re 40. It’s funny, isn’t it? In any case, me, I laugh it off with a sort of melancholic fondness. After my translation and interpretation studies, and with my diploma in hand, I didn’t want to become a translator or interpreter because I just couldn’t see myself chained to my computer, nose down in my books and dictionaries, and all alone. Today, two decades on, I actually work like that now, with my Mac
aT HERmès, i lEaRnEd a lOT and iT all sTill sERvEs mE wEll TOday.
as my only friend, and I spend my days carrying out research to write my articles and I love my professional life the way it is.
You know, once in my work life, I looked for a job where I could be in contact with others, where I could develop business relationships with customers… and I really don’t recall how I ended up at Hermès, but I did, in the store that boasts an address that’s above legendary.
If truth be told, before I was hired, I’d only ever been to 24 Faubourg Saint Honoré once in my life, to accompany a friend, and when I entered this place I felt really intimidated. Pushing open the door, well, no not really because someone opens it for you, entering the “Faubourg”, is something unforgettable because you’re whisked off into a realm of enchantment. Every morning, after
I’d got dressed in my skirt suit and put on my heels, I headed for the store with my colleagues to prepare for the arrival of customers. At Hermès, I learned a lot and it all still serves me well today. I discovered the different types of leather, I fell madly in love with Barénia calfskin which, to this day, continues to be my lifetime favourite, and the array of colours whose names were each more poetic than the last. The can’t-dowithout H Red, the classic Gold and the surprising Etoupe. Leather, with its raw, comforting smell, its smooth, velvety texture, finely grained or adorned with scales depending on the animal origin, has become a passion. When my daughter was born, I gifted myself with a natural Barénia dairy cover and God knows how many times I’ve secretly whiffed its one-of-a-kind
fragrance. I knew a bit about Hermès watchmaking because one of my friends wore an adorable Kelly and the Cape Cod embodied the ultimate fantasy for me who is actually not that struck by shaped watches. I loved everything about it, its slender silhouette, its fine, curved lugs, the dash of humour of this famous square in a rectangle and, with its double-wraparound strap, I just thought it was perfect.
And, you know what... life meant that, quite a few years later, the Cape Cod of my dreams was finally on my wrist. A large model (GM, grand modèle, as mentioned in Hermès’ glossary) made of steel, equipped with an automatic movement (because quartz isn’t my thing), with an ivory-hued dial hosting unusually-designed Arabic numerals. And, a double wraparound strap made
especially for me in Barénia, of course, natural, of course too. The first time it embraced my skin, I could just feel pure delight tingling through me. I felt as if I was climbing back up the staircase of time, I was once again this young woman walking shyly across the threshold of the Faubourg, back in my world of work. My Cape Cod is recent and yet it is infused with memories that it ignores everything about, moments it hasn’t lived through with me but that are imprinted within. Sometimes, all you need is an object to feel invincible, and I wear this watch like a talisman. Last Christmas, I was with my mother after two years of separation as a result of the pandemic and, along with my family, I went back to this house my grandfather owns on the shores of the Mediterranean, a house where my memory of every childhood summer
spent with my brothers is concealed within. For me, a highly-sensitive person, this journey to be with the ones I love, accompanied by those I love, was intensely emotional. We strolled
the recurrent lockdowns had affected our daily lives, we ate delicious dishes cooked by my mother, browsed through old photo albums, while I realized just how lucky I was to experience these precious moments that are now part of my famous birdcage. If my Cape Cod was devoid of memories before meeting me, I’ve created new ones for it, only for it alone.
along the beach, feet in the sand, on the pebbles. We watched the sun rise and set, setting the sky alight. We weaved our way through the pine forest with its thousand scents. We observed clouds floating by over the sea. We laughed, ripped open our gifts under the Christmas tree decorated by my daughter and son, we discussed how
sOmETimEs, all yOu nEEd is an ObjEcT TO FEEl invinciblE, and i wEaR THis capE cOd likE a Talisman.
Their names are Snoopy, Bob, and Lucy... They are mischievous, endearing, funny, and sometimes clumsy to the nth degree. And they do it with conviction. These comic book or cartoon icons delighted our youth as well as that of many subsequent generations. Oh, the beloved beagle who first appeared in 1950 alongside his master Charlie Brown in the Peanuts gang! Oh, and those Minions, the little yellow creatures in blue overalls who are always going "bananas" in the Despicable Me saga! True icons of a dreamlike universe, these blundering goofballs so beloved by the public appear where they are least expected:
on the dial of a watch. What's more, it's quite successful because the watch brands succeeded in satisfying at the same time both fans of a poetic universe (or overgrown children) and lovers of fine mechanisms. All this, without any compunction.
Take for example the latest Konstantin Chaykin Wristmons Minions, an edition limited to 38 timepieces that is already sold out. The independent Russian is
best known for his clown head watch designed in 2017. Here, he does it again with a dash of humour, choosing Bob, the most naive and emotional of the Minions gang, to highlight his latest creation. A watch, really? Yes, and in fact rather elaborately so, since the Muscovite launched this strange lemon-coloured imp at the Dubai Watch Week at the end of November 2021. The creature indicates the hours with its left eye, the minutes with its right eye, while its red tongue displays the moon phase. The virtuoso of complications, who has nearly 80 patents to his credit, also decided to embellish the Minions with a wristband
a concErn for firsT-dEgrEE Humour and sEcond-dEgrEE irony.
directly reminiscent of the denim overalls worn by the charming creatures. What a completely off-the-wall method of telling time on a sort of cross between a yellow flea and a wide-eyed Michelin Man. It is delightfully regressive. This generous dose of fantasy can also be found in Franck Muller's most famous achievement. In 2003, the CEO, while on holiday in a magnificent hotel in Mauritius, threw conventions to the wind and decided to create a watch without any rules: the Crazy Hours. This year, Snoopy is the protagonist of the limited edition of 25 timepieces created in cooperation with Bamford. The pitch? Black case, black dial, and the world's most famous Beagle indicating the hours and minutes with its two arms! The movement is utterly improbable: the numbers are in complete disarray: 8, 1, 6, 11, 4, 9, 2, 7, 12, 5, 10, and 3.
Over at Swatch, Snoopy is joined by Charlie Brown, Lucy, and the whole gang in the CHOMP! model. They're all having fun, sledding at top speed, and building snowmen. This New Gent with its 41 mm case and biosourced lens comes in a red dog-bowl shaped case. First-degree humour is what shapes these kinds of vignettes. It is childish without being namby-pamby. Universal and impertinent. Pop culture right there on your wrist!
Although watchmaking is a Swiss speciality, particularly in the Frenchspeaking cantons of Vaud, Neuchâtel, Geneva, and Jura, it is also very much a part of the Franche-Comté in France, along the Swiss border. In actual fact, the entire French-Swiss Jura territory is dedicated to this craft.
The quartz crisis that struck at the end of the 1970s marked the end of the “belle époque“ of this sector.
The industry employed up to 50,000 people, a figure that had fallen to 1,500 by 2017.
Nevertheless, the know-how never disappeared. The evidence is that 11,180 French cross-border workers
are directly employed in Swiss factories out of the 30,491 watchmaking-related jobs in the Swiss Jura region (2017 figures from the Observatoire statistique transfrontalier de l'Arc Jurassien OSTAJ). Made in France refers to those products
manufacture precision watches with a French identity.
undergoing their final transformation in France by a local company, provided this stage is “economically justified“. Various solutions are emerging to
As a reminder, the reference among the so-called “three-hands-date“ automatic calibres is the 2824-2 from ETA. Introduced in 1972 under the name 2824, it gained its “-2“ status through an update in 1982. Technically, this movement, of which there have been millions produced and assembled by numerous brands, operates at a frequency of 28,800 vibrations per hour. It has a power reserve of 42 hours, measures 25.6 mm in diameter, and 4.6 mm thick. Currently, the Swatch Group, to which ETA belongs, no longer distributes its components outside its
Various soluTions arE EmErging To manuFacTurE prEcision waTcHEs wiTH a FrEncH idEnTiTy.
iniTially, THE bridgEs and plaTEs will bE manuFacTurEd dirEcTly on siTE.
own group. Thus “clones“ have sprung up, the leading supplier being the Swiss company Sellita with its SW200. As a result, the impact of the ETA 2824-2 on the watch market is considerable and continues to be relevant today.
Pequignet can draw on first-hand experience having designed the Royal calibre released in 2011. This high-end mechanism focuses on fine watchmaking. In 2019, the design of a new mechanism entitled “Initial,“ intended for a wider public, began. The approach is to achieve a mechanism that is as French as possible. Thus, 72% of its components are of French origin and the rest are sourced from Switzerland, all within an 80km radius of the factory. It should be noted that the components are not manufactured on the company's premises. Dani Royer,
general manager, explains that “the main criterion enabling the qualification of a 'French' approach is the creation of jobs in France“
The Initial calibre displays the date, hours, minutes, and has a central swift second hand. It is calibrated to 4hz, with 65 hours of power reserve. It measures 28.2mm in diameter and is 4mm thick. It is intended for Pequignet watches as well as for other third-party brands.
Orders are already being taken since the end of 2021. It is difficult to specify a firm price point however, for similar quantities, it corresponds to “approximately four times that of a Sellita SW200“.
Humbert-Droz is a company assembling watches using mechanisms from a number of different sources: Swiss, German, and even old French stocks from the 1960s. The company joined forces with the highly reputable Lajoux-Perret motor manufacturer from La Chaux-de-Fonds, owned by the Japanese group Citizen, which is launching the G100, a new “threehands-date“ automatic calibre. The latter can accommodate hands, dials, and cases designed for the ETA 28242, whilst increasing the energy reserve to 60 hours for the same frequency and still with a single cylinder. Lajoux-Perret will in fact supply kits to the HumbertDroz workshops for assembly and will offer to customise the rotor. The price will be aligned with that of the Sellita SW200, regardless of whether it is assembled in Switzerland or in France. However, for movements rolling out of the Humbert-Droz workshop, “Made in France does not apply because the components are not manufactured in France and we want to be transparent with our clients,“ as Julien HumbertDroz explains.
Yema is part of the Ambre Group that unveiled in 2011 the MBP1000, an automatic calibre displaying the hours, minutes, seconds, and also the date. Designed and assembled in Morteau, France, the components of the watch
are manufactured in Asia. With a diameter of 28mm and a thickness of 5.15, it oscillates at the same standard frequency, delivering 42 hours of autonomy after being fully wound. A second, more reliable generation developed exclusively for Yema appeared in 2020: the YEMA2000. Yet the most significant development is the repatriation of production. Indeed, William Germain, general manager of the Yema brand, explains that he decided to “withdraw from the Asian arena because their components can no longer meet the brand's new requirements“. To achieve this, Yema took the necessary steps to modernise and expand its premises to 1,600m2 spread over four floors. “An entire floor will be allocated to the watchmakers with the latest generation of machines“. Initially, the bridges and plates will be produced in-house and Yema will be the only French company to do so. The rest of the components will be sourced in France or from Switzerland, although the intention is to produce more and more of them in its workshops in Morteau. The YEMA2000s are meant to supply Yema watches, though the possibility of supplying third party brands remains open “on a very selective basis“
France has a role to play in the future of the watch industry as the sector is in constant evolution. This quick overview is by no means a comprehensive account. The next issue will follow-up on this article with a fourth promising project steeped in history. The everincreasing number of French brands will have plenty to choose from to assert their national identity.
“I need time and silence (…). I need to have space inside me, and I prefer the feeling of creative energy rather than receiving energy”. For me, Juliette Binoche has just summed up, in a simple sentence, using ever-so simple words, what I’ve felt since childhood any time I write. The French actress, hailed with a host of awards, explains with her soft voice on France Inter radio – yes, I know, I’m still listening and I don’t intend to change my habit in 2022! – the reason why she hardly ever goes to the cinema and hardly ever watches TV series. I must admit I’m the same but not for the same reasons: I loathe being locked up in a dark room full of people and I can’t stand the programmes broadcast on the little screen. Anyway, my relationship with the TV has nothing to do with this piece, so let’s go back to what Juliette Binoche discloses. Time and silence. There’s something for all tastes in the different ways of working that exist, and even more so since the covid pandemic shook up, be it sometimes laboriously, the traditional commutework-sleep ritual and invited part of
the active population to discover the home-office. It goes without saying that our cohabitation with the virus and its variant pals have made us take a fresh look at a well-established, maybe even a tad dusty-fusty (no offense to the grumps out there) mechanism. Basically, some people adore working to music or with the TV switched on, halflistening, others on a corner of a table in a crowded café (hey, hi there all you students in Starbucks) or even in a supernoisy open space. Loads of people need to communicate with their colleagues, exchange professional ideas and even just talk about their holidays. For me though, it’s time and silence.
If I don’t have these two parameters, I don’t function well. Like Juliette Binoche, they help me, at my little level of course, create space, clear my mind to be able to focus on my feelings, let the tales I wish to tell develop. To clean up my mind and reconnect with my gut, because it’s there that everything that drives me to write is triggered, I need to free up the spaces in my brain that are cluttered,
distance myself from thoughts that occasionally disrupt my creative process (this includes unpaid bills that have the gift of possessing tetanising virtues). This mental clean-up mechanism works in mysterious ways, all as illogical as the others, like watching videos about plants or nail varnish on Instagram (I warned you it was going to get strange...), or immersing myself in a detective novel or listening to a radio show (on France Inter, of course) and, in times of great despair, taking a roasting-hot shower even in the middle of the afternoon. And, all this, in total silence, because even the tiniest noise rattles me, makes me lose my concentration, wipes out my inner chain of thought. And, nothing could be more dramatic as far as I’m concerned than an idea that you can’t grasp hold of anymore, nothing could be more infuriating than the beginning of a sentence that will never find its end.
