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The new fine watchmaking skeleton movement, designed and developed by the CHANEL Swiss manufacture. 18K BEIGE GOLD.

TIME , A HE RMÈS OB JECT.

Carré H Time, square like a Hermès scarf.

Elegance is an attitude Simon Baker

Record collection

GLOBAL EDITION | CHAPTER 3.2018

THE “NEW” MATERIALS

GUCCI 40 MM AUTOMATIC WATCH

Gucci is enriching its men’s offering with five innovative new 40 mm automatic watches. The timepiece featured on the Cover of this issue has a steel case, silver-colored guilloché dial, and striking emerald-green alligator cuff.

PARAPHERNALIA

COVER STORY

THE NEW AGE OF GUCCI TIMEPIECES

PASCAL RAFFY: HEAD IN THE STARS, FEET ON THE GROUND

20 14

30 A HISTORICAL PRIMER 36 RICHARD MILLE – MATERIAL BOY 42 HYT – THE FLOW OF TIME 46 CSEM AND THE PUNDITS OF MATERIALS RESEARCH 50 THE MAGIC OF COMPOSITES 52 PANERAI AND ROGER DUBUIS – APPROACHES TO INNOVATION 58 SWISS SUPER-LUMINOVA® 62 PATEK PHILIPPE AND THE SILICON BALANCE SPRING 66 VINTAGE PATINA 70 NEW MATERIALS PORTFOLIO

26

www.gucci.com

80

132 VINTAGE

132 PHILLIPS 134 INDEPENDENTS 138 REDBAR

126 112 MARKETS

126 INDIA 128 ISRAEL

STRATEGIES

112 BREITLING 114 EBERHARD & CO.

94

RICHEMONT INTERVIEWS

80 VAN CLEEF & ARPELS 86 IWC 90 VACHERON CONSTANTIN

SWATCH GROUP INTERVIEWS

94 JAQUET DROZ 98 MIDO 102 CERTINA 106 HAMILTON 110 GLASHÜTTE ORIGINAL

SUBSCRIBE TO EUROPA STAR MAGAZINE www.europastar.com/subscribe | SUBSCRIBE TO THE WEEKLY NEWSLETTER www.europastar.com/newsletter | CHAIRMAN Philippe Maillard PUBLISHER Serge Maillard EDITOR-IN-CHIEF Pierre Maillard CONCEPTION & DESIGN Serge Maillard, Pierre Maillard, Alexis Sgouridis DIGITAL EDITOR Ashkhen Longet PUBLISHING / MARKETING / CIRCULATION Nathalie Glattfelder, Marianne Bechtel/Bab-Consulting, Jocelyne Bailly, Véronique Zorzi BUSINESS MANAGER Catherine Giloux MAGAZINES Europa Star Global | USA | China | Première (Switzerland) | Bulletin d’informations | Eurotec EUROPA STAR HBM SA Route des Acacias 25, CH-1227 Geneva - Switzerland, Tel +41 22 307 78 37, Fax +41 22 300 37 48, contact@europastar.com Copyright 2018 EUROPA STAR | All rights reserved. No part of this publication may be reproduced in any form without the written permission of Europa Star HBM SA Geneva.

The statements and opinions expressed in this publication are those of the authors and not necessarily Europa Star.

Subscription service | Europa Star | 5 issues | Worldwide airmail delivery CHF 90 | Subscription orders via: europastar.com/subscribe | Enquiries: contact@europastar.com ISSN 2504-4591 | www.europastar.com |

Editorial

NEW MATERIALS

GENUINE PROGRESS OR MARKETING HYPE?

BY SERGE MAILLARD

Here’s an uncomfortable thought: what if all these passion of many watchmakers for materials research, announcements about new materials, particularly which is actually fascinating in many respects, and the for watch cases, are nothing more than a horological brands’ interest in ensuring continued commercial Ponzi scheme? Should we believe watchmakers when success. Given the flurry of new materials, it seems they tell us that these innovations are the way of the wise to issue a note of caution to watchmakers, to alert future? Will watch customers in 2030 see our decade them to the perils of counting their chickens before as a golden age of technological growth, or a golden they hatch. Only time will tell if this is real technologiage of unscrupulous marketing ploys? And... have we cal progress, or so much fairy dust. ever seen anything as durable and roThis warning is based on whispers bust as the good old steel watches of So the question from insiders, whom we cannot name the 1970s? here, for obvious reasons. One critiis this: are these As we introduce this dossier, a note of cal comment particularly struck us. caution is advised. Given the explo- new materials the “Case materials are hyped up to the sion of new materials being hyped result of “objective” point where the whole thing has beup by the watch industry, it’s a good come meaningless. Light? Has anyone research by the watch idea to take a step back, and consider suffered from tendinitis because their whether the innovative substances companies’ R&D labs, watch is too heavy? Hard, scratchbeing touted for use in cases, bezels, or do they follow an proof? Are you intending to attack your crystals, dials, even straps, represent agenda set by their watch with a screwdriver? And people a genuine advantage for the customer. talk about health, when the composales and marketing The watch industry is a past master in nents are often based on a thermosetthe art of marketing, although, since departments? ting resin composite matrix that you the explosion of the internet, it has wouldn’t want in your house.” faced a backlash from the countless ultra-specialised Good grief. Is it not enough that we are forced to enblogs run by enthusiasts. So the question is this: are tertain doubts about the authenticity of horologithese new materials the result of “objective” research cal interest in materials research? Should we also by the watch companies’ R&D labs, or do they follow an be worrying about our health, several decades after agenda set by their sales and marketing departments? we stopped using radium? You can’t halt progress...

As is so often the case, the answer seems to be a judi- but it often takes time to understand all the consecious mix of both: they represent both the genuine quences.

12

TO BREAK THE RULES, YOU MUST FIRST MASTER THEM.

THE VALLÉE DE JOUX. FOR MILLENNIA A HARSH, UNYIELDING ENVIRONMENT; AND SINCE 1875 THE HOME OF AUDEMARS PIGUET, IN THE VILLAGE OF LE BRASSUS. THE EARLY WATCHMAKERS WERE SHAPED HERE, IN AWE OF THE FORCE OF NATURE YET DRIVEN TO MASTER ITS MYSTERIES THROUGH THE COMPLEX MECHANICS OF THEIR CRAFT. STILL TODAY THIS PIONEERING SPIRIT INSPIRES US TO CONSTANTLY CHALLENGE THE CONVENTIONS OF

AUDEMARSPIGUET.COM

FINE WATCHMAKING.

IN STAINLESS STEEL

14

Cover Story

THE NEW AGE OF GUCCI TIMEPIECES Creative director Alessandro Michele has embraced the design of the new Gucci watches with his trademark style of bold shapes and colours, original materials, and eccentric accents. The new campaign starring Tippi Hedren is striking.

G

ucci has captured the hearts and minds of younger generations like no other contemporary luxury brand. Now its timepieces and jewellery collections have been infused with the same spirit .

The brand introduces a new line of automatic watches – two of them featuring the famous Gucci snake as the GMT hand –, new creations in the highly recognisable G-Frame collection and in the animal-themed classic G-Timeless series… as well as a surprising “three-dimensional” watch in this latter collection.

As surprising and bold is the choice of the star for the new visual campaign supporting the timepieces: no other than American actress Tippi Hedren, a legend of the 1960s, who, as a fortune teller in a richly decorated Los Angeles salon, seems to read into the minds of her younger audience.

Gucci's new campaign visual featuring Tippi Hedren

15

GUCCI WATCHES THE BLUEPRINT OF ALESSANDRO MICHELE

The G-Timeless Gucci is introducing a new interpretation of a classic watch within the G-Timeless line. Each one blends the look of an easy to wear Swiss Made watch with new motifs such as the bee, the star, and the heart as index markers.

They are definitely coherent with the brand’s whole environment: the new watches introduced by Gucci at Baselworld betray the signature of creative director Alessandro Michele. With their playful motifs, they will without a doubt conquer the younger generations… and not just them.

Gucci was the first fashion brand to venture into watchmaking, back in the 1970s. Many others have tried, but very few have succeeded, especially in the highly competitive segment of “affordable luxury”.

Four decades later, the brand retains its status as an uncompromising provider of unique creations.

It was also an early investor in watchmaking facilities in Switzerland, as a firm believer in the values of the "Swiss made" label. And with the green touch that we feature on the cover of this issue, we can without a doubt say that Gucci has captured the colour of the year… if not the generation.

In this Cover Story, we introduce you to the brand’s watches of 2018, as well as its original and mysterious new campaign featuring actress Tippi Hedren as a fortune teller.

16

The three-dimensional G-Timeless Gucci adds a new twist to the G-Timeless watch line with a new 38mm quartz variant. With a bold hologram effect and distinctive mix of materials, this is a unique and innovative watch that catches the attention with its three-dimensional look. Both the dial and strap showcase the GG logo as a floating hologram, offering a playful and unexpected interpretation of a classic Gucci motif.

New automatic watches Gucci is enriching its men’s offering with five innovative new 40 mm automatic watches. Two of the new Swiss Made timepieces come with a GMT function, with an additional hour hand in the shape of a snake for tracking time in a second time zone. Showing a high level of craftsmanship, one features a yellow gold PVD case, a yellow gold-coloured chevron dial, and a black alligator cuff, while the other has a steel case, silver-coloured guilloché dial, and a striking emerald-green alligator cuff (as featured on the cover of this issue).

The G-Frame Gucci has extended the G-Frame watch collection with a new size and a variety of the brand’s styles that combine the design codes with contemporary detailing. Highlights include a range of versatile new sizes with interchangeable straps. Offered in two different finishes, the cases of these watches are enhanced by delicate snakeskin straps, offered in a range of additional colours to match the mother-of-pearl dials.

17

A NEW “MYSTICAL” CAMPAIGN Gucci’s new advertising campaign for its timepieces and jewellery is permeated by a mysterious, mystical atmosphere that is perfectly in keeping with the aesthetic of the new collections.

Channelling an other-worldly spirit, inspired by the practice of divination, Gucci tells the story of a fortune teller who is visited by young people wearing key pieces from its watch and jewellery collections.

The star of the campaign is undoubtedly legendary American actress Tippi Hedren, who, after a career as a successful fashion model, became celebrated for her work with director Alfred Hitchcock in The Birds and Marnie.

Creative Director: Alessandro Michele Art Director: Christopher Simmonds Photographer and Director: Colin Dodgson Talent: Tippi Hedren Models: Victoria Schons, Emily Unkles, Tom Atton Moore, Tex Santos Shaw

18

19

Paraphernalia

PASCAL RAFFY

T

he watch world feeds on contrasting dreams. It has its head in the stars, and its eye on the loupe.

While watchmaking has a direct connection with the infinite movements of the cosmos, it also needs an earthly landscape in which to flourish, soil into which it can plunge its roots, and which can nurture its artisans.

Pascal Raffy was born and brought up a long way from this world, in Lebanon. He is half German on his mother’s side, and his wife and children live in Miami. He’s cosmopolitan; he has his head in the stars, but his roots go deep. They now anchor him firmly in the Val de Travers, in the town of Môtiers, whose château he now owns. There, on the 13th-century estate formerly owned by the illustrious Bovet watchmaking family that made their fortune in China, nestled amid the forests where Jean-Jacques Rousseau used to go for his solitary walks, overlooking the fields of Boveresse, with a view of Mont Bovet, he has infused the Bovet name with new life.

Pascal Raffy draws inspiration from the refined, ornate, decorative style of watchmaking that took root in this remote valley and conquered the imperial court of China, and, without a trace of nostalgia, revisits and distils this spirit in timepieces that are both classical and spectacular in their lacy transparency, saying as much about the soil in which they germinated as they do about the cosmos. (PM) 20

Photograph: Guillaume Perret, Lundi13

HEAD IN THE STARS, FEET ON THE GROUND

1 THE RÉCITAL 22 GRAND RÉCITAL Featuring the sun represented by the flying tourbillon, whose carriage bridge is evocative of fiery rays, a hemispherical Earth rotating on its own axis and displaying the time on a natural 24hour cycle, and a spherical moon orbiting the Earth in 29.53 days.

2 THE MADONNA AND CHILD "This Madonna is the first Bovet watch that I was able to collect.

It dates back to 1835. I am fascinated by the exceptional quality of this decorative art and its watchmaking refinement. Each watch is a reflection of an era. In addition, the subject matter is particularly close to my heart. Family is very important to me, whether it is your immediate family or the family of all those with whom you collaborate by sharing the same fundamental requirements."

1

2

3 THE MAGNIFYING GLASS "The magnifying glass never lies. It only tells the truth. I’ll never go without this item. It’s too precious."

4 THE CASTLE WINDOW "The Boveresse plains, Mont Bovet... beyond these historical names is this constantly inspiring view. The hues, shades, shapes, shadows and highlights, everything is inspiring. Our watchmaking is derived from this place, from this view of the land and the skies...

It is the spirit of these places that brings our decorations to life."

5 "THE CHINESE WATCH" BY ALFRED CHAPUIS IN HIS WRITING CASE "In his book The Chinese Watch, Alfred Chapuis traced the incredible saga of the Bovet family's success in China. This book, with its black and white photographs, is like a treasure to me.

It outlines everything about the Bovet family's incredible beginnings in this small valley to their relationship with the furthest reaches of the world. The writing case it rests upon also directly inspired the distinctive shape of some of our cases, the Amadeo system, which presents the watch like a book. A watch writes out the time."

3

4

6 CHESS "The important thing is not that it sparkles, but rather that it lasts.

This is a lesson we learn from chess, a game which requires strategic thinking and an awareness of time."

6

5

SIGNALS

THE NUMBER

90%

“

QUOTATIONS

“The majority of watch boutiques are too formal. That’s not what younger generations are looking for these days.”

The percentage of Swiss watches (by value) sold by external retailers, rather than directly, according to a study by US bank Morgan Stanley.

(Arthur Gerbi, joint managing director of Parisian fashion store Merci)

“Most of the inventory reduction by the major retailers was completed in the first half of 2017 and we therefore expect Swiss watch export growth of 5 per cent in 2018.”

(René Weber, watch industry analyst at private bank Vontobel)

“We believe that the traditional wholesale trade, especially in watches, will disappear over time.”

(Burkhart Grund, Richemont’s chief financial officer, in the Financial Times)

ARRIVALS AND DEPARTURES There are some major upheavals in the Richemont group’s brand management.

Catherine Alix-Rénier is leaving Van Cleef & Arpels to become CEO of JaegerLeCoultre. Alain Zimmermann is leaving Baume & Mercier to become head of the online distribution for all the Richemont group’s watch brands. Geoffroy Lefebvre is leaving Jaeger-LeCoultre to become CEO of Baume & Mercier. Jean-Marc Pontroué is leaving Roger Dubuis to replace Angelo Bonati at Panerai.

INFOGRAPHIC

1885

1920

1950

2017

1 Germany USA USA Hong Kong 2 UK UK China USA 3 France India Italy China 4 Austria Spain Canada UK 5 Italy Japan Brazil Japan 6 USA France Germany Italy 7 Russia Argentina UK Singapore 8 Belgium-Luxembourg Germany Morocco Germany 9 Netherlands China France France 10 Spain Canada Spain United Arab Emirates 22

Source: Federation of the Swiss Watch Industry

TOP 10 WATCH MARKETS – EVOLUTION SINCE 1885 (Swiss watch exports)

ZENITH, THE FUTURE OF SWISS WATCHMAKING DEFY I El Primero 21 1/100 of a second chronograph th

www.zenith-watches.com

SIGNALS

Aud

e ma

rs P

igue

SITE OPENINGS t

CASIO has inaugurated a new plant at its Yamagata manufacturing base in Japan. The new facility will produce precision gears and analogue movements, as well as performing all the watch assembly processes, right up to the finished product.

Cellini

Hu b

lot

COMMENT

AUDEMARS PIGUET has inaugurated its first AP House in Asia, in Hong Kong.

“I am surprised reading the articles, as it seems to be one of the scarce (if not the only) magazine to actually be critical against current movements in the industry (bubbles, fair pricing, creativity, etc). Not many magazines dare to be this critical, so for me this is an interesting addition to my knowledge.”

CELLINI, one of the world’s biggest independent watch retailers, has opened a new flagship store on Park Avenue in New York. Founder Leon Adams opened his first shop at the Waldorf Astoria Hotel in 1977.

HUBLOT is launching a digital boutique that allows customers to connect with the brand’s sales advisors in real time, via FaceTime or Skype, before entering the shop. This solution aims at making the virtual and physical experiences not alternative but complementary.

ZENITH has announced a new “hard luxury” partnership with the leading global technology platform for the luxury fashion industry, Farfetch. “We will be able to sell the best of our products to a new global audience, in some cases in yet unconquered parts of the globe,” announced the brand.

24

”

STORE OPENINGS

(Michiel Holthinrichs, independent watchmaker)

CALIBER RM 07-01

RICHARD MILLE BOUTIQUES

© Didier Gourdon

SWITZERLAND Rue du Rhône 78 1204 Geneva - Tel. :+41 22 810 85 73 • Quai du Mont Blanc 19 1201 Geneva - Tel. :+41 22 732 20 22

www.richardmille.com

26

“NEW” MATERIALS

A STRATEGIC, SCIENTIFIC AND MARKETING CHALLENGE

BY PIERRE MAILLARD

T

he Swiss mechanical watchmaking "revival" has essentially entailed a process of renewing existing mechanical skills. The task was to show that mechanical ingenuity had returned, not to play hide-andseek, but to proudly reveal its capabilities. The best, but by no means the only, illustration of this is the remarkable vogue for double, triple and even quadruple tourbillons. Watchmaking performance thus became the latest weapon in the battle for corporate image among brands.

Then, after almost every corner had been explored, the focus surreptitiously shifted towards materials. With the conventional gold, platinum and steel no longer sufficient to meet the needs of finishing, or indeed achieving the necessary feats of technological prowess, attentions turned towards other materials, preferably high-tech.

Indeed, as Dominique Fléchon's list of watchmaking materials used throughout the course of its history clearly shows (see below), watchmaking has always enjoyed close ties with the metallurgical industry and its progress. However, for a long while, most watches were produced in traditional metals, with

Photo: Rolex

gold reigning supreme over the industry, followed by platinum, and way ahead of steel in terms of prestige, including when it became stainless.

The first wake-up call, as such, came in 1972 with the launch of the Royal Oak, the first high-end sports watch crafted in steel and singing loud and proud of its metallurgical origins. It was thus the Royal Oak that established the credibility of steel, in its own way opening up the race for materials.

And since steel had gained in prestige, so other materials could follow suit.

Meanwhile, another brand, Rado, was already patiently exploring the seam of "new materials". As early as 1962, Rado had begun selling "the world's first scratchproof watch", the DiaStar 1 crafted in "hardmetal", in Rado's case a composite material based on tungsten carbide and a binder metal. Moulded and compressed at a pressure of 1000 bar, the watch case blank is then sintered in a vacuum furnace at a temperature of

27

1450°C in a process that results in an astonishing hard- The quest for lightness, strength, insensitivity to magness rating of between 1400 and 2000 Vickers. Rado netic fields, form, colour and appearance gathered also introduced the concept of sapphire crystal to the pace… Materials thus offer watchmakers a vast playindustry, glass being the brittle point in the construc- ground. Some want it to be seen, while others prefer to tion process, thus killing two birds with one stone. keep it under wraps (see Roger Dubuis and Panerai We choose to dwell on this example because it epito- hereinafter). mises the aesthetic and technological consequences of Behind these neo-materials, strategic responses are materials research. Notoriously difficult to work with, also taking shape. Competition is mounting among hardmetal set in motion a stylistic the laboratories. Every group has its change that left a profound mark on We saw an explosion research centre, every major brand watch design in the 60s and 70s in the in the number of now has its own lab and is busy recruitshape of the super-wide bezel symbolic ing. At the EPFL or CSEM, for example, of that era. It was a perfect illustration new, hitherto unseen armies of talented young researchers of the fact that the technical choice of materials. Alloys, devote themselves to materials, by no materials can thus impact upon the composites, every means exclusively for watchmaking. lines, volumes and appearances of a The watchmaking industry, however, conceivable form watch, sometimes by choice, somethanks to the intellectual and industriof carbon and the times by necessity. al fabric of the Lake Geneva area, benRado, in effect, demonstrated this in its entire periodic table efits greatly from these advances and subsequent research work by introduc- of elements put in even generates a few of its own. By way ing a metallised sapphire crystal glass of example, the innovative scratch-rean appearance, one to cover the entire case (1976), then by sistant gold that goes by the typically using ceramic, first for the bracelet, and after the other.

"Biverian" name of Magic Gold is the then in 1990 for the Rado Ceramica with product of intensive research, as we its sapphire crystal and "high-tech" ceramic. learn later from Professor Mortensen of the Institute With regard to the use of ceramics in watchmaking, the of Materials at EPFL. rest, as they say, is history! And what the Royal Oak did As proof of the vital importance of such research, the for steel, Chanel did for ceramic. When it launched its guys at CSEM (Swiss centre for electronics and miceramic J12 in 2000, Chanel lifted a material hitherto crotechnology) in which Patek Philippe, Rolex, the considered cold and necessarily technical to a whole Swatch Group and Richemont are shareholders, apnew level. proach our requests for information with circumspecBut the true pioneer of the "new materials" we now see tion. Most of the ongoing research is carried out in toparaded before us is Richard Mille. The brand even made tal confidentiality. Some large-scale projects, however, them its cause. The focus was suddenly on lightness, are conducted collaboratively. The silicon balancestrength, movement integration and finishing, open- spring, for example, came about from a CSEM collabwork and spatial architecture. It sparked an exploration oration between Rolex, Patek Philippe and the Swatch of materials too numerous to mention here (see below). Group (Richemont, having had no faith in the project, In its wake, we saw an explosion in the number of new, declined to give its support), an adventure related to hitherto unseen materials. Alloys, composites, every us by Jean-Pierre Musy, head of Advanced Research at conceivable form of carbon and the entire periodic Patek Philippe until just recently. table of elements put in an appearance, one after the That said, when it comes to materials, we can safely say other, asteroids and even, somewhat lugubriously, rust we've seen every trick in the book, including some marfrom the Titanic. keting departments dreaming up pompous names for There was talk of medical provenance, even more talk alloys that have been well known for a long time. In the of F1, aviation, space exploration, cutting-edge indus- great materials race, there's still a lot of fodder for tries… and even the art of liquid engineering as cham- experimentation. Read Serge Maillard’s Editorial. pioned by HYT (see below).

28

louisvuitton.com

Tambour Horizon Your journey, connected.

WATCHMAKING MATERIALS:

A HISTORICAL PRIMER

Historical materials and “new materials” Ever since the dawn of mechanical watchmaking, its base materials have been copper alloys and ferrous materials. As evidenced by the astrarium completed

by Giovanni de Dondi in 1386, the combination of iron or steel pinions and brass wheels appeared early on for tribological reasons.

Watchmakers realised from the outset that the materials required to build the first horometers with a mainspring (records of which date back to between 1365 and 1400) had to meet the increasingly numerous and complex imperatives of implementation (cutting, forming, machining), operation (elasticity, resistance to friction, abrasion and ageing) and environment (such 30

as a low factor of thermal expansion in the case of temperature fluctuation, or resistance to corrosion).

Clocks and watches thus owe much to the rise of metallurgy, without which they could never have lasted more than 700 years. Empirical in its early days, the art of metalworking progressively became a subtle and complex chemistry that watchmaking turned to its own advantage, just as it did the progress of science and knowledge.

In recent years, new materials such as titanium or aluminium-based alloys, silicon and Liquidmétal® have made their debut on the horological stage. Around the turn of the new millennium, the larger size of watch cases and the development of metal wrist strips prompted watchmakers to seek out the lightest materials available.

Venus and Vulcan by Pierre Mignard (17th century) – Cahors Henri-Martin Museum

BY DOMINIQUE FLÉCHON, HAUTE HORLOGERIE EXPERT AND CONSULTANT

13

Al

29

Cu

ALUMINIUM – In 1821, near Baux-de-Provence COPPER – Alloyed with beryllium (formerly called (France), Pierre Berthier discovered a mineral ore containing 50-60% of aluminium oxide. The process of reducing the ore using sodium proved so costly that the value of the resulting aluminium attained that of gold.

At that period, the metal was used exclusively for luxury jewellery and other items for the court of Napoleon III and the elite classes.

From 1886, thanks to a less costly production process using electrolysis, the market of kitchen utensils was opened up to aluminium. Although pocket watches have been made entirely in this metal, only aluminiumtitanium alloys, which are both extremely light as well as hard, are used to obtain a fundamental component of several high-tech, anallergic ceramics that are resistant enough to abrasion to meet watchmakers’ needs.

29

30

Cu + Zn

BRASS – Alloys of copper and zinc, known since pre-

historic times, were used in the Middle Ages to massproduce copper and brassware items. Easy to machine, they are traditionally used to manufacture base plates, bridges and other components and bearings for clocks and watches. As brass is inexpensive, the cases of the first affordable watches were made in this alloy.

glucinium), it offers the best mechanical properties of all the copper alloys in terms of hardness, resistance to corrosion and low coefficient of thermal expansion.

Beryllium-copper alloys are therefore tending to replace tempered steel in springs, balance wheels and hands.

Cupronickel alloys, sometimes called “white copper” and traded in the past under the names of Alpacca, Argentan and Minargent, are particularly resistant to corrosion, wear and salt water. They can be used to manufacture bridges, wheels and hands for water sports watches.

79

Au

GOLD – This metal, a symbol of the sun, has been popular since Antiquity. It has been used in spring watches and clocks since they were first invented, either in solid form or gold plate. Naturally pale yellow in colour, or green in the case of electrum, it can be coloured by adding other metals: Yellow gold: 75% gold + 12.5% silver + 12.5% copper Pink gold: 75% gold + 6% silver + 19% copper.

Red gold: 75% gold + 4% silver + 21% copper. This is particularly prized for repeater and chiming watches.

White gold: 75% gold + 10% silver + 15% palladium. It is frequently confused with grey gold.

Cu + Sn

Grey gold: 75% gold + 12.5% nickel + 10% copper + 2.5% zinc.

BRONZE – This alloy of mainly copper and tin known

Green gold: 75% gold + 24% silver + 1% cadmium. This occurs naturally and is called electrum.

29

50

since the second millennium BC has the advantage of being hard and capable of being cast. This is why it is used to make bearings and friction parts. It has the disadvantages of being a good conductor of heat and heavier than steel.

It smells unpleasant in contact with sweat and can cause allergies, which is why it must be treated if used to make wristwatch cases. When alloyed with beryllium, it becomes almost as hard as steel, in which case it can be used to produce balance wheels.

Purple gold (also called amethyst gold or violet gold): 75% gold + 25% aluminium. The alloy may contain small amounts of silver and copper.

Blue gold: 75% gold + 24.4% iron + 0.6% nickel. Its blue colour is obtained by heat treatment which oxidises the iron atoms on the surface of the metal.

31

The composition of the alloys is indicative only and is provided for 18-karat gold. It differs according to the percentage of pure gold and the desired shade. Other hues also exist, such as a salmon-pink gold (an alloy of gold and platinum) and a yellow-green gold (an alloy of gold and zinc).

Combining golds of different colours in both the watch case and bracelet allows for the creation of innumerable geometric or figurative designs. Designs marrying yellow, white, red and green were especially popular during the final third of the eighteenth century.

29

28

NICKEL SILVER – Long known in China under the

name of “baitong”, this alloy was rediscovered by Maillot and Chorier who named it “maillechort”. Patented in 1827 by Philibert Maillot, it is an alloy of copper, nickel and zinc. Since its mechanical characteristics are superior to those of brass, it is ideally suited to the manufacture of wheels, bridges and base plates.

78 26

26

Fe

+

28

28

FE + Ni Ni

+

24

Cr

+

74

W

INVAR AND ELINVAR – During the course of his career, physicist Charles-Edouard Guillaume (1861-1938) developed, manufactured and tested nearly 600 alloys.

Among those with a very low expansion coefficient, Invar (iron + nickel) and Elinvar (iron + nickel + bromine + tungsten) date from 1896 and 1913 respectively.

He used the former to manufacture the balance wheel that bears his name. Also called an “integral” balance wheel, it eliminated the middle temperature error, a residual defect caused by the thermal compensation of watch balance wheels between 4°C and 39°C. Elinvar, with its invariable elasticity coefficient, was used to produce compensation balance springs, from which those made in Metelinvar®, Durinval® and Nivarox® are derived.

30

Cu + Ni + Zn

Pt

PLATINUM – Although a tiny number of jewellery items made in pure (more than 80%) platinum between the first and fourth centuries AD have been found in Ecuador, the history of this metal really began in 1741 with the arrival of a sample in Europe.

Its first mechanical application was the creation of a watch with the staff and pallets of the lever escapement mechanism made in platinum, which was presented to Louis XVI in 1788. A few years later, Abraham-Louis Breguet fitted his grand self-winding complication, called the “Marie-Antoinette”, with an oscillating weight in the same metal. From the end of the nineteenth century, platinum was used in the manufacture of jewellery watches.

14

Si

SILICON was isolated for the first time in 1823 by Jöns 40

Zr +

22

Ti

+

29

28

4

Cu + Ni + Be

LIQUIDMETAL® – The trade name of a series of alloys developed by the California Institute of Technology and launched on the market in 2003. Composed of zirconium, titanium, copper, nickel and beryllium, its melting temperature is half that of conventional, titanium-based alloys. Once cooled, it is three times harder than stainless steel.

32

Jacob Benzelius, a Swedish scientist considered to be one of the founders of modern chemistry. In 1854, Henri Sainte-Claire Deville obtained monocrystalline silicon, which since then has been used in microelectronics.

Although Edward John Dent made a balance spring in glass – the ancestor of silicon escapements – in 1828, it was not until the early 2000s that this metalloid was used to make escape wheels, balances and levers, thanks to technological advances in plasma etching.

THE ORIGINAL EBEL SPORT CLASSIC

©2018 EBEL – Ref. 1216389 – EBEL.COM

Low in density, resistant to friction and corrosion, nonmagnetic and requiring no lubrication, but generating high machining costs, it is a component of various alloys developed and patented by certain watchmakers.

47

Ag

SILVER – Known since Antiquity, silver is used in watchmaking, jewellery and silversmithing both as a precious metal and as silvered metal produced by electroplating. As an alloy made up of 92.5% of silver and 7.5% of another metal, it has the disadvantage of oxidising. It is a popular choice for flinqué dials and cases and is the metal best suited for gold-plating.

26

Fe +

6

C

24

+

Cr

STAINLESS STEEL – The first corrosion-resistant

alloys of iron and steel were cast in ancient times, as the Iron Pillar of Delhi, erected around AD400, testifies.

However, they owed their properties to their phosphorous content and not to chrome, which is the current definition of stainless steel. In 1911, it was demonstrated that the proportion of chrome in alloys affects their resistance to corrosion. Two years later, the English metallurgist Harry Brearley developed a steel containing 0.24 percent of carbon and 12.8 percent of chrome, which he named “rustless”. Subsequently renamed, it was the first officially designated “stainless steel”.

26

Fe +

6

C

STEEL – Starting in the Iron Age, iron oxide was worked in bloomeries at a relatively low temperature. The resulting heterogeneous mass, or “bloom”, was then hammered to remove the slag. The blocks of metal produced in this way did not all have the same proper-

34

ties and at that time no distinction was made between iron, steel and cast iron.

In antiquity, the Greeks used cementation, a process that increased the amount of carbon in the iron, which hardened and turned into steel.

For some people, the Iron Age actually began in mediaeval times, when it became necessary to shoe draught animals and the mounts of knights. In twelfth-century Belgium, iron was obtained by refining an initial batch of cast iron to produce steel, among other things. In the Middle Ages, the term “steel” referred to alloys which, when heated red-hot, hardened on being quenched in water.

This process spread through Styria and Carinthia, then to Germany, Piedmont and Hungary. In the second half of the thirteenth century, metallurgy workshops were set up near to water courses, the hydraulic force operating bellows that raised the temperature of the furnaces and, through camshafts, worked increasingly heavy hammers at a steady rhythm to remove slag from the metal.

In the fifteenth century, blast furnaces became common all over Europe. They made it possible to attain temperatures of around 1,600°C and produce molten iron which, when refined, formed natural steel.

It was only in the late eighteenth century that the carbon content was used to distinguish between iron, steel and cast iron. Today, industrial iron and mild steel contain less than 0.005 per cent, steel between 0.05 and 2.01 percent, and cast iron between 2.1 and 6.67 percent.

22

Ti

TITANIUM – Discovered in 1791 by the English mineralogist William Gregor and produced by the American industrialist Matthew Albert Hunter from 1910, titanium has the advantage of being biocompatible, which means that it has the ability to withstand bodily fluids. Both twice as light and twice as strong as stainless steel, it meets the requirements of sports watch cases, as well as those for repeater and chiming watches.

RICHARD MILLE

MATERIAL BOY

BY SERGE MAILLARD

36

The recurring theme at Richard Mille is the reconciliation of lightness and toughness. And that they achieve by bringing new materials to watchmaking, from carbon and titanium right through to graphene.

Europa Star had the opportunity to explore the workshop of Richard Mille in the Jura. Here’s what we saw.

If you were asked to name one brand at the cutting edge of research into innovative materials, this would no doubt be it. The new horological direction taken by the company headquartered at Les Breuleux since 2001 is a closely interwoven mix of new shapes, bold aesthetics and new materials.

The brand is thus a pioneer of the application in watchmaking of new types of carbon, new uses of sapphire and, more recently, the introduction of graphene, partly thanks to its partnerships in the aeronautics (Airbus Corporate Jets) and automobile (McLaren) industries, where these new materials were integrated long ago.

On arriving in the brand’s premises in the Jura, the first thing you notice is the ongoing extension of the production facilities. Valgine, ProArt and Horométrie – which handles the distribution of the watches – are grouped together under the Richard Mille entity. And so the visit begins.

Valgine and ProArt, the two pillars of Richard Mille Valgine was founded more than a century ago by the family of Dominique Guenat, Richard Mille’s associate since the start of the venture. This is where the watches are assembled, but also dreamed up, since the building houses the company’s technical office with its workforce of some 20 people. The place is steeped in history, Valgine having for a long time supplied movements to the great names in local watchmaking before switching to private-label business. It was while working for Mauboussin, then a customer of Valgine’s, that Richard Mille made the acquaintance of Dominique Guenat.

Just opposite stand the ultramodern premises of ProArt, a structure founded in 2013 and in charge of produc-

ing the watch cases as well as machining certain components, such as the baseplates and bridges. The only exception, entrusted to third-party suppliers, is the design of the sapphire cases. The Les Breuleux production site employs a total of some 150 people, “including more than 50% from the Franches-Montagnes district,” we are told, underscoring the brand’s claim to be firmly rooted in its region while pushing back the limits of watchmaking creativity and decorating the wrists of the planet’s new elite.

Increased production The exercise at hand – that of combining the rigour of Jura watchmakers with its founder’s sense of style in immediately identifiable models at way-aboveaverage prices – has so far been highly successful for Richard Mille: last year, when the industry was only just starting to recover from the previous four lean years, its production rose from 3,500 to 4,000 watches.

And Richard Mille intends no fewer than 4,600 models to leave its workshops this year.

Since 2001, the company has developed seven in-house movements. “Here, the employees assemble watches from A to Z, unlike the way other brands operate,” underscores Julien Boillat, technical director at Valgine.

One team is devoted to movements and another to the cases. Four watchmakers are specifically responsible for the tourbillons. The brand also works closely with three calibre specialists: Vaucher Manufacture, Dubois Dépraz and Renaud Papi. “Currently, Renaud Papi supplies us with tourbillons, but we’ll soon have our own in-house tourbillon,” explains Julien Boillat.

The turning point: Carbon TPT® This increase in production goes hand in hand with unflagging research into materials. “At this very moment we’re following up three or four leads on new materials currently used in other sectors and that we’re going to introduce into watchmaking,” explains Julien Boillat. “That’s what we did for example with the titanium-aluminium used by Airbus, and the Carbon TPT® used in yachting and F1. We’re testing the machining of these innovative materials thanks to our modern fleet of machines.”

RM 50-03 McLaren F1 37

RM 27-02 Tourbillon Rafael Nadal

weft between the carbon layers to 45°. Heated to 120°C at a pressure of 6 bar, the carbon is then ready to be processed on ProArt’s CNC machines to form the case.

The quest for lightness So what are the advantages? According to the brand, Carbon TPT® reduces the risk of micro-fractures in the material by 25% and the appearance of micro-fissures by 200% compared with other composites. But above all, and more globally, carbon is appreciated for its lightness and toughness – two criteria that you would be justified in citing as Richard Mille’s leitmotivs. Not to mention the aesthetic qualities of the machining peculiar to this material.

The lightest material made by the brand, the 27-01 Tourbillon Rafael Nadal, which weighs in at less than 19 grams, has a case of very low-density carbon nanotubes. Note also that its movement is made in titanium and Lital® , a lithium alloy containing aluminium, copper, magnesium and zirconium and used in numerous aeroplanes, including the A380, helicopters, rockets, satellites and Formula 1 racing cars. It doesn’t get more Richard Millesque than that!

One turning point in its research into “At this very moment Quartz as you’ve never materials was achieved in 2013 with the seen it before we’re following up collaboration between Richard Mille and the company NTPT® (standing for three or four leads But that’s not all. Together, Richard North Thin Ply Technology), based in on new materials Mille and NTPT® went on to develop Renens. This company is best known currently used in other a new material, coloured Quartz TPT®, for developing the ultralight black sectors and that we’re which is made up of quartz fibres apcarbon fibre used in Alinghi yachts. plied in successive layers. Once again, Incidentally, part of one such vessel’s going to introduce the first watch made using this new famous black mast is still to be found into watchmaking.” material was sported by Rafael Nadal at Richard Mille, used by the brand for in 2015. its primary carbon tests. Some 2,000 cases in Carbon The manual-wound tourbillon calibre and unibody TPT® composite are set to be produced at ProArt this baseplate in Carbon TPT® of the RM 27-02 are set in a year, which accounts for around 40% of all its cases. case made of a carbon and quartz mix. The technology Yet carbon is a highly abrasive material that makes it dif- used to design and machine this material is close to ficult to machine. The solution is to use tools – coated in that already employed for Carbon TPT® , but even more gold. Even so, each tool has to be replaced after machin- complex: more than 600 layers of quartz threads are ing twenty components. It was of course on the wrist of saturated with white resin, then interposed between Rafael Nadal that the model RM 35-01 in black Carbon the layers of Carbon TPT® in a procedure that changes TPT® , composed of 600 parallel layers of the material the orientation of the fibres between two layers by 45°. obtained by splitting carbon fibre, was spotted in 2014.

These different “levels”, no more than 30 microns thick, are then impregnated with resin before being “woven” on a dedicated machine that changes the angle of the 38

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RM 53-01 Tourbillon Pablo Mac Donough

“Our new fleet of machines will allow us to machine more coloured Quartz TPT® , production of which is still tiny compared with our cases in titanium and gold,” stresses Julien Boillat. The colours produced to date include yellow and red, white, orange and blue.

Besides these aesthetic properties, a quartz case also provides greater resistance to electromagnetic waves.

As you might have realised by now, close observation of Rafael Nadal’s wrist on the clay courts of RolandGarros can reveal some surprises in terms of materials – and that includes the strap. The brand first began fixing its champion’s wrist strap with Velcro in 2010.

Why? “Rafael Nadal plays his backhands with both hands, and the buckle hurt him,” explains Julien Boillat. “Moreover, these wrist straps are very pleasant to wear and can be adjusted with great precision.”

Graphene introduced in 2017 Another model that marked a turning point for the brand in terms of materials research, also in partnership with NTPT® , was the RM 50-03 McLaren F1, presented at the SIHH in 2017. This is the lightest split-seconds chronograph tourbillon in the world (38 grams) and above all, the first instance of graphene in a watch.

This new material has been the object of much fantasising since it was synthesised in 2004 by Andre Geim at the University of Manchester, because it has very high thermal conduction. Many scientists already see it revolutionising energy storage in the world of the future, among many other possible applications.

For horological purposes, the brand points out that graphene’s resistance to breakage is 200 higher than 40

that of steel, while being six times lighter. The Graph TPT® case is made by injecting graphene into the carbon to make it lighter and tougher. More precisely, the graphene is injected into the resin in which the carbon fibres are steeped.

Sapphire and other materials Richard Mille was also one of the pioneers of sapphire cases, with the launch of the RM 56-01 Tourbillon Sapphire at the SIHH in 2012. Composed of crystals of aluminium oxides containing traces of other oxides to give it its colour (titanium and iron for blue, vanadium for purple, chrome for pink, iron for yellow and green), sapphire is particularly prized for its transparency. It requires very delicate machining – count 1,000 hours of work to produce one sapphire case. Its price is well over the million mark.

As for titanium, it is virtually a traditional material at Richard Mille. It featured in the very first watch showcased by the brand in 2001, the RM 001.

At the last edition of the SIHH, the brand highlighted the toughness of the sapphire crystal of its RM 53-01 Tourbillon Pablo Mac Donough model. The watchmaker has patented a laminated sapphire glass designed to withstand the shocks liable to occur during a game of polo.

And so each and every watch component passes through the brand’s R&D laboratories, where the aim is to reconcile what previously appeared to be irreconcilable opposites: lightness and toughness. But this research also means an extremely high unit production price. And so far, the brand is unrivalled on that score.

HYT

THE FLOW OF TIME

BY SERGE MAILLARD

Inspired by the ancient water clock, fluid-driven time-telling required ten years of development to finally appear in the Neuchâtel-based brand’s watches. Using HYT as a showcase, its sister company Preciflex is now taking on the jewellery and especially medical fields. A tour.

“What is special about our company is that we employ more engineers than watchmakers,” Grégory Dourde, CEO of HYT and Preciflex, immediately explains. “We are working in a very specific field of research that we ourselves have created. Today, there is no guide to micro-fluidics in watchmaking. We are currently writing that book.” In fact, out of 45 people working at HYT and Preciflex, there are no fewer than 18 engineers and 7 doctors.

The young High Watchmaking brand, founded in 2012, gained renown through its use of fluids to tell the time instead of traditional hands. Europa Star hoped to better understand this technological challenge – which is also a philosophical one, since it is inspired by ancient water clocks – by visiting the brand’s Neuchâtel-based workshops.

In reality, the Preciflex “project” (of which HYT is currently the best showcase, but of which the scope stretches beyond watchmaking) was initiated in 2002 by the engineer Lucien Vouillamoz. Its strong point: the mastery of fluid circulation through micro-capsules or “capillary tubes”, at the crossroads between the fields of chemistry, microfluidics, micromechanics and optics.

“The limits and possibilities of microfluidics are vast and not yet clearly defined,” states Grégory Dourde.

Preciflex, currently in the process of joining forces with Micro-City, the ambitious industrial innovation centre of Neuchâtel, is currently applying its technologies to watchmaking (for HYT and other brands), jewellery (moving jewellery components) and the medical field (micro-injectors). However, one day the technology may become a part of the lighting or automotive industries, for example. The company has 27 families of patents pending, of which 8 have been granted to date.

The mastery of fluids How does the system developed by Preciflex function within a watch , in concrete terms? Johann Rohner, the company’s R&D Director, takes charge of the explanations.

Two flexible reservoirs or “bellows” are installed at each end of a capillary tube. In the first is the active fluid, a coloured liquid; in the second is the passive fluid, a transparent one. The capillary is not replaceable: “Our fluidic modules are sealed for all eternity,” asserts Johann Rohner. “That is why their water-tightness is 10,000 times higher than that of a standard watch.”

A physical phenomenon based on the repulsive force of the molecules of each liquid keeps the fluids separated while their movement is controlled by the bellows. “The two fluids repel each other, a bit like oil and vinegar,” the specialist continues. “The key element is the thermal compensator located within the bellows to the left, making it possible to compensate for the diThe key element of the system is the thermal compensator located inside the left-hand bellows, which compensates for dilation of the fluids due to temperature variations.

43

lation of the fluids due to variations in temperature.”

To date, HYT has developed four colourings, each of which took an average of a full year of research to perfect. It is especially important that the fluid doesn't cling to the surface of the capillary, which would hinder its motion and leave unsightly traces: “We are establishing a specific treatment to keep the liquid from sticking to the surface of the glass tube.”

The Arrhenius equation

thermal compensation systems designed to drive these fluids, and which will be able to be used to drive other fluids,” explains Grégory Dourde. “Our expertise resides in micro-injectors. We ensure that no air bubbles can form. It might be unacceptable to see them appear in watches, but it would be out of the question in a device implanted within the human body!”

Preci-Health is indeed developing a single-use, fixeddosage micro-injector that makes it possible to load less medication when performing a subcutaneous injection – 3 mm beneath the skin. This microinjector can, for example, be used to provoke an adrenaline shock when treating an allergic reaction.

Medical law being infinitely more complex and costly than that of watchmaking, the company raised funds for the project. Its investors include Peter Brabeck-Letmathe, the former CEO of Nestlé.

But how to ensure that the fluidic system functions in over the long term, when the company was only founded a few years ago? Of course, there are no machines specialising in fluidic watchmaking, so the company had to specifically develop them, particularly to perform ageing tests.

“The Arrhenius equation, discovered by a Swedish chemist in 1889, draws a A different parallel between chemical reactions philosophy of time and temperature. At a certain temperature, a reaction that takes one Following our tour, Grégory Dourde H2 TRADITION month is equal to a reaction that stresses a point that he considers takes one year,” explains Johann Rohner. “It is this rela- essential: “What is important is that our use of microflutionship that enables us today to confidently produce our idics is not just cosmetic or aesthetic, and it is not just a watches. We currently provide a five-year warranty, which publicity stunt. You saw yourself, through your tour of reassures our clients. Our return rate is lower than 3%.” the premises, that our scientific project is quite seriHYT also designed a module that emits light through ous. Beware of the search for original material simply the intermediary of two LEDs, making it possible to to serve a brand’s storytelling.” tell the time in the dark. The system is totally mechani- The underlying philosophy is that of intuitive time: cal, and has been integrated into the H4 module to en- time that passes and leaves a trace. “This is another able light emission for 4 to 12 seconds. The mechanical philosophy of time. It is at the crossroads between art movements of the H0, H1, Skull and H4 models were and science.” developed with Chronode, while those of the H2 and HYT, which plans on producing just over 400 watches H3 models were developed with Renaud Papi. this year, currently aims to improve on “education” about its project. “We stopped our sponsoring efforts, and we are now concentrating on explaining Medical applications our technology and the meaning that we are bringing to it. You know, after overcoming the hurdle of After HYT, Preciflex launched another spin-off a few the collectors at Carré des Horlogers, it is one of the months ago called Preci-Health. This brand will rep- most difficult watch brands to market to a broader resent the corporation’s medical solutions in its rela- public, since it takes time to explain the product tions with the medtech leaders whose establishment correctly. The vocabulary and technologies are new in the Lake Geneva region have earned the area the and unique. The key to our performance is therefore nickname “Health Valley”. the training of our representatives. But when clients “In reality, our added value is not so much based on grasp the general idea of the project, their conversion the liquids themselves as it is on the waterproof and is immediate.”

44

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CSEM AND THE PUNDITS

OF MATERIALS RESEARCH

CSEM: a scientific company dedicated to Swiss micro technology and applied research INTERVIEW BY PIERRE MAILLARD

It was in the Neuchâtel-based research institute that research workers developed watchmaking applications for a material that is fast gaining popularity: silicon. Yet another example of the achievements now changing the face of contemporary watchmaking. Despite the extreme confidentiality surrounding the research, the CEO of the Swiss centre for electronics and microtechnology, Mario El-Khoury, and his staff, were happy to answer a few questions put by Europa Star.

Hardly a day goes by without another watchmaking brand announcing its own silicon escapement inside. Could you tell us a little bit about how the use of this material became so widespread?

The idea for using silicon in the manufacture of watchmaking parts first came about at CSEM’s microsystems lab in the 90s. Preliminary tests revealed very good shock-resistance (on the pendulum-impact tester), but a major obstacle soon presented itself: the parts were not functional as their edges were too rough.

One of our engineers nevertheless persevered in his efforts, thinking to exploit the elasticity of silicon for the balance-spring, and conducted a test with the then director of the international watchmaking museum in La Chaux-de-Fonds. A new obstacle appeared in that the material responded well only if there was not too great a temperature variation. However, the engineer stuck to his guns and continued to work on the subject together with two assistants, including a physicist who specialised in silicon.

46

Then came the idea that changed everything: the use of “thermocompensation”.

This entailed using raw silicon dioxide with the silicon in a special thermal procedure to compensate for thermal drift (silicon has a positive thermal coefficient, while that of its oxide is negative). This decisive process was to change everything.

The patented process was then developed with the Swatch Group, Rolex and Patek Philippe. The technological adventure continues to this day and has now entered a new phase, with silicium being used for the regulator (“Genequand regulator”), which has opened new paths of exploration.

The application of new materials in watchmaking can produce successful results, but it can also lead to a few dead ends... Can you give us any examples of each?

Many examples are confidential, but some successes, aside from silicon, include the alloy Nb-Zr from Rolex, which the brand uses for the balance-spring in some of its watches. Another interesting example, again for balance-springs, is the carbon nanotube composite developed for Zenith.

As far as dead ends are concerned, diamond is a famous example. Attempts to use it in polycrystalline form have always led to disappointment. With time the material undergoes erosion, which proves highly

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problematic for the watch mechanism. I should mention that Professor Niels Quack of the EPFL has just made an interesting breakthrough by manufacturing an escapement wheel in single crystalline diamond.

But we are still in the research phase of current knowledge, since some of the physical limitations are proving difficult to overcome.

How can you be sure that components manufactured in recent materials, such as silicon or graphene, will be sufficiently reliable over time?

able with more conventional production tools, irrespective of the material used. The CSEM has thus created an entire business activity around this field.

In the case of ceramic, for example, 3D printing would circumvent the demanding task of machining due to the nature of these materials. In the case of metallic crystals, it enables the craftsman to take advantage of cooling rates, which, if properly controlled, will produce the hardening required to achieve the glassy state. The construction of hollow or “foam”-structured materials to help create ultra-light metallic parts is without doubt one of the innovative concepts that has been facilitated by the arrival of 3D printing machines.

However, there is still some progress to be made in 3D printing for its widespread usage to be applied to watchmaking parts. Surface finishes, accuracy and mechanical properties are still areas that largely require improvement.

Silicon, for example, is used in microtechnologies precisely for its extreme resistance to wear and has proved successful in all tests for long-term usage.

Here we have a single crystal, which remains unaffected by the passage of time. Thus its reliability and longevity will be far greater than steel.

Generally speaking, there are two factors to take into account to prevent We often hear these days about and avoid this type of problem: knowl“bridges” being built between the edge of the materials, and knowledge watchmaking and medical industry. of the manufacturing process. In the “As far as dead What is it like in reality? former case, the materials must be ends are concerned, tested and characterised to assess their In the watchmaking subcontracting properties or subject them to accel- diamond is a famous world, ties have existed for a very long erated ageing. At the CSEM, we have example. Attempts to time between the medical and watcharound forty apparatuses that we use use it in polycrystalline making industries. to carry out these assessments.

For example, Straumann first of all form have always led As far as the manufacturing process is specialised in alloys for watchmakconcerned, if it is not thoroughly con- to disappointment.” ing, perfecting some that are still used trolled, it can result in defective parts. by the industry today. In the 1970s, a For this reason, we have developed advanced methods breakthrough in the use of non-corrosive alloys for for quality control and the detection of defects even treating bone fractures prompted Fritz Straumann to at the atomic level in single crystal materials based on enter the orthopaedics and dental implant market. high resolution X-ray diffraction. This method allows This marked the turning point that became history in us to optimise the manufacturing process for silicon, the company’s development. for example.

There is also a common basis between the two industries where precious metal alloys are involved (platinum and gold). In watchmaking, these alloys are used Has the arrival of the new CNCs or 3D printers given for decorative finishing. The medical industry uses rise to the application of new materials in watch- them for implants, even if there is a downward trend making? in their usage.

3D printing has indeed sparked an interest in the development of components in new materials. It makes it possible to design different parts from those achiev48

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THE MAGIC OF COMPOSITES INTERVIEW BY PIERRE MAILLARD

Author and co-author of over 180 scientific articles, two monographs and the holder of twelve patents, Professor Andreas Mortensen, vice president for research at Switzerland’s EPFL, runs the institute’s Laboratory of mechanical metallurgy (LMM) and teaches metallurgy and the mechanical behaviour of materials. In the following interview, he talks to us about his meeting with Jean-Claude Biver and the birth of “Magic Gold”.

50

“At the EPFL generally, and in our laboratory in particular, we not only conduct basic research, but also service the needs of local economies and society, which sustains us in our efforts.

We thus maintain natural relations with the surrounding industries and, as we are situated in the Lake Geneva area of Switzerland, we have developed regular ties with the watchmaking industry. The latter is naturally interested in our basic research work, but we also receive commissions from manufacturers, who hire us to conduct research work directly related to their business activities.

Ordinarily, they turn to us with specific queries, which they require us to solve if possible.

With Jean-Claude Biver, then at the helm of Hublot, matters took quite a different course.

He firstly presented himself, then he presented Hublot, explaining how his brand had “taken aesthetics to a whole new level” and how he intended to take them even further. He asked us about our ongoing research, showing particular interest in the combination of ceramic and metal.

I took him to be interested in our research work primarily for its application in watch finishes, and I ventured to suggest that we could do much more besides and that we’d like to “play around” a bit more, if he should feel so inclined.

We instantly clicked. We agreed on a vast field of exploration and, in an unprecedented move, he gave us total carte blanche. However, he was keen to emphasise one point: it had to make absolute sense on a scientific and technical level!

And, unlike with other managers of other industries, he attended our meetings in person at regular intervals. Several times, he said to us: “If you could make 18K gold scratch-resistant, then you'll have found the Holy Grail!”

Modern-day alchemy “To succeed in our efforts, we thought of using boron carbide, an extremely hard ceramic with high temperature stability. It is even used for its hardness properties in cladding applications, or in the internal panels of bulletproof vests, for example.

By combining a precious metal, 18K gold in this case, or an alloy containing a precious metal, with the boron-based ceramic, which has a melting point higher than that of said precious metal, a composite material

is obtained, a fusion of metal with ceramic, giving a light (low density), extremely hard and thus virtually scratch-proof material harder than HV320, or even harder. This latter property is, in effect, especially useful for the application of this composite material in the watchmaking and jewellery industries.

Producing it is another matter. To reduce things to a simple level, first a flexible mould is filled with boron carbide at ambient temperature. The pre-formed boron carbide powder is then subjected globally to an isostatic pressure of 2,000 MPa. After being preformed and removed from the mould, the powder is then sintered at a very high temperature to obtain the desired density while maintaining the interconnected porosity between the atoms, thereby creating a rigid, porous structure. Finally, the 24K gold alloyed with 3% molten liquid gold is injected under very high pressure with inert gas at a high temperature, allowing the metal to fill the ceramic pores.

The form thus obtained, in this case the watch bezel, must then be polished. This is no mean task given the hardness of the composite obtained, which can only be scratched by diamond. Finally, obtaining 18K gold certification was another complex undertaking, one that entailed separating the gold from the ceramic in order to weigh the gold and compare it with the initial weight of the material.

We succeeded in our undertaking and Hublot immediately announced the results. “Magic Gold”: the first scratch-resistant gold, boasting a Vickers hardness number of 1000 (compared to the 400 Vickers rating for traditional 18K gold or the 600 rating for hardened steel).

I must say I'm very impressed with the laboratory Hublot has just set up in its Nyon-based manufacture specifically for the production of Magic Gold. It’s a splendid facility. What's more, several of my former assistants and students have been recruited by LVMH either to work directly in Hublot’s laboratory, or to strengthen the team headed up by Guy Sémon, at his Research and Development lab in the LVMH watchmaking division.

Meanwhile, much remains to be done, many other combinations are possible in different materials. For gold alone, however, there is a lot more fun and experimentation to be had. That said, innovation comes at a price! Many problems require solutions, and plenty of ideas are needed. Yet, the battle for new composites rages on and the researchers and scientists busy in the field continue to keep mum about the precise objective of the leads they are following. We too. A “new material” can be like gold dust.”

A researcher at the dedicated Magic Gold laboratory of the Hublot manufacture in Nyon, Switzerland 51

APPROACHES TO INNOVATION

COMPARING THE EXAMPLES OF PANERAI AND ROGER DUBUIS

BY PIERRE MAILLARD

52

Although both part of the same group, Richemont, Officine Panerai and Roger Dubuis have two very different approaches to research and to innovation in general, especially where materials are concerned.

Two different approaches that illustrate two ways of regarding the role of innovation in overall brand image.

To find out more, Europa Star met Jérôme Cavadini, head of Panerai Manufacture, Arnaud Houriet, Innovation & Quality project manager at Panerai, and Gregory Bruttin, who heads up Product Marketing and R&D at Roger Dubuis.

A central Research & Innovation Group does indeed exist at Richemont: it is headed up by Edouard Mignon and has a solid team of researchers and scientists. But its principal role is to support projects conducted by the brands and otherwise apply itself to research that is “more discreet or more fundamental”. At Richemont, R&D is vertically integrated within the brands, each of which has a certain autonomy of action. As Gregory Bruttin explains, this choice comes directly from the top, from Johann Rupert. “Mr Rupert was marked by the negative example of General Motors,” explains Gregory Bruttin. “They ended up making parts interchangeable be-

PANERAI LO SCIENZIATO LUMINOR 1950 TOURBILLON GMT TITANIO – 47mm For optimum lightness, the titanium case is made using an innovative technology that creates an extremely complex hollow structure without compromising water resistance (10 bar), strength or ability to withstand everyday stresses and strains. The technique is known as DMLS (Direct Metal Laser Sintering). It is a 3D printing method that builds up a layered structure using a fibre optic laser and titanium powder. The layers, each just 0.02 mm thick, are built up precisely to create a structure that would be impossible to obtain through traditional machining, producing a perfectly smooth and uniform surface with considerably reduced weight.

tween all its brands, building joint platforms and manufacturing generic products. And everyone knows what the outcome of that was! The different products lost all character and were indistinguishable from one another. In his eyes, that’s a ‘fault’ and not to be repeated. Every brand has to develop its own specifics. That said, at the launch phase every product has to get top-level validation from the famous ‘internal approval committee’. That creates competition – of the healthy kind – between colleagues.”

Open space or networking…

Between Roger Dubuis and Officine Panerai, the differences in the structure – and goals – assigned to R&D are glaring. They can even be seen physically and spatially, you might say.

The most striking thing about R&D at Roger Dubuis, which is set in the heart of the highly integrated manufacture, is that in one single open space it brings together the project manager, the technical designers, engineering department, watch exteriors, prototyping, R&D, artistic design, environment (presentation boxes, showcases, etc…) and product marketing.

“The result is that there’s a huge amount of communication, coming and going and continuous exchanges between all the managers of a product at all levels,” underscores Gregory Bruttin. “It’s the opposite of a sequential approach.

In our view, the brand and product strategies go hand in hand, and the whole team is nurtured from the outset by this joint, shared, multidisciplinary approach. The result is a very swift way of functioning. In R&D, people come before the process. Internal communications are informal, but we have a shared vision of the objectives.”

In practice, this cheerful, open-plan workshop has nothing of a laboratory where men in white lab coats move silently about. The specialists in different fields stand elbow to elbow. All Excel spreadsheets have been banished and replaced by large, visual tables posted on the walls and filled in by hand, evolving continuously and in real time, visible to all, all the time.

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By contrast at Panerai, most of the work is done over the network. On the one hand, there is an ultra-modern manufacture in the hills above Neuchâtel, with its workforce of 250 dedicated to production and customer service, while design and marketing are in Milan, nearly 400km away.

This structure does not seem to bother Jérôme Cavadini, the manufacture’s director, or Arnaud Houriet, project manager for everything to do with innovation.

“Counting the laboratories, technical designers, engineering department, methods and industrialisation, which are based here, R&D employs around 50 people who interact directly via the network with the Milan teams. It’s an ultrasmart network with highly efficient communication tools, soon to be equipped with extremely high-definition cameras that will enable us to virtually touch the object,” they explain. The same ‘networked’ structure can be found in production. Jérôme Cavadini is emphatic on this point: “Development is totally integrated into the manufacture, but production is only partially so. That’s deliberate; we want to work with the highly efficient, regional industrial fabric. Emulation is strong there and that spawns new ideas. That’s very important.”

“All this intellectual property activity is crucial. And some of it stems from all these small and medium-sized businesses, not only giants. Wanting to absorb everything would be a mistake, it would be totally counter-productive. You can’t innovate by staying at home. It’s in our best interests to work with local enterprise and its fast-reacting partners.”

Innovation: to be seen or not to be seen?

Should an innovation necessarily be visible on the finished product, or should it be more discreet? The responses of the two brands to this apparently simple question are quite different.

For Gregory Bruttin, the answer goes without saying: “A genuine innovation has to be seen,” he unequivocally states. “For us, the customer is always at the centre and everything is geared to this priority. Consequently, any innovation, and all the more in the case of materials, has to have an interest for the customer; it has to be easily implementable and have immediate aesthetic expression. We don’t do innovation simply for the pleasure of innovating. Just as we don’t do marketing for the sake of marketing. We only do it if it is really meaningful for the customer.”

That’s all fine and dandy. But what, exactly, is meaningful?

For Roger Dubuis and his R&D teams, in order to be launched an innovation has to meet three basic cri54

teria that will set the research agenda: ergonomics, hence the quest for lightness (titanium, carbon); durability, hence the quest for hardness (1,000 Vickers and over, e.g. chrome and cobalt); and aesthetics (it has to be implementable both visually and formally).

To illustrate his approach, Gregory Bruttin cites a case made in chrome and cobalt, very brilliant and with slightly blue tints. “But the blue of the cobalt isn’t really visible, so we inserted a blue-tinted movement to really mark the difference.”

So at Roger Dubuis, you have to be blind not to see the innovation!

Metallic glass At Panerai, it’s quite another story: innovation is permitted to remain discreet or ‘relatively’ hidden, explains Arnaud Houriet. If, here too, innovation is essentially at the service of the product and has to represent genuine value added for the customer, it is not always immediately perceptible aesthetically or formally.

Take the example of liquid glass, an innovation that is not patently evident. It gives the impression of being steel, except perhaps for “a few metallic tints”. But its characteristics are far superior to steel: it is highly shock-resistant, its surfaces are also very durable and it has a hardness of around 550 Vickers.

“It was invented 40-50 years ago and potentially had worthwhile characteristics,” the two Panerai managers explain.

“Combining different processes and their specific advantages, it looked promising. But the metallic glass, otherwise known as BMG Tech (for Bulk Metallic Glass), is difficult to make to any great thickness because the alloy has to be cooled down rapidly.”

“This problem was solved achieving greater control of the alloys (which improved implementation), the manufacturing processes and the temperature during moulding. The parts are injection-moulded and 99% come out in perfect shape.

The others are retouched where necessary.”

Metallic glass is composed of zirconium, titanium, nickel, copper and aluminium.

Their composition must be rigorously controlled, their purity guaranteed. The key to success also lies in the production process and industrialisation, which meant making the repetitive rhythm of operations reliable.

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“You learn a lot from a project like this,” admits Jérôme Cavadini. “There were ups and downs, but the lessons learned were substantial and it also opened up the range of possibilities. For example, we worked with a Japanese company specialising in powder technology. There exist just two in all, both in Japan.”

The team at the manufacture seem proud to have achieved such a result.

“When we set out, we were driven first and foremost by a desire to go out and get market share. And ultimately there were consequences in terms of positioning. And that’s far more important, because today lifespans on the market are very short. And with BMG, we’re in it for the long term. It isn’t a marketing coup. At Panerai, invention has to be in earnest and controlled. And this launch year, we’ll be producing the first 1,000 items.”

Mixing skills The particularity of the open-plan R&D department at Roger Dubuis is that it tries to mix skills in a single, shared project: the watch to be created. Ideally, there is no longer the engineering on one side and the watch exterior on the other. The watch ‘architects’ are trained designers. From the first pixel, they have to aim for unusual, highly transparent movement designs. The codes they are bound to follow are precise; for example the star shape, always featuring one straight line, that you find in numerous designs by Roger Dubuis.

So, product takes precedence over innovation. The Pirelli tyre was the starting point for the research launched on that occasion. Another example: Roger Dubuis is preparing for the imminent launch of a watch set with diamonds in carbon. Not exactly an engineer’s product for engineers!

But it is, on the other hand, an example of interaction between R&D and suppliers. “The project manager was pushing for a design that called for forged carbon,” explains Gregory Bruttin. “But the supplier explained that it would be better to try multilayer woven carbon. The whole point was to ensure the diamonds were set as firmly as possible in the carbon, so we opted for the suggested solution. Strong, rapid interaction and a skills ‘loop’.”

Another example of interaction between choice of design and technical consequences is the full-carbon Excalibur Spyder 509 SQ, released two years ago. The case is in carbon, as is the movement. In the quest for ROGER DUBUIS EXCALIBUR ORIGINAL QUATUOR CHROME COBALT MICRO-MELT®

extreme lightness, all the parts impossible to make in carbon were made of titanium.

This research incidentally produced an unexpected result: a 50% increase in the power reserve, from 60 hours to 90. A simple side-effect.

Roger Dubuis works essentially on three fronts: ceramics, metallics and composites – a trilogy that everyone is investigating today. But their priority is composites, metal with metal or in other combinations. “With purely metallic alloys we’ve hit a ceiling.” One example: tungsten beads coated or cast around a steel core, or future composites of ceramics and carbon, or even machined silicon...

No further information is forthcoming. But it is true that now, everyone is researching these same subjects.

What about 3D printing?

At Panerai, besides the metallic glass, they’ve already taken a keen interest in 3D printing. One case in point: the PAM 00767, called ‘Lo Scienziato’, a titanium skeleton tourbillon priced at 139,000 euros, ultralight and limited to 250 items issued in two batches, 150 then 100 watches. What is special about this is that the watch was produced by 3D printing using additive manufacturing technology.

A world first: its case is made of grade five titanium powder ‘printed’ layer by layer. Thanks to this 3D printing technology, it was possible to create a space inside the ring-shaped caseband. Consequently, this hollowed-out caseband weighs 30% less than a comparable item in machined titanium. The movement weighs 25% less.

The 3D printing process has the advantage of allowing previously unheard-of flexibility in terms of geometry. Panerai has a command of the process in-house, but “also knows its limitations”. The potential of this technology for personalisation purposes is evident, but the process remains a costly one. From the industrial perspective, it is conceivable only for small, limited series. It also allows for rapid execution.

We naively pose an idle question: might there be any way of housing a function or mechanism inside the hollowed-out caseband?

Our two interlocutors give the hint of a knowing smile.

That would be spectacular (but perhaps invisible) confirmation that innovation in one particular field – 3D in this instance – gives rise to further potential innovation in other domains. In other words, innovation spawns innovation.

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SWISS ® SUPER-LUMINOVA

TAMING THE LIGHT

BY YANNICK NARDIN

If you’re looking for something to brighten up your nights, this is it! Invisible during the day, Swiss Super-LumiNova® becomes apparent when the light dims. Just one touch of its phosphorescent magic, and millions of watch dials light up. We lift the veil on this lady of the night at the premises of its exclusive producer, LumiNova Switzerland.

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In the watchmaking world, Swiss Super-LumiNova® now reigns almost supreme. And yet it made its debut on the horological stage scarcely 25 years ago. At the time, public opinion was still reeling from the shock of Chernobyl in 1989. Watchmakers, still recovering from the quartz crisis, were desperately searching for an alternative to tritium, which had already replaced the highly toxic radium. In China, Albert Reinhard Zeller, the head of a business specialising since 1934 in phosphorescent substances, the future RC Tritec, unearthed a luminescent ceramic based on strontium aluminate.

The result of that marked a turning point in watch luminescence. Nemoto, a longstanding Japanese partner, developed and then in 1994 patented a non-radioactive, non-toxic recipe that remained stable over time. Four years later, the two companies founded a joint venture, LumiNova Switzerland, to market it to watchmakers. The good news spread like wildfire, and first and foremost to the Swatch Group.

Precious kilos Since then, successive developments have improved the performance of the substance. This is how, in 2007, Swiss Super-LumiNova® – SLN to the initiated – came into being. Produced in Appenzell by LumiNova Switzerland, its magical properties are reserved for watchmakers. The latest formula to be patented, Grade X1, offers an afterglow twice as intense and persistent as that of the 1994 version. And since one gram of the substance suffices for 100-500 dials, the handful of kilos concocted every year – mostly by the employees of RC Tritec – are shipped to every corner of the earth.

The first operation consists of creating the mix of base components – from different crystals depending on the night-time colours. This very hard mixture is then sintered, that is, heated to a very high temperature to modify its molecular structure. It then cracks into blocks and, more importantly, becomes capable of luminescence.

Trapped electrons In the next stage, the operator reduces the blocks to powder using abrasive tools. Dexterity is crucial here, because of the modus operandi of phosphorescence.

The base crystals contain electrons which, when subjected to the ultraviolet rays present in light, become active and rise to a higher level in the crystal’s electronic structure. Once in the dark, the electrons return to their initial state, shedding their energy by the emission of light – phosphorescence!

The trick lies in causing a maximum number of electrons to rise, then slowing their descent. Dysprosium makes it possible to create “traps” to capture the electrons at different levels. Ultimately, the more the powder retains its structure of stacked traps, the higher the performance.

The key role of this arrangement also explains the differences in the intensity of afterglow on completed dials: a thick, dense layer of coarse-grained pigments will provide the greatest phosphorescence. Similarly, LumiCast, the luminescent resin produced and moulded by RC Tritec, has proven especially effective thanks to its more concentrated pigments, which are less diluted than when applied by means of powder and binding agents.

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A designer’s Technicolor dream The next room is devoted to prototyping and development, as well as new daytime colours. The possibilities cover the entire Pantone palette, although red and black are less suitable since those colours partly absorb the phosphorescence. But for aesthetic purposes, some watchmakers accept these limitations. Lastly, since the fashion for vintage has taken us back to the future, one of the favourite shades is “old radium”.

R&D has recently expanded the range of night-time colours beyond the usual green and blue. In 2017, LumiNova Switzerland introduced purple and white, and last June dark blue, orange, pink and yellow. To develop them called for new base crystals in each case – they are what influence the wavelength of the light emitted by the electron, and consequently the colour perceived by the eye.

But how? The exact phenomenon is still mysterious and is explained by “models”, simplified representations. Scientists presume that the distribution of certain co-doping ions and their distance from the structure of the crystal create the colours. Obscure as the explanation is for the common mortal, the actual applications are set to get designers buzzing.

And so we conclude our visit to LumiNova Switzerland, our heads full of all the brilliant possibilities, either seen or soon to be discovered in watches. From the small Swiss town of Teufen, the flasks filled with pigment make their way to companies specialising in applications for luminescent matter all over the world – before the illuminated components return to the watchmakers, ready to shine.

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LUMINESCENT CAPSULES FROM MB MICROTEC (TO BE CONTINUED) From 1963, tritium replaced the highly toxic radium on dials. While watchmakers no longer use this in powdered form, some use its gaseous version. Back in 1969, MB Microtec developed Trigalight® technology. This enables gaseous tritium to be totally isolated in glass microtubes, which are then lasersealed. The walls are covered in zinc sulphur, which produces the luminescent effect.

These capsules offer steady phosphorescence which requires no re-charging, although it is limited in time (around 70 years). Today, the company is a supplier to some forty brands.

It has also developed its own brand, called Traser (see p. 124-125), which was originally designed to showcase its know-how. This autumn, MB Microtec will be inaugurating its new factory – a somewhat unusual one, dedicated to the technology of encapsulated gaseous tritium. You can find out about this visit in a future edition of Europa Star.

THE NEW KID ON THE BLOCK: BADGERITE And what if luminescence was the actual creative starting point? This was the premise of Black Badger, aka Canadian-born Swedish resident James Thompson, who for several years now has been providing inspirational highlights for the watchmaking industry. His partners include several independent watchmakers, such as MB&F and Stepan Sarpaneva.

This light-wielding wizard now has a new toy to play with in his panoply of luminescent materials: Badgerite, the result of a collaboration with RC Tritec. Combined with a special binding agent and varnish, this liquid application of Swiss Super-LumiNova® offers better performance and more colours than the Ambient Glow Technology composite previously used.

PATEK PHILIPPE AND

THE SILICON BALANCE SPRING

BY PIERRE MAILLARD

Alongside Rolex and the Swatch Group, Patek Philippe was one of the pioneers of silicon. Jean-Pierre Musy sets out the details of the different phases in this research.

“We first got interested in silicon because it’s a non-magnetic material that is non-deforming,” explains Jean-Pierre Musy, an expert acknowledged throughout the profession who until recently led the Advanced Research programme at Patek Philippe. In actual fact silicon is also elastic while being non-deforming; in other words, when knocked, it moves and immediately returns to its initial shape. Moreover, being non-magnetic, its coils run no risk of sticking together. On the downside, it is brittle! Another problem that needed solving was that it is sensitive to temperature variations.

But research was about to enable this dual handicap of a material that was outstanding from all other points of view to be overcome.

The arrival of silicon in fine watchmaking was made possible thanks to a technology that enabled it to be sliced into wafers.

Initially, Patek Philippe joined forces with a microtechnology research centre, IMT at Neuchâtel University, with the precise objective of improving this siliconslicing technology. The first step consisted of creating a silicon escapement. There was no obstacle to creating this in pure silicon, as its sensitiveness to temperature

2006

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fluctuations has no impact on its function. And incidentally, this material made it possible to dispense with any lubrication at the points of contact between the wheel and the sapphire pallets of the lever. No mean advantage.

In parallel to this research conducted by Patek Philippe, other entities were also exploring the promising potential of silicon. At that point, a consortium was set up consisting of Patek Philippe, Rolex and the Swatch Group to conduct joint research at CSEM (Swiss Electronic and Microtechnology Research Centre), based in Neuchâtel.

“Our great fear was that despite all its qualities silicon would turn out to be too brittle and too sensitive to temperature variations to be used to produce balance springs,” JeanPierre Musy confesses. “But we found a solution: the silicon was oxidised, producing something like a fine layer of bark that made it more rigid and insensitive to temperature fluctuations. And tests have proved it: it no longer varies with changes of temperature, and when subjected to 5,000G shocks (equivalent to falling from a height of one metre onto a hard floor), it does not break. Having said that, its length, the number of coils and its geometry also help make it more resistant. The thermal coefficient of the oxide’s modulus of elasticity has the opposite sign to that of silicon. This being the case, like Charles Édouard Guillaume but 82 years later, we set out to minimise the effect of temperature.”

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The horological silicon developed by the three partners in this technological joint venture was named Silinvar®, a contraction of “silicon” and “invariable”, in deference to the famous Invar by Charles-Edouard Guillaume. They jointly hold an exclusive licence.

Learning from history This Silinvar®, a real technological leap forward, greatly advanced balance spring technology. Even so, a number of little “defects” remained. But the watch adjusters at Patek Philippe (the "stars” of watchmaking as Jean-Pierre Musy calls them) also have a long memory and a sense of history.

“When Patek Philippe began making balance wheels in silicon, we went back and pored over the theory of the Michel brothers, a theory dating from the 1800s and abandoned because of the technological limits of the time,” Jean-Pierre Musy explains. “We applied it to silicon, making reinforcements at intervals in the mass.

The effect is the same as that of the Breguet terminal curve, the balance spring remains in the plane of oscillation while the centre of gravity returns to the centre. But it has the advantage of being flat.”

The patent was granted, and it became the Patek Philippe terminal curve: a flat balance spring in silicon with a totally concentric development. The first Spiromax®.

However, this first generation did not solve the problem of the influence of the escapement on the balance spring, which creates delays at small amplitudes. To compensate for this usually calls for giving the balance spring a bit of an “advance”, rather than making it completely concentric. That way, the escape wheel and the balance spring offset one another.

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With the Spiromax®, by “simply” changing the position of the thickened region, or boss, on the silicon balance spring, the watchmakers at Patek Philippe succeeded in fully offsetting the escape wheel and balance spring against one another, thereby correcting the delay generated at small amplitudes. That was the second-generation Spiromax®.

The third Spiromax® generation saw the advent of a second boss, this time at the centre of the balance spring, whereas the first was positioned at the end. Its function was to “achieve tiny differences in speed between the different vertical positions of the oscillator, and thus to improve the precision of the timepiece even further”.

The final improvement, the fourth Spiromax® generation, optimises the position of the spring in relation to the unbalance (wobble) of the balance, so that their respective curves offset one another in the vertical position as they always cross at the same place.

As we can see, the conquest of precision is a matter of step-by-step progress, microdetail after microdetail.

“All the problems were known. Balance spring theory has historically been the same since Huygens; it’s the solutions that are radically different. That said, it’s still taken 14 years for Patek Philippe to achieve a near-perfect result.”

The “near-perfect” that escapes Jean-Pierre Musy’s lips says it all.

It looks as if the final word on the balance spring has not yet been said.

2016

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PATINA

THE BLUE CHEESE OF VINTAGE WATCHES

BY LORENZO MAILLARD, COLLECTOR

S

tilton, Roquefort, Bleuchâtel or Gorgonzola: these cheese names might have been synonyms of repulsiveness when you were younger, but I’m sure that you’ve learnt to appreciate them over the years. Your refined palate and your taste for discovery led you to new frontiers, new experiences, in other words to eat rotten cheese…

And that’s absolutely fine, we all love their texture, their bitterness as well as their surprising spiciness.

When it comes to food, our learning curve seems infinite. We can all remember our parents forcing their spoons full of spinach into our mouths but now we’re fine eating oysters and broccoli.

NB: The word “patina” comes from Latin and means “plate”. In ancient times most of them were made out of bronze, a material that can be affected by time or by its surrounding environment.

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Same goes for vintage watches. You start by appreciating “easy watches” in mint condition, most of the time from well-known brands. A Rolex GMT from the 90’s or a Speedmaster in perfect condition from the 70’s or an Omega Seamaster from the 60’s. From there you can slowly slide towards more “complicated” watches, not in terms of mechanics but more from an aesthetic point of view. Some see patina as the holy grail of vintage, but what is patina and what is not?

Patina is the result of long exposure to sunlight or to tropical climates, or is simply an effect of time. Most of the time, when we speak about patina we're talking about the discoloration of the lume on indexes or hands.

Usually collectors are looking for a creamy or chocolate patina. But how does this discoloration happen?

Radium In order to have markers and hands that glow in the dark, watchmakers used a radioactive material called radium that reflects, for a limited period of time, a green luminescence in a dark environment.

This new material was, in the first quarter of the 19th century, perceived as a revolution and used in various fields. A number of virtues were erroneously attributed to this highly dangerous radioactive substance. In the 30’s, you could find radium in face powder, toothpaste, ski underwear, animal food or even condoms. At that time, little was known about radioactivity and its effect on the human organs.

In the watch industry, radium became a must-have feature for sport and military watches. Applied and hand painted on the indexes and on hands, radium is still a radioactive material today. But don’t worry: if you don’t lick the dial or use your watch as a pillow every night, you’ll be fine.

With a number of scandals and the growing awareness of the scientific community, radium was acknowledged in the late 30’s as a dangerous material. For the most part, the substance was slowly abandoned in

favour of tritium (1950’s), and only some militaryspecific watches used by the airforce or submariners were still ordered with radium. Even though the practice stopped in the 60’s, American soldiers found old radium dials inside Iraqi tanks during the Gulf War.

Tritium Tritium is also a radioactive material but it is harmless, at least from the outside of the watch, and in general less aggressive than radium. Easier to apply, the substance became a standard in the industry until the late 90’s. Widely appreciated by collectors and amateurs, the material, if aged properly, passes from white to cream, from cream to orange, from orange to chocolate. Some people will even tell you that the banning and replacement of tritium by Luminova (a non-radioactive material that doesn’t change with time), is a key factor in determining up to what point a watch can be considered vintage.

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Dials Until now, I’ve only mentioned the patina on the hands and markers, but the dial itself can also transform and change its appearance and texture. Depending on the material or paint used, the dial can turn creamy or chocolate in colour like the radium or tritium elements.

But patina can actually be subjective. Some sellers will use the terminology in abundance to sell rotten watches to novices that are getting into the market.

Timepieces with putridity and sometimes fungus on the dial. Don’t get me wrong, everyone has their own taste and limits regarding the quality and shape of a timepiece but I simply don’t agree with dealers that use the word “patina” and add an outrageous premium for a rotten watch.

Everyone has their own definition of the term, but in my mind, what is attractive about a particular patina is the uniformity of the discoloration, the originality of the shade or simply its location on the dial.

Patina on a watch is also a testimony, confirming that the watch has lived. Wearing it is a statement that it is still beating after all these years, that it was born in the past and will still be used in the future.

A friend of mine, Balthasar De Pury, once told me: “We (vintage collectors) are the only ones who are actually enthusiastic when a watch is proven radioactive.” Most vintage dealers own Geiger counter and use it to determine if the dial is actually original and not redialed or repainted. The more radioactive the better.

Who knows, maybe one day watch manufactures following the vintage trend will dip their watches in radioactive material to give them a some kind of legitimacy.

Let’s hope this day will never come.

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NEW MATERIALS PORTFOLIO

BULGARI OCTO TOURBILLON SAPPHIRE In a 44mm DLC-coated titanium case topped with a sapphire glass nestles the hand-wound flying tourbillon manufacture movement Calibre BVL 206. The bridges are coated with DLC (Diamond-Like Carbon) and composed of 11 tubes of ITR2 (a composite material charged with carbon nanotube particles of a metal-like hardness) which contain blue SLN (a high-tech luminescent material); hour and minute indication, 64hr power reserve.

HUBLOT BIG BANG UNICO RED MAGIC After the Magic Gold in scratch-resistant 18-karat gold, meet Red Magic, the brainchild of the Hublot Manufacture R&D centre. Its exceedingly strong ceramic boasts a more-thanlively colour and is protected by a series of patents: the exact formula remains confidential.

AUDEMARS PIGUET ROYAL OAK CONCEPT FLYING TOURBILLON GMT A new generation of the Royal Oak Concept GMT with flying tourbillon: the central bridges, originally crafted in ceramic, have been replaced by bridges made of blackened titanium.

The case is also crafted in blackened titanium, the bezel in ceramic and the inserts in rose gold.

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CHANEL CERAMIC MARQUETRY Referred to as “Untitled 2018”, this set includes twelve unique J12 watches crafted in ceramic marquetry. In deep black against an immaculate background, the shortened digits overlap onto the bezel to which they extend. A demonstration of the watchmaking and artistic heights possible with ceramic.

RADO HYPERCHROME CHRONOGRAPH Big-time contrast for this 45mm Hyperchrome Chronograph in which Rado, a ceramic pioneer, combines an ancient material with a brand-new one: bronze with high-tech ceramic. One takes on a patina with time and the other resists (nearly) everything. A vintage effect for a bright future.

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ROLEX GMT-MASTER II WITH TWO-TONE BEZEL When innovation inches forward without ever changing an icon. In 1955, the graduated 24-hour disc of the GMT-Master’s two-tone bezel – which has since become more than emblematic – was made of plexiglas. In 1959, it was made of anodised aluminium. In 2005, high-tech ceramic arrived on the scene with the GMT-Master II. In 2007, the bezel and bezel disc were crafted from a single piece of what officially became known as “Cerachrom”, the name given to the in-house technology. The digits and graduations are moulded in solid material and PVDplated with gold or platinum. The piece is UV-resistant.

LOUIS MOINET SUNDANCE Each of the dials in the Sundance collection is unique and manufactured following a method considered by Louis Moinet to be “totally disruptive”. A key element in this process is a powder composed of microscopic particles that illuminate when exposed to the light. The brand will not confirm if differing doses of this chromatic, luminous base are the sole reason for the unique appearance of each dial.

Whatever the reason, the intensity of the Sundance’s “disruptive” colours is quite stunning.

BLUE CERAMIC GRAND SEIKO HI-BEAT GMT A new, limited edition that harmoniously combines a number of materials: the interior of the watchcase and the exterior of the strap are crafted in high-intensity titanium. The exterior of the case and central links of the strap are made of the new Grand Seiko blue zirconium oxide ceramic (7x harder than stainless steel). Behind the sapphire caseback, the titaniumand-tungsten oscillating mass resists distortion, even if the watch encounters a shock. The titanium portion of the oscillating mass undergoes an anodic oxidation process to obtain this new deep blue hue, which perfectly coordinates with the Grand Seiko blue of the ceramic and dial.

CHRISTIAAN VAN DER KLAAUW REAL MOON 1980 AVENTURINE GLASS Christiaan van der Klaauw is known worldwide for its astronomical watches. But the atelier is also famous for their Aventurine Glass dials, a real Van der Klaauw signature used since the early years of 2000. Why is an Aventurine Glass dial so special? It changes with the light. It can be subtle and dark, it can be a little bit sparkly, and it can be just amazingly alive with an incredible depth, creating a true almost three-dimensional starry sky.

Aventurine Glass is a very difficult material to work with and therefore very expensive. The process of making it is a well kept secret, creating a starry sky around the brand's astronomical complications.

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CENTURY EMPIRE The octagonal faceted sapphire watchcase dates from 1988.

A pure, simple design that never goes out of style. Hand-cut and polished, the design is back in the deep colours of lapis lazuli. The material is captured between two layers of sapphire, magnifying the radiance of the blue and perfectly protecting it.

This unprecedented technique offers a thousand creative possibilities, including the use of the most fragile materials. Yellow gold, satin, quartz movement.

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HAUTLENCE VORTEX GAMMA MAGMA To decorate its Vortex Gamma Magma model, Hautlence has chosen HLLightColor, a composite material borrowed from the automobile and aerospace industries. Charged with ceramic nanotube particles, HLLightColor possesses the strength and other properties that are identical to the metals used in the watch industry, all the while being four times lighter than titanium. It can be worked with the same precision and the same tolerance, and allows for complex finishes, alternating between brushed, polished and sanded surfaces. Additionally, this material opens up a huge range of possibilities from an aesthetic point of view. With a full-body tint, the HLLightColor comes in a wide variety of colours, like this Vortex Gamma Magma in orange.

BELL & ROSS BR-X1 SKELETON TOURBILLON SAPPHIRE The case of the BR-X1 Skeleton Tourbillon Sapphire is crafted from five blocks of sapphire that are carefully machined before being screwed together with the greatest precision. The flying tourbillon bridges are fully openworked, and the dial is set offcentre to afford the best possible view of the movement.

Just three unique pieces will be presented – including two exclusively sold online – in three different shades, each used a single time to colour the baseplate, bridges, dial, hands and tourbillon cage.

AS OLD AS EARTH… STROM AGONIUM "IN MEMORIAM HR GIGER" Silver is not a new material; it is as old as the Earth itself.

Though it is not technologically advanced, is neither a miracle powder nor a composite, nor is it resistant to tarnishing, it alone allows for the sculpture of truly three-dimensional items, Gothic cathedrals for the wrist, hand-made pieces that would be impossible to create with any other metal. Antique materials still have some life left in them!

HR Giger, the creator of the creature from Alien, would not have denied this. Prior to his death in 2014, he worked on this piece with his friend Daniel Strom. In memory of this friendship, three years later, Strom released this joint achievement, named the “In Memoriam HR Giger”, of which only 99 units exist.

CORUM HOBO COIN Nickel, the humblest of metals, used since 3500 BC, cannot really be considered an advanced material. But Russian engraver Aleksey Saburov has brought it back to life in a novel fashion, along with its history, by re-engraving rare hobo coins, named as such as they were the smallest of small change, created in nickel by travelling workers who wandered the United States in the wake of the Great Depression. He has added his own twist to the legend in popular images from the time to create micro sculptures that each become the unique dial of a Corum Hobo Coin.

YUNIK LADIES Since the 13th century, the glassmakers of Murano have trained among Venice’s richest families. Masters of a skill then considered to be high-tech, they pushed the art of glassmaking to its very limit. Each glass has unique colours and patterns, just like each Yunik Ladies watch, the dials and cases of which are made from authentic Murano glass. It is as much a gift from sand as it is from the master-glassmakers.

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Van Cleef & Arpels was one of the pioneers of watch complications with a poetic, floral touch, aimed at women. The path traced by this more than centenarian, brazenly successful Paris jeweller has spawned many emulators, not to say copy-cats. We interviewed its president and CEO Nicolas Bos, who also firmly but elegantly holds the artistic reins of a brand which is extremely consistent both aesthetically and strategically, and which has avoided the eddies that have rocked the Richemont “ship” over the past three years.

Van Cleef & Arpels is a brand apart within the Richemont Group. Like the Cartier “flagship vessel”, it is not placed under the direct supervision of the group’s watchmaking boss, Jérôme Lambert. Its CEO, Nicolas Bos, has the particularity of assuming both the operational and artistic management of the brand. And its many years in the jewellery business mean that it has been outrageously successful, whereas Richemont’s watchmaking business has been severely impacted during the past three years by the Chinese crisis. Moreover, its managerial stability stands out in a group that is in the throes of restructuring.

Founded in 1906 and acquired by Richemont in 1999, the Paris-based company specialised early in a niche market that has been much copied ever since: that of poetic complications, mainly for women. It also has the unique feature of selling its jewellery and watch designs only in its own boutiques (of which it has over 120). According to estimates by the bank Vontobel, Van Cleef & Arpels’ turnover approaches the one-billion Swiss franc mark, which would make it the second most profitable brand after Cartier.

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Production-wise, its flagship collection is incontestably the Alhambra. But the highlight of the watchmaking show at the last SIHH was, of course, the new Lady Arpels Planetarium, a conversation piece developed in collaboration with the independent brand, Christiaan van der Klaauw. And that is another point that sets it apart from its fellow companies at Richemont, who are very reluctant to reveal the names of their partners: whether it be van der Klaauw, Jean-Marc Wiederrecht or François Junod, Van Cleef & Arpels makes no mystery about its collaborators – although the same cannot be said of its business results!

“For more than a century, the company has expressed itself first and foremost through its jewellery, with a vast abundance of creative designs. Jewellery gave us the chance to explore a large number of fields of expression, such as nature, dance, poetry and theatre.

It’s from these fields that we draw the philosophy that corresponds to us, centred on positive values, such as childhood, naivety, innocence. Today, that corresponds both to our jewellery and watch creations,” sums up a serene Nicolas Bos. Europa Star went to meet him.

A number of jewellery companies have made forays into watchmaking, but have not stayed, or just maintain that business at a minimum. As a jeweller, how do you establish yourself in the watchmaking business for the long term?

Watchmaking is still quite a technical, rather masculine world. It’s an engineer’s world first and foremost.

Our vision of time is rather unusual. It’s more narra82

tive, more feminine, geared to the rhythm of nature and not to measuring performance, chronographs being the most extreme example of that. Our colleagues do that very well already!

Via luxury jewellery watches we’ve developed a philosophy that exploits the potential of mechanical movements to design poetic complications. Watchmaking is to jewellery what cinema is to photography: it sets it in motion! Our vision is very simple: we don’t start with the technical or mechanical side, but with the narrative. For example, we unashamedly show the very “demonstrative” side of the automata. It’s poetry, but it's not restricting.

The brands of the Richemont Group have vertically integrated their production to a large degree in recent years. But in your watchmaking business you’ve done the opposite and struck up numerous partnerships with other companies…

It’s true that, since ours is essentially a jewellery-making culture, we haven’t systematically integrated watchmaking know-how. Instead, we brought together the most competent figures in the watchmaking world and got them to work with our Paris-based jewellers.

The idea was first of all to design the cases around existing movements.

But in fact Van Cleef & Arpels has often co-produced watches in the past. With Universal, for example. Our company has always sought out the best movements so as to affiliate them with our design expertise. That also explains our philosophy of promoting the watchmakers who work with us, whether it’s other brands like Jaeger-LeCoultre or Piaget, or independent watchmakers like Jean-Marc Wiedderrecht. For our customers, it’s reassuring.

LADY ARPELS PLANETARIUM White and pink gold, diamonds, aventurine, enamel, semiprecious stones, self-winding mechanical movement with planetarium module.

LADY ARPELS JOUR FÉERIQUE

On the other hand, you’re 100% vertically integrated where distribution is concerned, since you’ve decided to work solely through your own boutiques.

Might not retail partners be key to winning over certain regions or collectors?

We made this strategic choice because our watch products are part and parcel of our jewellery offering.

Also, our watches are highly specific products, which isn’t necessarily easy to explain. We’re still an atypical brand. For example, we tried out an interesting experiment one day with the Chronopassion boutique in Paris. It’s geared much more to the technical aspects than us, but in the end the customers came to buy the products from us... I don’t think our watch range is traditional enough to do “wholesale”.

What feedback did you get from the last SIHH? This year’s show was neither hysterically optimistic nor pessimistic. As far as we’re concerned, we benefit from jewellery’s strong performance and also, we suffer less than other brands from the vagaries of wholesale distribution. We didn’t experience the exacerbating effects of inventory build-up and clearance.

I’m seeing a resurge of growth in Asia. Japan is recovering. The American market remains strong if you’re already well-established. On the other hand, Europe is subdued owing to security issues and a strong euro.

The fall in tourist numbers has led to a business slowdown in Europe.

We’ve seen a proliferation of poetic, feminine, “organic” complications on the watch market. Have you opened up new territory here?

Today, we’re seeing products that bear an incredible resemblance to our designs, our flowers, our butterflies. Ok, we don’t have the monopoly on butterflies...

But one of the challenges facing us is the proliferation of copies. When we have to, we take legal action again counterfeits and copies.

Competition seems to be hotting up on the jewellery front, where there’s less market concentration than in watchmaking.

The jewellery market is continuing to grow. Twenty years ago, only five percent of jewellery items bore the signature of an international brand. Our market share, like that of other historic companies, is growing. Today, brand jewellery represents maybe 15-20%, but it will never account for the whole market.

Another topic that’s on everyone’s lips today is “customisation”. What is the effective degree of customisation, or even bespoke, at Van Cleef & Arpels?

We offer plenty of jewellery customisation for our watches, but we also offer modifications to the dial through our enamelling workshops. With the Pont des Amoureux model, we can change the décor and the hands, for example. We produce a large number of one-off items, with bespoke dials. And it can happen that we modify the movement. Bespoke has always been quite an important part of our business, but it’s stable. Customers want to go on trusting us as far as the artistic design is concerned, they don’t necessarily want to play a role in it.

It’s the price of success! Until we arrived on the scene, women’s complications were an underdeveloped area of watchmaking. We’ve developed highly original aesthetic codes. But they’ve whetted the appetite of other players.

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He’s faced with the daunting task of succeeding Georges Kern. We meet Christoph Grainger-Herr, the young new CEO of IWC, who comes to the engineering brand with an unusually artistic background.

THE OBJECT: “If I'm the current CEO of IWC, I owe it in large part to one of my very first projects where I designed the London Longmire Cufflinks gentlemen's accessory store on Sloane Street in London. It was there that I acquired these cufflinks.

If I hadn't designed that store, I would almost certainly have never worked for the IWC Museum! So I probably wouldn't be here, looking at you now.”

Christoph Grainger-Herr took a unique route to IWC: through the brand museum!

The young designer’s studies were “purely artistic”, he stresses, in the UK, then Basel, Switzerland.

He was first commissioned by the Schaffhausen manufacture to create a museum looking back at the brand's 150-year history.

He never left and was named CEO in March 2017. It’s a daunting task to succeed the effusive Georges Kern who brought about a tenfold increase in IWC turnover in 15 years, then went on to become Richemont’s Head of Watchmaking before suddenly taking off for pastures new at a competitor.

It’s not easy to succeed the highly publicised Georges Kern, who left the brand after a hugely successful tenure.

It’s one thing to take charge of a company that isn’t doing well and look to steady the ship, but it’s quite another to take over a successful brand. It’s no mean feat – quite the opposite. My challenge is to continue in the same vein and look to surpass it. I need to be careful and factor in past achievements while working towards long-term goals, adapting to changing conditions and imagining the future.

Photograph: Fabien Scotti | Arcade Europa Star

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Aside from yourself, in the Richemont CEO galaxy, only Nicolas Bos comes from the artistic world. You could understand it for an ‘artistic’ brand like Van Cleef & Arpels but IWC is seen as an ’engineer’s’ brand. Do you see your background as an advantage? Is it a shift in culture?

As a designer, you’re a central part of the creative process. You have to factor in all the different components and the artistic, technical and commercial reality. You must have a holistic viewpoint, be completely openminded and create a physical manifestation of a complex reality, whether that's an object, a watch or a museum. That said, after overseeing the brand’s museum design – which required a retrospective approach with a future focus – I gained experience in marketing, distribution and sales.

What can you tell us about the developments you intend to bring to the brand offering? Are you wary of the mounting competition, especially, and ironically, from Breitling?

IWC is in a great position. We have stood firm over the years and established a strong position in the 5,000–6,000 francs and 10,000–12,000 francs price points. The brand is strong with good foundations. It has been around for 150 years, was a pioneer in the industrialisation of Swiss watchmaking and has iconic lines and products at various positions and in various segments. IWC is a strong international brand in every sense of the word and we operate everywhere. But the brand has great potential for development. We don’t fear the competition edging towards us. There has always been competition so that's nothing new.

The Jubilee collection was much talked about during the latest SIHH. Many observers saw a ‘vintage’ or even ‘neo-vintage' slant in your collections.

Work on this collection began before my appointment. Inspired by one of our pocket watches, the digital display movement took five years of development to transition to wristwatch format. We had to change everything. The 10th of a second instantaneous disc jump required formidable precision and a very light disc. The watch has two barrels: one for the movement 88

TRIBUTE TO PALLWEBER EDITION “150 YEARS”

itself and one for the instant jump mechanism. This movement fascinated us and seems to have fascinated many people. It comes at the right time.

Some people are unhappy about a widespread return to historic watchmaking codes.

As global digitisation gathers pace, we have realised that people seek out and cherish the simplicity of the ’analogue’ world. Times have changed. When modernity and productivity were flourishing, we believed that the new objects on offer were moving in the direction of a general improvement in living standards.

The future beckoned and it meant striving for the best.

But since the 1980s, a disconnect has emerged between productivity and a better life for all. Look at what has happened with apps. The best app kills all the other apps and takes all the winnings but no one feels any real benefit. The future no longer means the ‘best’.

We have to accept it but we don’t necessarily want it.

Look at the driverless car. It’s coming but who really wants it? Mechanical watches are reassuring in a Big Brother environment. They create a feel-good factor.

And what is the luxury industry if not a feel-good factor?

But let’s go back to the IWC offer. How would you describe it and what are your flagship collections?

Our three flagship collections are the ‘three Ps’: the Portugieser, the Portofino and the Pilot. They embody the IWC spirit: a system conscientiously devised by engineers and decorated with subtlety and care. And they offer undeniable value for money. It’s our overriding aim to offer complex but practical features and simplify them to improve accessibility. From this point of view, innovation is central to our approach. Let’s take calendars, where we aim to be the clear leaders.

What does the future hold for your distribution channel? What proportion is e-commerce? You recently announced further progress in this area.

Our main target is to offer our customers a wide range of options to choose from. The customer must have easy access to a physical location, if they so desire, and be able to combine the physical and virtual worlds or opt for the e-commerce channel alone. It’s essential that we offer a choice and a holistic service. But we

mustn’t bury our heads in the sand: selling a luxury product through e-commerce alone is and remains difficult. Watches have become essentially emotional pieces. Who has a purely utilitarian need?

Practically speaking, how many physical sales outlets do you have and what is your online strategy?

We operate everywhere in the world with 50 stores in our own name and around 600 to 800 wholesale retailers. We have no intention of reducing the number of stores, quite the opposite. Each channel must be at the top of its game. We began our e-commerce activity in the USA in a mature market. In Europe, we still focus on telephone-based sales, entailing a direct link with the customer. This channel works really well and allows us to better meet our customers’ expectations on these markets. But it’s under construction as a whole.

As it stands, prices are on display only in places where our e-commerce activity is fully established. But they will be extended to all markets, without compromising on the brick and mortar side of the business.

You have a low profile on the growing auction market.

That’s true and we’re aware of it. We have recently set up a Heritage Centre and we specifically train watchmakers to maintain and restore our historic pieces. This centre is located inside our museum. Improvements to this heritage service are the first step. We intend to make substantial efforts in this area.

Here’s an unoriginal but must-ask question: do you have plans for an ‘augmented’ or ‘smart’ watch?

To be completely honest, we have nothing in the pipeline ready for release but we are interested and exploring certain features. I’m thinking of ID, access and payment technology. We have a project underway with Mercedes to incorporate an electronic key. But the module won’t launch until it’s tried and tested and fully functional. That's the way we are!

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THE OBJECT: “My dad was a big record collector. He loved jazz and passed this on to me. I inherited his collection and I've always loved it, especially Sidney Bechet who is magical. The irony of this little tale is that when I arrived at Vacheron Constantin, I discovered that the House had Sidney Bechet's autograph in one of its guestbooks. He signed it in New York in 1953 when he came to purchase a watch from the store.�

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Vacheron Constantin’s launch of the Fiftysix line at the latest SIHH had its name on everyone’s lips.

This coincided with a generational change at the helm of the majestic Geneva-based watchmaking house which produces around 25,000 timepieces a year. Is this the sign of a new ‘low-cost’ offensive (notwithstanding the entry price of more than 12,000 Swiss francs)?

Breakthrough or continuity? Europa Star met Laurent Perves, the brand's new CMO (Chief Marketing Officer).

Does the launch of the new ‘entry-level’ Fiftysix collection at Vacheron Constantin signal a strategic turning point for the brand?

Nobody expected it of us and, in this sense, it’s a big ‘coup’ and the offshoot of a deliberate and determined policy which began a year and a half ago before I arrived at the company. But this very public introduction may have somewhat disguised the fact that it comes within a wider context. We have optimised the Overseas family, for instance, making it livelier with bolder features, such as the ‘black dial’ Overseas – and our other lines have all been refreshed.

Is this because of a need to seek out younger customers for a brand whose image remains very traditional?

It all depends on what you mean by ‘traditional’. We are undoubtedly an understated brand. There’s a definite simplicity, formal harmony and classic, timeless dimension. So, yes. But, don’t be fooled. Our average

Photograph: Fabien Scotti | Arcade Europa Star

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customer is around 40 years old. Generations move and get rich quickly, especially in Asia and the Middle East where our results are buoyant. It’s a dynamic, very well-educated generation thanks to the distribution of information. An interest in watchmaking can quickly develop into expertise, much more so than before. In 263 years, Vacheron Constantin has continued to ‘revamp’ itself, staying in tune with the times.

What is the present time?

There’s a breed of customer looking for an everyday steel piece with a strong, distinctive, yet understated design for informed enthusiasts. Entry to the circle of connoisseurs. We have also observed a clear spike in interest among these young yet mature customers for collections such as the Historiques and some Métiers d'Art segments.

Is this another way of responding to the vintage trend?

The vintage style is hardly a new development. Vacheron Constantin began faithfully revising some of its historic icons 15 years ago, including the Chronographe Royal from 1907, the American 21 from 1921 and the Corne de Vache from 1955.

These are all recent dates for our house. The vintage trend has come as no surprise for us. We’ve also created the Les Collectionneurs department which restores and, if necessary, repairs real vintage pieces in our restoration workshops and gives them new two-year warranties. They’re sold during one-time events and special occasions and they’re exceptionally popular.

But, going back to the Fiftysix, does its “group calibre” not immediately move it into another category?

The group calibre we use is a base movement used in Swiss watchmaking. We put our own spin on the movement and decorate it in line with our brand hallmarks.

The watches are made from gold and we have five different types of finish. It’s a Vacheron Constantin in its own right, assembled in our workshops. Believe me when I say it’s highly anticipated and will go on sale in September.

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But is this nonetheless a sign that your offerings are drifting away from complications?

Not at all. We can work successfully with shared base movements while developing our own complications on a completely independent basis. Our work is ongoing and we’ve lost none of our expertise in this area. It was on show at the last SIHH with our Traditionnelle Tourbillon, a very clean automatic watch with a peripheral rotor. This piece is very much the result of a real demand among customers for a lightweight, simple tourbillon in a flat watch with contained proportions. This led to the peripheral rotor in a mix of demand, aesthetics and watchmaking art.

We will keep our ear to the ground but we do not intend to withdraw from complications nor from the Métiers d'Art. And our range of unique and customised pieces in the Cabinotiers category is another laboratory and a very fertile field of experimentation. The demand for made-to-order pieces is growing.

In the field of applied arts, Vacheron Constantin has released some exceptional series such as the Masques and others, demonstrating a wonderful, coherent creativity.

We have in-house expertise in many trades, allowing us to fully exploit and continually explore this area. We’re pushing the Métiers d’Art in several directions at once.

The themes are varied. We’re combining disciplines, inventing and mixing arts and crafts with watch complications. We’ve developed movements with a window display for greater freedom and others are in the pipeline.

But we’re prioritising themes linked to our long history of travel, discovery, culture and artistic excitement.

Needless to say, we intend to continue in this vein.

We often discuss ‘new materials’ from ‘laboratories’.

There’s an expectation of us. We are, however, working on all the topics that ‘mould’ the watchmaking process. So we’re taking a very close look at steel and its developments, as well as the Fiftysix and Overseas.

We regularly work with platinum and we’ve designed a silk and platinum wire bracelet as a sample. But the bulk of our research is focused on watchmaking itself and complication development. Ultimately, the real judges are the customers.

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The basic objective is to clarify the identity of Jaquet Droz, its values and which way the brand is moving. In the eighteenth century, Pierre Jaquet-Droz and his son Henri-Louis developed three automata of genius to delight and amaze, and this the spirit we’re trying to perpetuate. After the deaths of these two great figures in watchmaking history, the brand fell dormant. Since its takeover by the Swatch Group in 2000, we have been working to recreate the strong and consistent brand image that makes it so successful today.

How do you manage distribution?

On the occasion of its 280 anniversary, Jaquet Droz is stepping up its contemporary exploration of historical luxury watchmaking, and focusing on one model in particular, which has seemingly infinite variations: the Grande Seconde. We interviewed its CEO, Christian Lattmann. th

Which collections are you focusing on in Jaquet Droz’s anniversary year?

We’re developing our historically strongest models – the Grande Seconde, Ateliers d’Art and Automates. We’ve also worked on some timepieces for women, which are helping us tap into a highly promising market. And we’re presenting one exceptional, one-off item – the Parrot Repeater, a condensate of all our know-how in terms of automata and craftsmanship.

We benefit from the Swatch Group structure with its numerous subsidiaries, which is a huge advantage. We are continuing to expand in our strategic markets, but we’re determined to maintain a highly selective distribution network. We recently opened a new boutique in Dubai Mall with a very luxurious visual concept, sending out a strong signal to the entire region. Today, we have a total of 12 boutiques and 200 retail outlets worldwide.

The objective is not to open outlets in an uncontrolled fashion, but to work with retailers who are genuinely prepared to invest in us. Because we’re a brand you have to know how to explain and be able to present to the customer in the best possible conditions in order to make it an experience. Many retailers have approached us this year, because they sense that developments are under way for reaching out to customers in search of genuine exclusivity, exceptional products and massive creativity.

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For the past two years, we’ve witnessed a certain effort on the part of luxury brands to offer entry-level models and generally lower the average price. Is that the case of Jaquet Droz?

Yes and no... On the one hand, we create products that let people “realise their dream” and are affordable and wearable in (virtually) all circumstances. And at the other end of the scale, we produce exceptional automata. What they have in common – our silver thread – is the brand’s very strong aesthetic codes and our great creativity, which takes its inspiration from nature and the manual arts, mainly. Authenticity is the key to luxury. It’s extremely important to feel the work of the human hand in what we produce, via the art and craft trades especially.

Do you set production limits to keep some kind of exclusivity?

In no way do we take an “industrial” approach; it is truly an artisanal approach to watchmaking. So we don’t need to set limits – we’re limited naturally by our production capacity. We’re not out to simplify or automate production at all. That would make no sense in relation to the history of Jaquet Droz. The only limits we set are related to the series, which are produced mainly within our art workshops; they are limited to 1, 8, 28 or 88 pieces. The figure 8 is our emblem, which you can find on our dials as a symbol of inspiration.

What are the materials most closely associated with Jaquet Droz?

Grand-feu enamel constitutes a real brand signature, especially with the ivory colour for the dial, which is very unusual. We also like working with aventurine and onyx for our dials, which lends great depth. We use more high-tech materials for the movements, for example in our silicon balance spring.

What’s your stance in relation to the great digital transformation that is affecting the watchmaking industry?

In terms of access to information, digitisation is crucial. That’s the great change of the past few years: our customers and our retailers know much more, and much faster, about our latest developments. Before, a bad product could be successful with good marketing.

Today, you need a good product, because information spreads fast. And that is a huge opportunity for Jaquet Droz, for its visibility but also for understanding the brand. As regards distribution and e-commerce, we’re partnering with retailers on some projects, but we demand very high standards, so it’s rather limited. For the moment we’re not planning on opening our own online sales platform.

You’re celebrating your 280th anniversary this year – but is the average age of your customers falling?

We have customers of all ages: the average is actually quite young, I’d say 30-40. We’re a classic-contemporary style of brand, even if that might sound paradoxical: we’ve found a good balance and we’re not locked into our heritage.

The great fashion trend of the moment is vintage, or rather neo-vintage. Yet at Jacquet Droz we’re not really seeing any “re-editions”...

Today the word “vintage” is used a lot with the connotation of “neo-retro”, in other words the re-edition of historical models. We didn’t produce much in the 1960s or 70s, for example, so that’s not a priority for us.

The aim is not to launch re-editions or to follow fashion trends, but to set ourselves apart by means of our contemporary creativity.

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The brand with the Spanish name (“I measure”) came into being exactly one century ago, in 1918. Historically well-established in Latin America, the Swatch Group-owned brand is now going for Asia, by far its largest market currently. On the occasion of its centenary, it is reissuing several historic models. We met its CEO, Franz Linder.

What models are you issuing for your centenary?

A Big Date, of course! We’ve integrated a new, exclusive Mido calibre into our Commander line with the largest date aperture in our segment and a power reserve of 80 hours. Our objective for this anniversary was to reflect a number of our values: innovation, quality,

a certain timelessness and a very attractive price. You won’t find a watch as original and that offers as much anywhere on the market in this price range. Also in the Commander collection, we’ve revisited the Shade line from 1979. Lastly, we launched a reedition of the original Multifort Datometer from 1939, limited to 1918 items. That’s been a success by anybody’s standards, since that model is now sold out.

Neo-vintage is on a roll. But design aside, aren’t your prices your most compelling argument for winning market share?

Our average price is CHF 1,000, which places us between Tissot and Longines in the Swatch Group. It’s not our only sales argument: at that price we offer mainly automatic watches – 90 % – and above all, in our segment we’re the brand that offers the largest choice of COSCcertified watches. At around 50,000 items a year they don’t represent a huge part of our production, but the quality message is important.

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Your roots are Swiss and – South American! What are your key markets today?

Historically we’re still strong in Latin America, where we’re “king” in our category in Mexico. But the region that represents by far our largest market today is Asia, with China topping the list. We have a large distribution network there, with 800 sales outlets in 260 towns.

Your anniversary aside, how did things go for Mido at Basel businesswise?

For us this year’s edition held few surprises. Customers who come every year visited us again this time round.

The figures are similar to those of previous years. On the other hand, we greatly appreciated finishing two days early, since we achieved similar sales over a shorter trade show period.

success! In general, we see two types of watch customer on the internet: those in search of rare items, whether old or new models – for example, a Bugatti model sold for 30,000 dollars, that’s our highest score to date. Another sought-after timepiece is the Centre Chronograph, which can sell for 5,000 to 8,000 dollars.

And then there are the “bulk” items, like our Multifort models – and of course you’re going find a lot of those for sale in the Internet, at more affordable prices.

The internet also makes it easier to personalise watches, using configurators. Do you respond to this kind of request?

The advantage of personalisation for a brand is first and foremost the chance to interact with the customer – and the lessons that can be learned from that participative experience. But in our price categories, In your mid-range segment, the we’ve opted rather to launch watch most important change at the modesign competitions for the general ment is the emergence of e-compublic: for example, which monumerce. What is your strategy on ment will be the inspiration for the online sales? next Mido watch? To cite another example, we also invited the public COMMANDER BIG DATE There are several ways of approachto choose between three creations by ing e-commerce. At present we’re different designers to see how our exploring just about all the possibilities, taking local future watch might look. That helped us to understand realities into account. In the United States, we have our the vision that the public at large has of Mido. own e-commerce platform. In China, we partner with sites such as Tmall (Editor’s note: Longines has launched a huge sales offensive on this site, see the interview with Walter The other great change at the moment is the emervon Känel in our previous issue). And in Europe, it’s above gence of smartwatches. Will we soon be seeing a all the retailers themselves who are launching their smart Mido? own online platforms and incorporating our models.

Today, online sales via the channels we control direct- For me, Mido is the long-lasting automatic watch, mily represent less than 10% of our total sales. cromechanics, emotion… a very different statement from that of electronics. I don’t think we’ll be seeing that kind of watch at Mido in the near future. I think You’re an affordable brand. That also means you’re you have to be consistent. On the other hand, it makes easy to find on sites selling pre-owned watches. a lot more sense to propose smart models in other What view do you take of this proliferation of pos- price segments within the group, for a brand like Tissot, sibilities for buying pre-owned watches? for example.

We’ve being seeing this phenomenon for a few years now and it might well affect us since Mido watches are known for their enduring quality. It’s the price of 100

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This reissue, fitted with a Powermatic 80 calibre, combines the look of the period with ultramodern materials. Like on the original model, you can see the turtle in relief on the back of the watch, our logo since 1959, the same year in which the DS system (Editor's note: DS for Double Security) was invented. Today this symbol embodies modern environmental preoccupations – since last year we’ve been collaborating closely with the Sea Turtle Conservancy foundation.

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Rather discreet in comparison with the heavyweights of the Swatch Group, the brand with the turtle logo is appreciated in northern and eastern Europe for its robust sports timepieces. It is currently looking to expand into China with some new, more classic models and vintage reissues. We met Certina’s CEO, Adrian Bosshard.

What was the highlight of the last Baselworld in this anniversary year for Certina?

If I had to cite just one model, I’d mention our reissue of the DS PH200M watch that was popular with divers in the 1960s and 70s. During those two decades, Certina put the toughness of its watches to the test in a series of research projects and expeditions in mountainous regions and on the sea. That gave rise to a model dedicated to life underwater: the DS PH200M.

But why did you choose a turtle as the logo in 1959?

Environmental preoccupations weren’t as strong then as they are now. The symbolism has evolved...

You’re right. That animal was chosen first of all to reflect the robustness of the DS system, which has really constituted the core of Certina’s identity since 1959. Guaranteed waterproof to a depth of 200 metres thanks to gaskets on the winding stem and crown, a reinforced case back and scratchproof sapphire crystal (Editor's note: in later versions), this system heralded new standards of robustness in watchmaking.

Today, we still target active people, people who love adventure and strong sensations. This is why we’ve also launched a special DS-1 Powermatic 80 Himalaya model, which pays tribute to a Swiss expedition equipped with the Certina DS-1,which conquered Mount Dhaulagiri, near Everest, in 1960 for the first time.

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Unlike other Swatch Group brands, which are present all over the world, you have a strong presence in certain, very specific markets...

The difference is that we’ve always been an international brand, but never a global one. In other words, we cover very specific markets: historically, our markets have been Europe (Switzerland, Germany, Scandinavia, Spain), but the two markets where we’ve gained a foothold more recently, in the past decade, are eastern Europe (Russia and Poland) and China.

In fact you’re also in charge of eastern countries at the Swatch Group. How do you explain Certina’s success in Russia, especially after the fall of Iron Curtain?

Certina has always produced robust sports watches… and rather large ones. In Russia, people appreciate those characteristics, all the more so in a tough climate. And it’s also a market with a historical watchmaking culture – which other brands of the Group, like Tissot or Breguet, also take advantage of. So we have both heritage and credibility. Not to mention excellent partners out there. And attractive prices – we cover a range from 300 to 1,500 francs, with the average price at 600 francs.

UNION GLASHÜTTE: A SWATCH GROUP’S GERMAN BRAND Besides Certina, headquartered in Le Locle, Adrian Bosshard also heads up the German brand Union Glashütte, founded in 1893 by Johannes Dürrstein: “He was the distributor for A. Lange & Söhne and his dream was to develop a top-class brand but in a lower price segment than A. Lange & Söhne,” explains the CEO. The company was successful until World War Two. After the fall of the Berlin Wall, the Swatch Group acquired Union Glashütte at the same time as Glashütte Original, in 2000.

“The stratification of the two brands is clear,” explains Adrian Bosshard. “Glashütte Original is a luxury manufacture that develops its own calibres. Union Glashütte is a historic brand that uses ETA parts as the basis but makes its own oscillating weights, bridges and three-quarter plates for its manualwound calibre and assembles the movement and watch in its workshops in Glashütte.”

With its classic design, very Germanic style and exclusively mechanical models, the brand has a virtually all-German customer base, but also some Asian and Russian customers.

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What are the main differences between the markets of northern and eastern Europe?

In Scandinavia we mainly sell models with metal bracelets, whereas in Russia leather straps predominate.

Titanium is a keenly sought-after material in northern Europe (Scandinavia, Germany, Switzerland), where it’s appreciated for its strength and lightness, while also being antiallergenic. Conversely, heavier watches are preferred in Russia and Asia, where they’re viewed as “real” watches. As for movements, we sell more quartz watches in Europe, whereas in Asia mechanical calibres predominate.

Is your next horizon China, where other brands of the Swatch Group – Longines especially – are already well-established?

Indeed, we’re going to continue expanding into China.

With our very sporty image, we didn’t really correspond to what Chinese customers are seeking above all – elegance and finesse – until now. Today, we cover four worlds that give us broad appeal – sport, diving, urban and heritage. But we still have room for improvement in Europe, where I see two markets with strong potential for Certina: Germany and Spain, where we can still win market share.

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In this neo-vintage-crazed age, few brands can boast a past as glorious as that of Hamilton, considered the ultimate American brand before it took on a hybrid Swiss identity through its purchase by the Swatch Group. The old watch model worn by GIs during the Normandy landings – as well as Elvis Presley onstage – is now seeking a strong position on its original market. An interview with the CEO of Hamilton, Sylvain Dolla.

The first electric watch, the first digital display watch; Hollywood, Elvis Presley, American pilots...

For many years, Hamilton was a “teen idol” in the United States. Today, neo-vintage obsession is apparent in every segment, including yours. Are you riding the wave?

I try not to be “obsessed” by this trend, since such a thing would be dangerous. As for Hamilton, we have always reinterpreted watches from the past while presenting strong new designs. We are an American brand, so we feel a duty to go against the grain.

For example, this year, we are launching a 50mm Khaki model with a strong character and not a trace of bling. The design cannot be said to embody neo-vintage minimalism! And in parallel, we presented a reinterpretation of a watch produced for the American army in the 1960s: the hand-wound Khaki Field Mechanical, which was an instant hit.

This mechanical watch costs less than 500 dollars, and has a vintage spirit... What is the best way to win over the new generations?

Obviously, we want people who are purchasing their first mechanical watch – for a wedding, engagement or other important event – to think of us first. But as you mentioned to start with, we have always striven to attract this section of the public. And that is not a trend at the moment.

But why would a young man purchase a new Ventura, when he could find one at a lower price, and with a personal story behind it, on a second-hand website?

Doesn’t this new digital competition intimidate you?

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Personally, I enjoy seeing people purchasing pieces from the past. That means that they truly have an affinity for watchmaking. It is the sign of a healthy market, which incites people’s interest and attracts new collectors. Tomorrow’s aficionados might be interested in the new versions of the Ventura or the Khaki Field...

For a brand like yours, and within a price range of 500 to 1,500 dollars, what would your “ideal” point of sale be?

I would say... “Omnichannel”! Today, I think that it would be a mistake to concentrate solely on e-commerce. Clients show very varied purchase modes. On the one hand, we were one of the first watchmaking brands to conduct e-commerce in the United States, more than five years before launching our commercial sites in France, the United Kingdom and Germany; and soon we will launch one in Japan. And at the same time, we have been investing more than ever in our brick boutiques. Last autumn, we launched a new boutique in Japan – our number-one market – in a New York City-style loft built in wood and brick materials.

The concept is spreading throughout the world, including in Interlaken in Switzerland.

How can you work in a complementary way, and not a destructive one, both online and offline, both in your own-brand boutiques and in those of your partners?

What has surprised me most is that collections for the internet and those for physical stores are not put together in the same way. For example, in France, we are represented by 190 very high-quality points of sale.

Each one presents between 40 and 60 product references. However, on our French website, we present no fewer than 200. That means that while a retailer might (legitimately) filter the models to be made available in his or her boutique, the client will always have the possibility of finding other models online. For example, the Khaki Field Mechanical model was not distributed at first in physical points of sale in France.

But it became number one on the French e-commerce website... Ideally, in an omni-channel world, we would like clients to be able to see the 200 product references both online and in boutiques.

What measures did you take in terms of your physical retail network as you launched your e-commerce websites? Did you reduce the number of retailers?

It depends on the country. In the United States, we reduced our presence to 450 points of sale, but that reduction was not related to e-commerce. In France, we stood by our 190 very high-quality points of sale. In Italy, where we have more than 600 points of sale, we also maintained our network, and sales continued to increase among our retailers.

What reactions led to your e-commerce offensive?

After all, just five years ago, the brand’s e-commerce sites were still underdeveloped.

The most “touchy” reactions came from in-house...

But it’s time to stop overreacting about the internet. E-commerce still represents a relatively minor part of our turnover. Even in the United States, online sales only represent between 5% and 12% of our total sales. Some use e-commerce websites to verify the origin of a watch. One thing is sure: the client profile – whether hyper-connected or not – plays a more decisive role than other factors such as geographical distance from the nearest point of sale. The most built-up urban zones, where we have the most physical points of sale, are where we always register the most online sales.

Sixty years ago, your brand was a leading “mainstream” brand in the United States. Today, your two greatest markets are Japan and Italy... Do you think you’ll be able to make a comeback to your original market?

In just five years, we doubled our turnover in the United States. In my opinion, there are two countries where Hamilton can truly hope for two-digit growth over several years: China and the United States.

What about connected watches?

Personally, I have no faith in the concept when it comes to traditional brands. However, bringing “intelligence” to certain pilots’ watches in the form of digitisation... To that, we are open.

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The Swatch Group’s German brand is seeking to get back into the global watchmaking spotlight with models that are a bit out of the ordinary. Europa Star met with their boss Thomas Meier for a look back at his tenure, before new CEO Roland von Keith takes the helm in July.

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We can see three major trends in the industry this year: vintage inspiration, smaller watches and more affordable prices. Does that seem like an accurate assessment of what you’re doing?

With the Sixties and Seventies models from our Vintage collection, this is nothing new for us! At the moment, we’re adding some new and really original colours to our Sixties model, including one with a dial in shades of green. So, we’re a part of this “trend”, even if that’s a word I prefer to avoid. We’ve been offering a Vintage collection for 20 years. In that time, it’s become a sort of “classic” collection for us...

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What makes you unique is that you reinterpret watches that were produced at the time in... East Germany.

One of our major projects was the creation of the German Watch Museum Glashütte, which has just celebrated its 10th anniversary. And at the museum you’ll be able to see that colours like green were very popular everywhere at the time. Our museum is a direct source of inspiration for us. It’s important nonetheless to note that we’re not focused on vintage models: our two key collections are the Senator line with its Calibre 36 and the PanoMatic line with the Calibre 90.

You’re still a relatively little-known brand. What steps are you taking to gain visibility among a larger number of people?

What is your price range?

It’s very wide, going from 6,000 euros for entry-level models all the way up to 950,000 euros, which was for a single piece sold to an Asian collector. But I would say that the heart of our range is 8,000 euros, which is where the Senator line starts.

As a German brand, is the national market still where you make the most sales?

Yes, very much so. That also includes visitors, who, discovering Germany, want to buy a watch produced in the country. And this shopping tourism naturally leads us to mention the Chinese market, which is where the greatest growth potential lies for Glashütte Original.

A lot of the Swatch Group’s brands have already launched e-commerce platforms or are in the process of doing so. Is that the case for you?

We don’t currently have any plans for e-commerce or online boutiques. We rely on our retailers, because these are watches you want to see, touch, test and compare. Beyond our retailers, we have 15 of our own boutiques around the world. The priority is to find a balance between direct sales and sales by means of representatives. Some clients want to see all 150 of our models.

But to do that, you have to come to our own boutiques.

Others want to compare them to other watches and so are more inclined to visit multi-brand boutiques.

In terms of products, what is Glashütte Original’s major new release for the year?

We have a model with a completely new design, one that “opens” onto the mechanism of our Calibre 36, all while boasting a dial that’s been entirely guillochéd in-house: the Senator Excellence Perpetual Calendar.

A limited edition of 200 pieces in white gold, offered at 32,000 euros. This new design brings a strong touch of modernity to a classic collection.

To increase our visibility, we’re making use of the world of arts and the influence of German culture. We’re partners with two big festivals: the Dresden Music Festival and the Berlin International Film Festival (Berlinale).

We really want to become better known and a festival like the Berlinale is a really good platform, with 4,000 journalists and 300,000 entry tickets, since it’s a festival that’s open to the general public, unlike Cannes.

On this occasion, we launched a special series of our Senator Chronograph – the Capital Edition. We estimate that a total of 1.4 million people saw our watch during the Berlinale!

It seems to me, however, that in this effort to build brand awareness, there’s confusion around the name “Glashütte”, which is used by a number of brands.

How do you avoid ambiguity, especially when you go beyond Germany and try to break into the Chinese market?

What you’re talking about is a reality. This is why we’re very open to the general public, so that there can be complete clarity as to our brand identity. Our Beijing and Shanghai boutiques serve this end, as does our museum and the fact that we open our manufacture to visitors. We make 95% of our components in-house...

At the same time, are you limiting production, to keep a level of exclusivity?

We’re not there yet!

To help make your identity clear, we should note that your roots go back to the 19th century in Glashütte, but there’s a gap in your history with the collectivisation of production during the Communist period. What year do you consider to be the birth of Glashütte Original?

If I had to choose a year, in my mind it would be 1997, with the creation of the Panorama line. That’s the real “rebirth” of Glashütte Original.

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Georges Kern has delivered his verdict on Breitling, acquired by the CVC Partners fund and placed in his firm hand last year. The consequences were drastic and visible at the last Baselworld: a restructured and expanded brand offering and a new logo with references to air, sea and land; a distribution chain that has been brought back under control and an all-out digital offensive. A strategy that has the merit of being clear, at a time when the brand was suffering the effects of a number of inconsistencies. Breitling is now out to win “its” part of the Asian cake.

It is a brand of (almost) unequalled reputation, very strong in the United States and Europe, but which seemed to have gone somewhat dormant. So when someone as uncompromising and polarising as Georges Kern takes Breitling’s destiny in hand, the wake-up call is all the louder!

At the last Baselworld trade fair, the storytelling was welloiled, focused on a flawless presentation of the brand’s three worlds in the Kern era and one reiterated phrase: “We’re not inventing anything, we’re simply continuing what already existed.” As proof, a 1950s ad vaunting the three worlds of Breitling: earth, sea and air.

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Reopening drawers “When Georges Kern set his eyes on the brand’s catalogue, one thing struck him immediately: the collections were too similar to one another, with a confusion of genres between the models,” we’re told.

Difficult to contradict him on that, when at Breitling the power of the brand seemed to have taken priority over that of the collections, resulting in an impression of treading water, immobility (which, let it be said, also has its merits when many brands seem, on the contrary, to be navigating on sight and zigzagging strategically). In short, the company was in idle mode.

And stuck largely in aviation gear. By taking a few, highly symbolic decisions – such as terminating the partnership with Super Constellations and the Patrouille Suisse formation, keeping only its own, famous acrobatic jet team – the new man at the helm made plain from the outset his universal ambitions for Breitling, also placing the emphasis on motor sports and sailing to put the brand on a par with other watchmaking heavyweights that occupy that terrain. There again, the idea is to take the brand out of its comfort zone, in which it had grown a little complacent.

Broadening the field of action Of course, he runs the danger of giving the impression of “clipping the wings” of Breitling (both literally and metaphorically, since wings no longer form part of the brand logo). In fact, efforts have been made to clarify the fact that the brand is not abandoning aviation but broadening its horizons.

If we step back to see the bigger picture, keeping in mind the global strategy of a brand that now intends to fight on several fronts, the choice is understandable.

Breitling does not want to address solely fifty-something Western males interested in aeronautics, but also an Asian audience with more classic tastes and, which represents half of all luxury purchases worldwide, and a feminine audience that still largely eludes it.

NAVITIMER 8

Because, make no mistake: in reality Georges Kern has his sights set on the Chinese market, notably with the new Navitimer 8 line. He is doubtless counting on reproducing his recipe for success at IWC, where he raised sales from several tens of million francs to several hundred million francs in 15 years. That means a very strong marketing presence (already visible with the formation of the Breitling Squads, ambassador trios from very different environments), a broader, more universal offering and direct, strict control of its physical and digital distribution channels.

Three key lines So what about these flagship models? They are now to be structured around three worlds, the Air (Navitimer), the Sea (Superocean) and the Earth (Transocean), plus two cross-cutting families, Chronomat and Professional.

Note that the Navitimer 8 launched this year does not replace the original Navitimer, which has now become... the Navitimer 1.

The emphasis lies squarely on what makes up Breitling’s DNA: the mechanical chronograph. Apart from a few exceptions, the brand will no longer produce quartz models. This exercise in clarification, a combination of a return to the brand’s roots and an expansion of its field of action, will not be followed by a price hike; the aim is to remain in the mid-price range of CHF 3,600 to CHF 7,500, accessible luxury in chic sports models.

The mighty shadow of CVC Partners While Breitling has been largely absent from the e-commerce scene so far, another keen ambition – also “universal” – on the part of Georges Kern is to rapidly open digital sales channels to allow consumers, whether Asian or not, to purchase a Breitling watch at any time.

Underlying this universally ambitious plan are the stringent demands of the brand’s new owner, the London-based private equity fund, CVC Partners. The fund acquired 80% of Breitling from the Schneider family, which had owned the brand since 1979, for an estimated 800 million francs in spring 2017. Georges Kern himself bought shares in the company – incontestably a great stage entrance for his new mission. That date also marked the buying-out of one of the last great independent, family-owned Swiss watchmaking brands.

In an interesting analysis, Alon Ben Joseph of Ace Jewelers in the Netherlands points out that private equity funds retain their investment in companies they have bought for an average of seven years, with expectations of an annual return on investment of around 20%. Consequently, according to his calculations, the new management has a sales target of… 2.5 billion dollars by 2024. Which for Breitling means an average annual growth of around 30%.

Mission impossible? Will Georges Kern succeed in fulfilling the role of providence-sent leader and enter the annals of watchmaking history?

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Mario Peserico, CEO of Eberhard & Co

With 400 points of sale throughout the world and 16,000 watches produced per year, the Swiss watch house, with its mechanical, automotive Italian spirit, perfectly embodies the tribulations of a valiant independent brand. Very well established on the European markets, the house took a monumental decision this year: not to attend Baselworld, after several decades’ loyalty to the fair. We caught up with the brand’s director, Mario Peserico.

There has been a lot of talk about brands leaving Baselworld this year. You are one of them, despite also being one of the oldest exhibitors at the fair.

Why did you leave?

Our participation there represents a significant investment – more than a million francs – that we can allocate for other purposes, in a local and well-targeted way, all year long. We coordinate local events on our key markets, including individual encounters with the press and retailers. We are free to organise our own agenda, for example by holding sessions on the theme “onlineoffline” for our retailers or by offering them training on social network communication. We also participate in local fairs such as CoutureTime in the United States.

For example, over a two-day event in Italy, we received 68 Italian journalists, compared with just 38 last year during the entire Baselworld fair. But we do not see Baselworld evolving in terms of communication...

Still, Baselworld is a global event, reaching far beyond the European markets. Can you compare on your own in terms of international impact, and particularly with Asian clientèles?

Indeed. Our very “European” profile offers an advantage from this point of view, compared to a brand with a lot of coverage in Asia. We just opened to China last May. In the last five years, we did not open any new markets or major points of sale. We have been in a consolidation phase. Now, in addition to China, we plan to take on Dubai. As for the Russian market, I think that everyone has lost hope in a way...

What is your strategy in terms of e-commerce?

We have no plans to open our own platform. We support those of our retailers. If one day we should open an e-commerce website, we will do so for countries where we are not yet present, such as South Korea.

Longines, which dominates your price segment, recently announced a partnership with the giant Chinese e-commerce platform Tmall. Are you thinking of doing the same?

In our view, establishments such as Alibaba and Tmall are a too-easy source of fakes and a vehicle for the grey market... The same goes for Amazon.

Vintage style is cropping up everywhere. As a historically mechanical brand with ties to the automotive industry and relatively retro watch codes, are you surfing the wave?

I think that it is important to be conscious of where you come from and take inspiration from it. However, you must be careful not to get caught up in looking back. While we have always maintained the historical image of some of our designs, we have concentrated our work on technical and aesthetic development – of which the Chrono 4 is an example – since this is an essential component of the attraction of watches for today’s consumers. Since the wind can easily change... We are not the only Swiss brand with a long tradition!

The drop in tourism has strongly affected your key markets in Europe over the last three years. How is 2018 taking shape?

In today’s market, nothing is all black or all white. It changes direction from month to month and even from day to day. For example, in Italy, we finished 2017 on a very positive note, but got off to a very bad start in 2018 on the same market, even though we are outperforming the average Swiss watchmaker in terms of exports to Italy. Spain is also suffering. On the other hand, we are registering interesting developments in Japan, Germany and even the United States, where the situation had appeared a bit stagnant up until now.

For us, 2018 is a test year, a turning point.

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HIGHLIGHT

EBERHARD & CO. NUVOLARI LEGEND

THE TRANSITION FROM CHAMPION TO LEGEND The Tazio Nuvolari collection mainly consists of sports watches, and many versions have been added to it over the years. The latest, Nuvolari Legend, seeks to celebrate the essence of man and sportsman, consecrating him among those who will never be forgotten.

When, almost 30 years ago, Eberhard & Co. decided to celebrate his achievements by creating the collection that bears his name, the figure of Tazio had become shrouded by the mists of time and all that had happened in the world of motoring since his era. His story has inspired a great number of initiatives; books have been written, songs have been dedicated to him, and the great old-timers event that bears his name brings hundreds of fans from all over the world to his homeland every year. All this has ensured that the fame he deserves, that of being the greatest racing driver ever, lives on today.

Nuvolari Legend is an automatic timepiece with a steel case, available in two sizes: 39.5 mm and 43 mm in the Grande Taille version. The model is water resistant to 30m and features a black dial with luminescent Arabic numerals, a minutes counter at 12 o’clock, an hours counter at 6 o’clock and a spiral tachometer scale in km/hr in the centre. The movement can be admired through the transparent sapphire crystal caseback, fixed by 8 screws, decorated with a checkerboard pattern inspired by the start flag and customised with name of the model and the historic stylised Alfa Romeo Type 12C in which the great driver won many victories.

www.eberhard-co-watches.ch #eberhard_co #timeislegend #eberhardwatches #nuvolarilegend

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There are some people in the history of sport that cannot be defined merely as ‘champions’. When they exceed the limits set by their time and enter the superhuman ‘Hall of Fame’ of those who have broken all barriers by crossing the line of the inconceivable, it is then that they undergo the natural progression that turns them into legends. Tazio Nuvolari, the champion driver who dominated the decades between 1920 and the late forties, is quite obviously such a sportsman.

HIGHLIGHT

CARL F. BUCHERER MANERO FLYBACK

A MODERN TAKE ON A RETRO STYLE The striking chronograph with flyback function inspired by the 1960s and 1970s highlights the retro style of the whole collection even more.

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Movement: Automatic, CFB 1970 calibre, diameter 30.4 mm, height 7.9 mm, 25 jewels, power reserve 42 hours. Functions: Chronograph: minutes and seconds counters, flyback; date, hour, minute, small seconds.

Case: Stainless steel, doubledomed sapphire crystal with anti-reflective coating on both sides, case back with sapphire crystal, water-resistant to 30 m (3 atm), diameter 43 mm, height 14.45 mm. Dial: Black. Strap: Kudu leather in golden brown, stainless steel folding pin buckle.

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Carl F. Bucherer is expanding its successful Manero Flyback collection of six unique luxury watches by adding a new retro-style version. The latest addition features a bold yet subtle combination of colours in the form of a deep black dial with silver-coloured subdials. Slender touches of red complete the harmonious contrast. The retro style continues onto the contemporary strap. The suede finish of the golden brown kudu-leather strap gives it an extremely natural appearance while ensuring optimum comfort for the wearer. The impressive timepiece houses the intricate CFB 1970 chronograph calibre featuring the eponymous flyback function.

Strongly committed to embracing its rich heritage, Carl F. Bucherer launched a global campaign last year featuring the slogan “Wherever time takes you, Lucerne travels with you.” Those with a truly global network who feel at home around the world value the Manero Flyback as a stylish ambassador of the city of Lucerne – a little piece of home that accompanies them wherever they go.

HIGHLIGHT

TITONI

COSMO AUTOMATIC

A MODERN INTERPRETATION OF A CLASSIC TITONI is one of the few remaining independent family-owned watch companies in Switzerland. Three generations of the Schluep family have gone their own way for decades, and each of them has pursued a long-term vision to guarantee the company’s stability and continuity.

www.titoni.ch

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Reference: 878 SRG-ST-606 Gender: Gent Movement: Automatic ETA 2824-2 Function: 3 Hands, Date Diameter: 41.00 mm Glass: Anti-reflective coating (on both sides of the glass) Water resistance: 10 ATM Dial style: Index Dial Colour: Silver Strap: Leather

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At the heart of TITONI’s philosophy stands its credo to produce Swissmade mechanical watches of the highest quality at affordable prices. With almost a century old heritage, the company is fully dedicated to offering its clients first-class timepieces that live up to its high standards.

Today, TITONI is proud to introduce its latest product novelty: The Cosmo Automatic. This collection comes in a fresh design as an addition to the Cosmo Series, generally known for its glamorous timepieces with exquisite details, giving it a more rejuvenated and modern interpretation.

The unique wave-shaped fluted bezel - inspired by the geometric form of a seashell - seems to extend the watch dial into an invisible flow of space and time and the faceted hands and indexes lend further charisma and glamour to its overall look.

The new collection is available either with a stainless steel bracelet or leather strap, both equipped with a solid and decorative folding clasp offering high wearing comfort as well as style. The steel bracelet impresses with a mixture of brushed and polished links that playfully interact with light while the beautiful colour options of the leather strap (available in charcoal grey, dark brown or navy blue) set an elegant tone of their own.

This collection is a worthy addition to the classic Cosmo Series and reflects TITONI’s true passion for the fine art of watchmaking – a heritage the Swiss family business has embraced for generations.

HIGHLIGHT

DELMA

HERITAGE AUTOMATIC THE CLASSIC TIMEPIECE FOR THE GENTLEMAN ADVENTURER

The new Heritage collection celebrates Delma’s dedication to advancing the art of Swiss watchmaking as much as it serves as an accolade to the long-held traditions and values that characterise Delma’s own heritage of building on areas of excellence to inspire future designs. At the intersection of tradition and originality, the Heritage steadfastly accompanies the gentleman adventurer on the path toward shaping a full and lasting legacy.

Reminiscent of Delma’s earliest timepieces, elements such as the curved dial plus seconds hand, domed sapphire crystal and date indicator at 6 o’clock convince with their elegant simplicity. The luxurious sunray-brushed dial and slim applied indexes inside a lean 43mm case further define the character and elegance of this timepiece. The Heritage Automatic comes with Delma’s customised ETA 2824 movement showcased beautifully behind a transparent case back.

Every glance at your Heritage will inspire you to build upon your own past successes to achieve great and noble things along the road of a meaningful life.

www.delma.ch

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The sunray-brushed dial in bold brown tones lies encased beneath an elegantly domed and highly durable sapphire crystal. The round case in rose gold PVD further enhances the sophistication of this model. The fitted genuine leather strap, along with its folding buckle with two pushers to facilitate opening and closing the watch without the need for readjustment, completes the striking look of the Delma Heritage.

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For almost a century, family-run Swiss watch company Delma has passionately designed and created an array of attractive and durable watches to rely on when it’s time to perform.

Keeping pace with Delma’s long-standing collections of divers’ and sports watches, the new Delma Heritage exemplifies a continued parallel focus on producing classic and sophisticated dress watches.

HIGHLIGHT

TRASER

P68 PATHFINDER AUTOMATIC FOR GLOBETROTTERS AND EXPLORERS The timepiece that was built to make your dreams of adventure come true. 24/7.

Under all possible weather conditions.

At any time, day or night.

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Illumination: trigalight® self-powered technology for the hours indexes and hands Super-LumiNova for the direction indicator on the compass ring, external numerals on the dial and luminescent glass seal. Movement: Swiss Made automatic movement, date window at 3 o’clock. Power reserve: 38 hours. Size: Ø 46 mm.

Glass: Anti-reflective sapphire Case: Black PVD-coated stainless steel with matt polished details.

Screw-down crown.

Dial: Midnight-blue sun-brushed.

Compass ring: Integrated in the case. Operated via the crown at 8 o’clock.

Strap: Midnight-blue NATO strap with a thin gold-yellow line.

Waterproof: 10 ATM / 10 bar.

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The P68 Pathfinder Automatic is dedicated to self-determined and self-confident individualists who transform their ordinary days into adventures. This collection captivates with clear lines. The purist case of blackened stainless steel is peppered with fine details: matt surfaces skilfully alternate with polished edges to add a touch of understated sophistication to the watch.

A glimpse inside the case reveals the secret of the P68 Pathfinder Automatic: a compass ring, which can be operated with one hand via the crown at 8 o’clock. This ring, used in combination with the position of the sun and the hour hand, enables simple determination of the wearer’s current position and the cardinal directions.

Light is the primary element of the P68 Pathfinder Automatic and all the other traser models – traser, the inventor of the self-powered illumination technology trigalight®. Assuring perfect visibility, even in the most demanding environments, trigalight® functions without the need for external light or energy sources.

When night falls, a unique spectacle of light and colours begins on the time display. After the Super-LumiNova elements have faded, trigalight® takes over the leading role. The luminous pipes transform into the brightest stars on your wrist and continue to guide you reliably until dawn.

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While 2017 was a year focused on absorbing the shock of “demonetisation” in India – as the government suddenly withdrew more than two-thirds of the country’s currency – and many changes in tax law, this year seems particularly promising for the import of middle-range Swiss watches. As inter-state duties have been cut, the Swatch Group is expanding its local reach. An analysis.

What is the current structure of the watch business in India?

In India, multi-brand watch retail remains dominated by “mom and pop” stores. However, regional chain stores such as the Mumbai-based Just In Time, Hyderabad-based Kamal Watch Company, and Zimson Watch Company in Coimbatore, are gaining ground. At present the country has the following nationwide chain stores: Helios and Ethos, operated by Titan and KDDL respectively, as well as Just Watches and Just In Vogue.

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Independent stores are finding it tough competing with organised chain stores, and the result has been discounting. The profitability of organised chains with higher overheads is thus coming under pressure, and they are now entering into exclusive distribution agreements with international brands.

Ethos, for instance, has exclusive tie-ups with brands such as Oris, Titoni, Carl F. Bucherer, Raymond Weil, Louis Erard, Edox, Cover and Claude Bernard. Helios watch stores in turn have exclusive distribution deals with brands including Movado, Coach, Luminox and Favre-Leuba. These arrangements are mutually beneficial for the brands and the chain stores; the brand gets a nationwide presence, while the chain stores are able to retain higher margins. The chain stores offer a buying experience of international standards with quality service.

How did the Indian watch industry cope with the shock of demonetisation?

On November 8 2016, with no advance warning, India’s two highest-denomination banknotes, the 500-rupee and 1,000-rupee bills, were demonetised, rendering 86% of the country’s currency invalid overnight. The government claimed that the action would curtail the shadow economy and crack down on the use of illicit and counterfeit cash. Immediately after demonetisation, sales of watches were adversely affected.

Demonetisation was followed by the implementation of goods and services tax in June 2017. The tax rate of

28% resulted in imported watches becoming cheaper than indigenous watches. It also involved a cumbersome exercise of stock correction and compensating the retailers for their losses on stocks that were more than one year old.

Subsequently, in November 2017, the tax rate was brought down to 18%. Most brands reduced their maximum selling price. This resulted in making Swiss watches in the Indian market cheaper than in neighbouring countries such as Sri Lanka, Nepal, Bangladesh and the United Arab Emirates. At this point, as Gaurav Bhatia of Art of Time store in Bandra says, “We were pleasantly surprised to see tourists buying high-end watches from us due to the attractive prices.”

On 1st February 2018, however, the government increased the import duty on watches from 10% to 20%.

But Rajiv Popley of Popley La Classique store stresses that doing business has become more simple; because the “octroi duty” has been abolished, goods can now be transferred from one Indian State to another effortlessly. Moreover, the procedure of clearing goods through customs is now easier, and all that the importer requires is an invoice from the supplier.

The major beneficiaries of these rules are brands such as Rado, Longines and Tissot. The mid-price segment therefore seems poised to grow. With presence in small towns such as Panipat and Agra, brands such as Rado and Tissot are doing good business. The success of Rado in particular is explained by its reach, attractive pricing and the watch models that appeal to Indian sensibilities.

Buying in India or abroad?

As the watch industry becomes more organised, Indian consumers will prefer to buy watches in India. The government’s digital drive coupled with a resolve to curb black money will reduce the influx of watches from the grey market. When buying a car, a consumer has to furnish a lot of personal information. This is mandatory for getting the vehicle registered in his name.

As things settle down, consumers will have no hesitation in sharing their personal details while buying a watch priced at USD 3,000 or more. Gaurav Bhatia of Art of Time shares this optimism when he says, “we have witnessed an increase in digital transactions after demonetisation; we are confident that the luxury watch market in India has a bright future.”

“Our second boutique in South Mumbai at Orbit Arya, Napean Sea Road, will open within the next few months. Along with Cartier timepieces, we will be ex-

clusive for IWC Schaffhausen in Mumbai as well. To add to our brand portfolio, we will also house brands such as Vacheron Constantin, Breitling, Omega, de Grisogono and more,” adds Bhatia.

How do retailers and brands use marketing tools?

Proactive retailers such as Popley La Classique and Art of Time are using innovative methods to promote the sale of high-end watches. In November, the former organised an Omega event at Arth, a swish new restaurant owned

by Gauri Khan. A carefully curated guest list of 100 premium customers was invited to take a look at 40 exclusive Omega timepieces. Rajiv Popley said, “We need to reinvent the traditional form of retailing, and off-store retailing is a way to pamper our customers by offering them the best of products, hospitality and ambience.”

Luxury watch brands have also discovered the star power that Bollywood offers in India. They are using Bollywood stars in different ways to their advantage.

IWC Schaffhausen co-created the Fashion Icon of the Year Award 2017 in association with Vogue. The award was bagged by fashion diva Sonam Kapoor, whose aura has rubbed off on brand IWC. TAG Heuer brand ambassador Ranbir Kapoor, a football fanatic, techno-savvy watch enthusiast and Bollywood celebrity, unveiled the new face of the well-appreciated Connected Modular 45 smartwatch at the brand’s exclusive boutique in Mumbai.

What can we expect this year?

In January 2018, India imported watches worth 12.5 million Swiss francs, as compared with 6.5 million CHF imported in January 2017, registering growth of a whopping 94.5%. Debraj Sengupta, Country Manager Watches and CMO at Victorinox, comments, “January 2017 was an unusual month as the Indian market had not recovered from the demonetisation shock. That is the reason for the high growth rate this year. In January 2017, shipments had fallen by 20% over the same month in 2016.”

The recent easing of sourcing norms in India will benefit the Swatch Group in particular; the Swiss giant has already decided to open Swatch stores in the country.

However, given the complexity of the Indian market, Popley feels that the real opportunity lies in opening mono-brand boutiques for very high-end brands such as Breguet.

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In their narrow local market, Israeli retailers are counting on the rise of tourism to boost watch sales.

Geopolitical tensions however jeopardise this ambition. Europa Star travelled there to get a feeling for the market in the company of two renowned local retailers. And to meet a fiercely independent Israeli watchmaker...

Academy Of Art and Design Jerusalem, he attempts to encourage upcoming generations to get involved in watch design. “I don’t want to remain the only independent watch designer in Israel!” he states.

“Zero watch culture”

But what, precisely, makes up the Israeli watchmaking ecosystem? With just over 80 million francs in imports last year, the Israeli watch market is situated just outside the top 30 world destinations for Swiss watches, behind Malaysia and ahead of Greece. It is therefore n the Old City of Jaffa, at the heart of the world’s a medium-sized market: not insignificant, but not exoldest civilisations – among the first that ever at- actly a prized opportunity for the sales departments of tempted to capture the passage of time – stands Swiss watch brands. the friendly workshop of Itay Noy. He carefully “You know, Israel is a land of refugees, and they came assembles just under 200 original watches each here penniless. When it was established, the wealthy year. That’s right, Israel does include at least one fiercely Jews remained in the world’s capitals such as Paris, New independent watchmaker!

York City and London. Moving to the Itay Noy is fascinated by the concept of desert certainly did not appeal to them! “duality”, to which a number of his cre- With over 80 million That is why there is not a major watch ations make reference. Beginning with francs of importations tradition among the people who came the series Duality, of which each design last year, Israel is to live in Israel,” states Benny Padani, a features two sides that tell the time. true “memory keeper” of the country’s situated just outside The Part Time operates on a day/night watch trade. He is in charge of a chain of theme: the left side of the dial reveals the top 30 world nine boutiques today, and is probably the hours between 6 a.m. and 6 p.m., destinations for the most prestigious watch retailer in when daylight dawns; while the right Israel, particularly as a representative Swiss watches. side of the dial takes over and comes to of Patek Philippe. life at sundown. As for the Full Month, He recounts a juicy anecdote from his featuring Arabic or Hebrew digits, traditional hour mark- long professional experience in perfect French (beers are replaced by the days of the month for another dif- ing born in Brussels): “I remember a Breitling report ferent take on the traditional watchmaking codes. from the time that described Israel with one definitive This independent Israeli watchmaker is never at a loss sentence: ‘Zero watch culture!’ However, thanks to new for creativity, and he also has a keen interest in the no- information technologies, the inhabitants of Israel – tion of “transparency”. While on the theme, we cannot like people elsewhere on the planet – are learning an resist citing the Open Mind, a memento mori that goes increasing amount about watches.” beyond the habitual skull to reveal what is concealed within the mind itself: in this case, the mechanical activity of the cogwheels and a continual tick-tock. And Medical tourism and of course the well-named X-Ray, with a dial decorated high-tech industry to reflect the gear trains of the movement concealed within the depths of the timepiece for a cross between So who are the essential clients of the luxury boutiques of mise en abyme and a subtle unveiling...

Israel? The situations are different for Padani – whose Itay Noy is certainly one of the most truly creative clientèle is predominantly foreign – and Chronotime, watchmakers of the moment, and moreover he occu- a retailer with one boutique in Tel Aviv and another at pies a very interesting and unusual niche for such a limited production, at under 10,000 francs a piece. And he hopes to create a following. As an instructor at the establishment that he himself attended, the Bezalel

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of retail tourism and in particular medical tourism, a prosperous field in Israel. “We often receive calls from Russia or the United States from clients who announce that they will be visiting Israel in the next month,” explains Ro’i Aharoni. “Today’s world has become a global village. And by investing in the Israeli market, Jews abroad feel that they are supporting the country.

In the long run, I believe that prices throughout the world will become equal. It is service that will make the difference.” In fact, the retailer runs a Service Centre located in City Garden in downtown Tel Aviv.

Attracting more tourists?

Tourism therefore appears to be the best way to breathe new life into the watch industry in this cramped territory. With nine boutiques throughout the small country, Padani ensures a form of omnipresence: “Nine might even be too many, since the territory is not that big!” considers Benny Padani.

“You especially need to be quick on your feet, ready to cover the most strategic areas. For example, Eilat is no longer a true ‘hot spot’ for watch sales.”

Today, the country is attempting to attract more tourists, between Tel Aviv – the “Miami” of the Mediterranean – and Jerusalem, with its unparalleled cultural and religious legacy. For examthe prestigious King David Hotel in- “The irony is that ple, the first three stages of the recent Jerusalem, and which among others Giro d'Italia were hosted in Jerusalem, represents Zenith, IWC and Vacheron foreigners tend to with millions in sponsorship. But it all Constantin: “Our clientèle is about purchase here, and depends on the geopolitical situation.

70% Israeli,” explains its director Ro’i locals purchase “The tourist industry has never been Aharoni. “In particular, the high-tech as great as it could be,” pursues Benny abroad!” industry, which is currently booming in Padani. “Many people still fear coming Israel, brings in a lot of clients.” Indeed, Benny Padani, to Israel.” a local version of Silicon Valley (called Israeli watch retailer Despite the arrival of low cost com“Silicon Wadi”) has become established panies such as EasyJet, the country in the surroundings of Tel Aviv. For example, Israeli en- continues to be considered an “exotic” destination gineers invented the USB device concept in 1999!

by Europeans, compared with Greece, for example.

Benny Padani is also quite familiar with this new high- The retailer generally considers that more affordable tech clientèle... But he insists that this generation is dif- watches are purchased by locals and the most expenficult to fathom: “Some turn towards the Apple Watch, sive are bought by foreigners. “The major clients do while others do not change their consumption habits not come from Israel. Israelis prefer to purchase their when they begin to earn a lot of money. They are very watches abroad because they are reimbursed the VAT. different from previous generations.”

The irony is that foreigners tend to purchase here, The two retailers agree on the increasing importance and locals purchase abroad!”

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No competition from own-brand boutiques As you travel through the country, you get an idea of the high cost of living. “Everything is expensive in Israel,” complains Ro’i Aharoni. “We try to adapt by proposing more affordable prices for higher volumes of sales. But in my view, the general level of watch demand is unfortunately stagnating. And that has an effect on everyone. We have a Hebrew saying: ‘When it rains, everyone gets wet!’” The small Israeli market, under the influence of regional and worldwide pressure, remains a difficult terrain for watch sales, according to the retailer: “Clients have various demands.

Even the presence of the Maltese Cross on a Vacheron Constantin dial can pose a problem for some.”

The limited space of the territory could, however, be an advantage for well-established retailers, since they do not have to deal with the forceful confrontation of ownbrand boutiques on their territory, unlike their foreign counterparts: “Even though business is sensitive overall, because retailers’ profit margins are diminishing, we have not had to face that particular phenomenon,” con-

firms Benny Padani. “But the limited space of the territory is also a limitation in terms of sales: moving 20 to 30 pieces more or less per year can make the difference.”

The web is also changing the daily lives of watch retailers, in Israel as elsewhere in the world. At Chronotime, Ro’i Aharoni launched the Chronoclub, a digital watch club that enables him to gather precious information on the clientèle. “We have to use all the means available to us. But we do not try to ‘educate’ them or reinvent the wheel! In the end, there are two approaches: you can do it all from your iPhone, but you’ll lack a human touch; or you can come speak with a connoisseur.

My impression is that people do seek out information on the internet, but they still want to come and see the watch in the store before purchasing.”

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An interview with Paul Boutros, Head of Americas & International Strategy Advisor at Phillips in association with Bacs & Russo.

What is the state of the American pre-owned market today?

First of all, in America, I see no negative association with pre-owned timepieces. The motivations of the buyers are diverse. Many people do like to obtain bargains, so they are attracted to the possibility of reduced prices compared with new models. Besides these financial motivations that explain the attractiveness at the entry level, we find, especially among people aged 3060, a real passion for collectible watches.

Pre-owned timepieces indeed enjoy an interest that has never been seen before, particularly in the United States. Why? There has long been a US community of vintage collectors but it remained a small group. The shift began happening approximately 25 years ago with the rise of the internet. Information was limited until then. The internet became a tool for learning about watches, contributing to the growth of vintage.

The era of social media has been “inflection point number two”, as well as blogs like Hodinkee, which have become influential among people passionate about watches. Instagram especially is one of the most powerful communication tools for the collectible watch community. We estimate the pre-owned market to be worth around 2 billion dollars today, although it is difficult to gather exact figures.

What has been the attitude of the brands when it comes to the growth of the pre-owned and vintage watch market?

We consider that we serve the brands and we want to be seen as a resource for them! We have the experience to help them with their heritage. Many of our buyers are actually also buying new watches. Our philosophy is to work together. Of course, the brands don’t like to see relatively modern timepieces coming to auction...

So, we want to differentiate from our competitors. We are very strict in our selections and reject some 70% of the watches proposed to us. We built the auction department from a blank page and we really focus on quality, not on volume. Also, we don’t focus on nearterm profit goals, so we don’t have the same pressures as some of our competitors.

To our knowledge, Vacheron Constantin is the only brand with its own vintage department, trading and collecting watches. But this question is a challenge for the brands... Do they want to “compete” with their modern watches?

We would like to see more brands buy back their vintage timepieces. It is of course a matter of transparency in the process. But we welcome brands that buy back their history, like Patek Philippe for their Museum in Geneva.

What are your top markets today?

Our top markets are Asia and Europe, followed by the USA. And there is room for growth. For instance, in my opinion, one of the most underrated brands today is precisely Vacheron Constantin. Furthermore, one can find many superb vintage rectangular watches across brands at very attractive prices...

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The most recent sales in Geneva have once again demonstrated the overwhelming supremacy of Rolex, Patek Philippe and Audemars Piguet. Why have collectors favoured these independent houses over time, ahead of historic rivals taken over by groups?

Independent brand watches have long accounted for many of the standout auction results in the leading art market capitals.

What exactly are independent brands? Let’s use a simple definition. An independent brand is any brand that does not belong to a major watch group (Swatch Group, Richemont, LVMH, etc.) and has remained loyal to its fundamental values since its watchmaking beginnings. The winners, in descending order, are Rolex, Patek Philippe and Audemars Piguet.

In the most recent May sales in Geneva, Rolex and Patek Philippe captured the largest market share – almost two thirds of recorded results – moving far ahead of all major watch groups which now account for a tiny proportion of the watch auction sphere. And this is nothing new.

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Rolex is a ‘no-brainer’ for insiders “The frontrunner of all the independent brands is Rolex – it's a no-brainer,” said one savvy commentator from the independent watch world. This trivial phrase seems particularly apt in light of a detailed analysis of the latest auction sales in Geneva.

In this session, Rolex accounted for almost half of all sales. The combined share of Rolex and Patek Philippe accounts for almost two thirds of the auction market.

However there has been a new development, with Rolex now by far the most sought-after independent brand at auctions.

While Patek Philippe retains its crown for the all-time watch record, for the famous Henry Graves, sold at auction for nearly 24 million francs in 2014 by Sotheby’s, Rolex has soared ahead in recent years, especially since the Daytona Paul Newman was auctioned off for 17.5 million dollars last year by Phillips.

The guru gospel Of all the independent brands, Rolex has undoubtedly benefited the most from the power of social media in recent years. A relatively short time ago, collectors struggled to find information but, nowadays, a simple click will tell them almost anything they need to know online or on social networks.

The international watch collector ecosystem has collectively turned its attention to Rolex. The word of certain gurus has become key for many increasingly wealthy collectors. The proof is in the incredible prices recorded during the sale of the Daytona Ultimatum, superbly led by Aurel Bacs with the support of Pucci Papaleo, the ultimate name among enthusiasts since his first opus at Christie's in 2013.

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In under five years, the market has literally exploded.

We racked up a total of more than 22 million francs for (just!) 32 watches during the latest Phillips sale, which netted an average of more than 700,000 CHF per lot. In comparison, during the first Christie’s Daytona Lesson One sale in 2013, around 100 watches were auctioned off for just over 10 million CHF. Thus, the May 2018 event at Phillips recorded an average seven times more per lot!

For the past few years, the real vintage market barometer has been the Rolex Daytona, illustrated to perfection by the latest auction in Geneva. In addition to the themed Daytona Ultimatum sale, Sotheby’s and Antiquorum have both recorded some of their best results for a Rolex Daytona.

Patek Philippe: harder and harder to come by While it was game, set and match for Rolex during this Geneva session, we must not forget Patek Philippe’s long-standing key role in the collector's world. It has unquestionably set more records than any other brand.

However, the standout pieces are increasingly rare or even unavailable, detained within major collections.

Though Patek Philippe has opened its doors to collectors, namely through its archives, it appears that the brand's auction presence is less overwhelming than it once was. By our estimate, the brand accounted for just a quarter of results at the latest Geneva auctions.

This has been an underlying trend for almost two years as the value of vintage steel Rolex watches soars.

A leading duo with diverging philosophies For many years, these independent brands have set a frantic pace in the auction world, partly explained by the wide variety of models available. However their philosophies are different in every way. To summarise in just a few words, Patek Philippe embodies the ‘heirloom’ culture with its watch complications, while Rolex embodies the 'achievement' culture with its sports watches, which have led the pack for more than 50 years (Submariner, Explorer, GMT Master, Daytona).

However, these two distinct brands do share a very strong identity and brand values, which remain the undisputed priority in the eyes of collectors. Thus, the presentation of the pieces in the sales catalogues is paired with increasingly meticulous and precise documentation.

This has undoubtedly played a key role in the record prices recorded at auctions in recent years.

In the space of two years, the world wristwatch record has been beaten two years on the run. In 2016, it was at Philips in Geneva for a Patek Philippe Ref. 1518, which sold for 12.5 million CHF. The following year, it was in New York for Paul Newman’s famous Paul Newman Rolex. Both times, records were broken by steel watches!

Audemars Piguet: a rising outsider While Patek Philippe and Rolex have formed a winning duo, Audemars Piguet, spearheaded by FrancoisHenry Bennahmias, has caused a stir in recent years as an influential outsider. Its heritage marketing is a key factor in its success and remarkable on many levels. Its position in the latest watch sales rankings is the perfect illustration of this.

During the latest auctions at Phillips, Christie’s, Antiquorum and Sotheby’s, Audemars Piguet assembled some very high-quality vintage complication wristwatches in its Geneva store. This bolsters the strategy established by the brand to raise its profile among collectors.

An independent spirit rewarded by collectors How do things stand for other independent brands at auction? Some names clearly stand out from the crowd, such as Francois-Paul Journe, who often achieves very good results, not unlike his late mentor George Daniels, whose last records propelled independents to the very highest level. In their own way, they are highlighting another independent watchmaking value highly sought-after by collectors. Their influence is often the result of their founder’s character and their enterprising, uncompromising mindset.

Independent brands have held on to this spirit in the auction firmament. They have done so through their storied past (Patek Philippe and Rolex), an extraordinary family history (Audemars Piguet), the genius of their designer (Francois-Paul Journe) and their entrepreneurial spirit. Independence is a quality recognised by collectors at auctions. Some visionary collectors, such as Philippe Stern, have built this watchmaking heritage where others have handed over their brand to major conglomerates and lost part of their soul... and their auction value!

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This is undoubtedly the most successful ‘organic’ initiative looking to bring together watch aficionados worldwide. Paradoxically, it all began online, leading to more than 40 clubs in New York, London, Melbourne and many other cities.

This is the RedBar story, told by its founder Adam Craniotes.

We had the chance to see Adam Craniotes in action during a watch event earlier in the year at the Montblanc store in Aventura, north of Miami. The RedBar founder, widely recognisable with his New York accent, energetic outspokenness and thick beard, was presenting the new SIHH offerings from the Richemont brand to a panel of visitors. There's no doubt that Montblanc’s neo-vintage style, initiated under the watchful eye of Davide Cerrato (read his interview in issue 1/18 of Europa Star), has won over this community of watch enthusiasts.

We saw Adam Craniotes again, more recently this time, at the CoutureTime show in Las Vegas. He was there to host the first annual national American meeting for RedBar as well as panels on the state of the watchmaking industry and the perspective of the contemporary watch collector. He was also tasked with attracting end buyers – increasingly courted by brands themselves – 138

Adam Craniotes

to the show which was previously a retail-only affair.

And we can expect to see him ever more frequently in the watchmaking hotspots as his community of collectors grows, united by an informal, expert spirit.

We’re introducing a ‘Vintage & Collectors’ section to Europa Star so we simply had to find out more! Encounter.

When and how did the RedBar adventure begin?

In 2006, in New York. The internet had really begun to take off in the watchmaking industry at the time. I was already reading Timezone forums in the 1990s but the internet achieved a sort of maturity in the 2000s and sites such as Watchuseek, Ablogtowatch and Hodinkee began to emerge.

With the internet, we saw a proliferation of watch information online and a 'freedom of speech' among customers and collectors.

THE ORIS DIVERS SIXTY-FIVE REDBAR The independent Swiss brand partnered with the collectors’ club to launch a special 40mm version of the Sixty-Five Oris watch, with bronze bezel, gold hands, gold indices, and of course‌ a remarkably red dial. The watch has a definitive vintage appeal. It was introduced at CoutureTime in Las Vegas last June, is priced at $2,100 and is limited to 100 pieces.

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One day, I met another collector, Jeffrey Jacques, and we discussed continuing the conversation offline rather than talking online. We went to a bar that we found in Koreatown – Red Bar, which no longer exists. And we decided to meet up there every month! Nowadays, New York meetings take place weekly at a secret location in Koreatown.

So you have paradoxically exploited the internet boom to revert back to physical meetings!

The irony is that the internet has allowed the ‘physical’ meetings to grow in terms of both the watch business itself and our meetings. Then Instagram arrived and we launched the #redbarcrew hashtag, which has attracted a lot of attention. But some are tired of doing everything online. A group of collectors and enthusiasts can talk for hours so better that we do it face-toface, watch on wrist!

So is it also a platform for exchange, loans or even the sale of watches among members?

Many people exchange or even sell watches through the club. We publish a list of watches for sale but it’s not a business and we earn no commission. It’s a good thing you reminded me because it’s a while since I’ve seen a Rolex I lent to a RedBar member!

Is it your job now?

Yes. When I started RedBar, I was a copy director at Macy's, I wrote for iW Magazine and Gear Patrol and I was a forum moderator on the Timezone site, especially the IWC forum. But I gradually felt better and better during RedBar meetings and worse and worse in my everyday work.

Two years ago, I took the plunge and officially launched the RedBar Group which now operates in 40 cities on four continents. We also established the RedBar Fund, which supports charitable work.

What is your business model?

Members do not pay a subscription fee and we are committed to keeping the club free. We earn money from partnerships with brands for whom we organise 140

events and provide consulting services. We partner with shows such as CoutureTime. We’ve also designed watches with Maurice Lacroix and Oris (see sidebar).

What do you give to partner brands?

It’s about visibility but not direct sales. I never promise to sell a certain number of watches during an event. It’s about access to collectors and that’s a more emotive subject.

How has RedBar grown?

People outside of New York gradually began to contact me as they wanted to organise the same initiative in their city. I was contacted today by someone wanting to open a RedBar branch in Buenos Aires. We’re in the process of opening branches in Geneva and Basel, as well as in Tokyo!

What are the criteria to open a local RedBar branch?

The branch managers must be charismatic and inspire the people they bring together. Most important is that the atmosphere be laid-back. RedBar has already played matchmaker twice!

How do you become a member?

The only requirement is to be a watch enthusiast.

Some people don’t yet have a timepiece when they start coming to our meetings. You know, when you say that you’re a watch collector, people’s first reaction is often to take you for a rich person or a fool. Or a rich fool! But a group of collectors and enthusiasts can talk for hours. The 'cost' factor is irrelevant.

You’re a collector yourself. What was your first watch?

A Casio F-7 series digital model. I received this watch from my grandfather and gave it to my son on his third birthday. As such, his first watch was also my first watch! Passing down through the generations is not exclusive to luxury watches…

RECOMMENDED READING

BY FABRICE MUGNIER, WATCHPRINT.COM

Audemars Piguet 20th century complicated wristwatches collective work by Audemars Piguet Haute Horlogerie watchmaker Audemars Piguet announces its first ever book dedicated entirely to the history of manufacturers of complicated wristwatches, following four years of archival research and writing on the part of the Heritage Department.

From the world’s first minute repeating wristwatch crafted in 1892 until the revival of complications in the late 1970s, Audemars Piguet produced a grand total of only 550 complicated wristwatches, of which no two are identical: 35 minute repeaters, 188 calendar wristwatches, 307 chronograph wristwatches and 20 double complication wristwatches featuring both calendar and chronograph. The entire story of Audemars Piguet’s complicated wristwatches is shared for the first time, with the help of detailed photography, enriching narratives with cultural context, first generation historic documents, archival images, technical specifications and production data.

In addition to the 550 complicated wristwatches, the book also tells the fascinating story of the revival of complications that occurred during the height of the quartz crisis in the late 1970s. During a time of great change and disruption in the industry, Audemars Piguet shifted the focus back to complications, setting the stage for great developments and innovation during the 1980s, 1990s and into the 21st century.

308 pages • Size: 25 x 33.5 cm • Price: CHF 150.00

Watchmakers: The Masters of Art Horology Maxima Gallery This book gathers the work of the most celebrated independent watchmakers in the world. Thirteen artisans, each a legend in the realm of Haute Horlogerie, tell their stories, describing the traditional working methods and prized watches upon which their reputations have been built.

Photographs of the masters in their workshops bring their stories to life, along with detailed sketches and images of their watches in all their brilliant intricacy.

Watchmakers also features insightful texts from other leading figures of the independent watchmaking world, including Aurel Bacs and Nicholas Foulkes, author of the only authorised biography of Patek Philippe.

Watchmakers: Hajime Asaoka, Ludovic Ballouard, Christophe Claret, George Daniels, Denis Flageollet (De Bethune), Philippe Dufour, Laurent Ferrier, Romain Gauthier, Vianney Halter, Christian Klings, Jean Daniel Nicolas (Daniel Roth), Roger Smith, Kari Voutilainen 252 pages • 136 colour ill. • Size: 24.5 x 28.9 cm • Price: CHF 78.00

Available at www.watchprint.com

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Freely speaking

PAINTER’S

BLOCK

BY D. MALCOLM LAKIN

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ne of the good things about our place in Menton is that there’s no room for guests, although we make exceptions for our offsprings if they promise to stay out really late at night so that we have something to worry about.

Friends stay down the road and come to our place to empty the wine cellar of rosé then suggest that we take them to some beauty spot where they can have a hearty lunch, stop every five metres to take a photograph and as an afterthought search for a source to replenish the grape juice.

Which is exactly what happened last week when we went to Mougins, a picturesque village above Cannes which Winston Churchill, Jean Cocteau, Christian Dior and Edith Piaf frequented and where Pablo Picasso spent the last twelve years of his life. After a gourmet lunch at the Paloma, we ambled through the village, stopping regularly at the numerous artists’ studios where our friends took a camera-full of photos of the statues and artworks dotted around the place.

I was looking at the massive bronze of the head of Picasso near the entrance to the village when I heard the never-to-be forgotten voice of U. Hueng Loe, “Aha, you like?”

“What are you doing here U?” I said turning to see the grinning pint-sized oddball man of a million and one ideas that he claimed would make him a fortune. “I got glate idee fo new wash, you wanna heya?”

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“What happened to your last idea, the one about the thousandyear-old egg watch?”

“I give up, not get rid of smell, people not like stinky list.”

“What list?”

“List, you know, like listwatch.”

“Ah wristwatch.”

“That what I say, listwatch. Now got betta idee, new matelial people no think of. I heya peoples make wash with laminated cabon and blown acetate, but me got oliginal idee flom hea.”

“A new material from Mougins? Like what U.?”

“You no tell no? Is Picasso paint.”

“I’m sorry U., but I’m not sure I understand.”

“Picasso live hea. He paint, not always use all paint, it go solid, I make wash case with solid paint, velly pletty collus.”

“Come on U. where are you going to find some of Picasso’s old paint, anything he left will be in a museum.”

“No ploblem. I buy old paint, call it Picasso’s paint, cook in oven, make block, then plototype, show nex yea in Basel.”

I stared at U. for a long time, trying to decide whether to laugh, cry or simply run off.

“You no like idee?”

“I don’t know what to say U. I know the watch industry is constantly looking for new materials, but I don’t know if they’re quite ready for your dried paint watch cases.”

“Why you always so negative? I off now, sclape palettes from painter I know. You see, make big noise with wash, maybe even lite about in Eulopa Sta.” And with that he drew himself up to his full 160 centimetres and skipped off into the narrow streets of the village, whistling like a man without a worry in the world. I think that if Winston Churchill had heard of U.’s idea his mouth would have fallen open, he would have spat out his Havana and with a typical Churchillian grunt given U. the inverted version of his famous V sign.

Watchwords

ALL THAT

GLITTERS…

The Alchemist by Cornelis Pietersz Bega (1663) – J. Paul Getty Museum, Los Angeles

BY JILL METCALFE

U

p until the last few decades, watch and clock manufacture has been dominated by a handful of materials, most of which were already known to our remotest ancestors. Gold, silver, iron and copper are among the seven metals of antiquity, and, either individually or in alloy form – iron as steel, copper as brass and bronze – they make up the majority of what we can expect to find in any timepiece.

Early writings show that gold and silver have always been held in high esteem. The chemical symbol for gold, Au, comes from the Latin aurum, which means “to shine, to glow”. It is a noble metal, which means it is inert and resistant to corrosion, and it is easy to fashion into beautiful objects. Over the centuries, this yellow metal has acquired layers of symbolic value, coming to denote the concept of perfection, which is why we award gold medals, talk about golden rules, and use the golden ratio to explain our aesthetic appreciation of anything from Renaissance art and Classical architecture to sunflowers and seashells.

Silver (Ag – argentum, “shiny, white”) has similar properties but, compared with gold, its symbolic reputation has been somewhat, shall we say, tarnished. Being less scarce than gold, it was widely used as a currency, which perhaps explains why it has been associated with greed and betrayal – Judas reputedly betrayed Jesus for 30 pieces of silver.

Steel is a far more modern material that, although neither precious nor noble, has nevertheless been around long enough to have acquired robust connotations of industrial might, utilitarian solidity and strength, with a generous dose of permanence and reliability (the Germanic root of the word means “to stand firm”).

And then we come to all the new materials that have entered the watchmaking lexicon in recent years.

Gone are the monosyllabic words of antiquity (gold, tin, lead) that feel like they have been passed around so often that all their superfluous phonemes have been rubbed off. And gone also are all their layers of legend and symbolism. These new names are lengthy and technical and unfamiliar on the tongue; they come packaged with complex descriptions of microscopic structures and miraculous properties, liberally peppered with TLAs* and ™s. And it’s all very interesting.

But for an industry that is constantly trying to sell us on its emotional connection, it’s clear that scientific explanations alone are not enough to persuade customers to part with their hard-earned silver. In fact, it’s less about chemistry or physics than it is about alchemy: the mysterious, elusive process of transformation that can turn base metal into gold, or a collection of gears and cogs into an object of beauty, wonder and desire. *TLA: Three-Letter Acronym

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INDEX Warning!

IMPORTANT SEPTEMBER AND NOVEMBER ISSUES TOP WATCH MODELS 2018 September / Chapter 4.18 What were the most remarkable new timepieces introduced at this year's SIHH, Baselworld or other events? In our September issue of Europa Star we present a selection of up to 100 models, including choices in all price ranges and from all sources. This is the time of year when most new timepieces arrive on the world markets. This must-have issue will prove a valuable reference for retailers and aficionados into the coming year and beyond!

SPECIAL WATCH ARCHIVES November / Chapter 5.18 What would you say to having access to 90 years of watch archives? As the vintage trend rages on, we have started one of the biggest projects in our history: digitising Europa Star’s archives. It will be a source of inspiration for readers, brands, designers, retailers and all watch aficionados. We kick off this major project with a November issue devoted to heritage, travelling back through time with the help of our rich archives.

DON’T MISS OUT! Your models have just reached the world markets and your brand has a rich history however long or short. Contact us about ad presence in these two top issues: contact@europastar.com

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Audemars Piguet 13, 24, 26, 27, 71, 134, 135, 136, 137. 141 Baume & Mercier 22 Bell & Ross 76, 77 Bovet 20, 21 Breguet 32, 127 Breitling 112, 113 Bulgari 71 Casio 24, 69, 101 Carl F. Bucherer 118, 119, 126 Cartier 127 Century 76 Certina 49, 102, 103, 104 Chanel 4, 5, 27, 72, 73 Christiaan van der Klaauw 75 Chopard 11 Chronode 44 Citizen COVER III Coach 126 Corum 79 Cover 126 de Grisogono 127 Delma 55, 122, 123 Dubois Dépraz 37 Ebel 33 Eberhard & Co. 41, 114, 115, 116, 117 Edox 126 ETA 45 Favre-Leuba 65, 126 Glashütte Original 110, 111 Grand Seiko 74, 75 Gucci COVER I, 14, 15, 16, 17, 18, 19 Hamilton 106, 107, 108, 109 Hautlence 76 Hermès 6, 7 Hublot 24, 50, 51, 70, 71 HYT 42, 43, 44 Itay Noy 128, 129, 130, 131 IWC 86, 87, 88, 89, 127 Jaeger-LeCoultre 22 Jaquet Droz 94, 95, 96, 97 Jean Marcel 63 Longines 8, 9, 127 Louis Erard 126

Louis Moinet 75 Louis Vuitton 29 Luminox 126 Mauboussin 37 Maurice Lacroix 35, 140 MB&F 61 Merci 22 Mido 98, 99, 100 Montblanc 138 Movado 126 Nomos Glashütte 61 Omega 66, 127 Oris 126, 139, 140 Panerai 22, 26, 52, 53, 54, 56 Patek Philippe COVER IV, 26, 46, 62, 64, 134, 135, 136, 137 Promotion 105 Rado 26, 27, 72, 127 Raymond Weil 126 Renaud Papi 37, 44 Richard Mille 25, 36, 37, 38, 40 Richemont 22, 26, 54, 82, 87, 88 Roger Dubuis 22, 26, 52, 53, 54, 56 Rolex COVER II, 3, 26, 46, 62, 66, 72, 73, 134, 135, 136, 137 Sarpaneva 61 Strom 78 Swatch Group 26, 46, 60, 62, 96, 103, 104, 110, 126, 127 TAG Heuer 127 Tissot 39, 100, 127 Titoni 47, 120, 121, 126 Traser 61, 124, 125 Union Glashütte 104 Vacheron Constantin 90, 91, 92, 93, 127, 133 Van Cleef & Arpels 22, 80, 81, 82, 83, 84, 85, 88 Vaucher Manufacture 37 Vicenzaoro 145 Victorinox 127 Yunik 79 Zenith 23, 24, 46

A last word to start

BEING TOGETHER (IN REAL LIFE)

BY PIERRE MAILLARD

A

s the virtual world spreads out to encompass every aspect of our lives, the need for direct contact, physical presence, face-to-face dialogue, coming together to share words, thoughts, laughter and tears, paradoxically grows. It would not be too much of a stretch to assume that this basic human need will increase in proportion to the rapid development of the virtual world, amid a growing confusion between what is real and what is fake.

Recently, at one of those big conferences in Silicon Valley, we were told that, before long, it will no longer be possible to tell a synthetic voice from that of an actual human. We will no longer be certain whether we’re talking to an “intelligent” machine or a real being made of flesh and blood, however intelligent or stupid they may be! (And if they are stupid, that’s probably a reliable sign that they are human. But then again...)

At a time when artificial intelligence and its algorithms, fed by Big Data, can give your virtual interlocutors the ability to adapt to you with frightening accuracy (the machine will ask you if your little one has recovered from the flu – and it will know about this because, unbeknownst to you, it’s one of your Facebook “friends”), the virtual world becomes the stuff of nightmares.

Big Brother is a garden gnome in comparison.

Given that we have no way of avoiding these developments, we shall have to find ways of circumventing them.

And it’s already happening. The vehicle for this circumvention is culture, defined as: “a set of ways of thinking, feeling and acting shared by a group of people who form a specific and distinct social grouping.” The world of watches is, above all, a culture.

It’s a culture expressed through products, but it both precedes those products and extends beyond them.

The evidence is clear from the recent changes we have seen in watch fairs and salons.

As the bigwigs of the SIHH said about their forthcoming fair in 2019: “This strategy to open SIHH to the world and be part of the digital era... with a vast programme of content, with talks, panel discussions and debates, contributes to the fair’s international reach and adds to the desirability of Fine Watchmaking throughout the world.” But, “[The SIHH is] an event that has to be experienced.” And, thanks to the SIHH Live programme, “it can now be experienced anywhere in the world, and by the 20,000 visitors who are again expected in Geneva next year.” Is it nothing more than a need to touch the products, and rub shoulders with one’s peers?

Consider this: why do Google’s top managers send their kids to the Waldorf School of the Peninsula, where screens are prohibited, to learn to knit, write with chalks on a blackboard, and practise arithmetic by cutting fruit tarts into slices?

Because culture is learned together, in the real world, where all our senses can be engaged.

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