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When Glashütte Original unveiled the Senator Chronograph Panorama Date in 2014, it was only available in red gold or platinum. However, in 2017, the Saxony-based Manufactory unveiled a steel version of the model, bringing it within the financial grasp of a larger audience. Meehna Goldsmith provides an insight into this German timepiece, while Angus Davies summarises his hands-on experience.

Chronographs are a popular complication even though digital has stepped in to take over the chore of clocking intervals. Still, they remain fascinating technically: all those little parts working together in harmony. More than just a function, the chronograph offers a coordinated dance that animates the dial and offers a way to intimately interact with your watch.

In 2014, Glashütte Original unveiled the Calibre 37-01, an integrated, self-winding flyback chronograph, housed within the Senator Chronograph Date, encased in either platinum or red gold. Differentiating it from its competitors, the movement simplifies the mechanism with a switch lever comprised of one part, as well as a coupling clutch that works by using a pinion. Fewer parts equals increased reliability. With a flyback chrono, you don’t have to fumble around to start, stop and reset the chronograph. In the middle of timing, a push of the button at  4 o’clock immediately flips the indicators back to zero.

Three years later (2017), Glashütte Original added another member to the Senator Chronograph Panorama Date family, this time packaged in a much more affordable stainless steel case. Sometimes chronograph dials can look cluttered and your eyes have to tease out the indicators. With the Senator Chronograph Panorama Date, you won’t have to worry about that. True to its Teutonic roots, this watch is a crisp beacon on your wrist. The chrono dials are large, bold and easy to read. The running seconds and 30 minute counter at 9 o’clock and 3 o’clock respectively, leap into focus first, while the smaller 12-hour register nestles in between, positioned just below noon. The usual tri-compax layout often features counters of equal circumference, but this model is different. Indeed, by presenting the 12-hour register in a smaller format, the overall appearance of the dial looks different. 

The panorama date, one of the best and most legible in the industry, resides at 6 o’clock, on call when needed without distracting from the overall composition. Instead of cluttering the dial with another discrete indication, the watch cleverly tucks in a power reserve on the running seconds to let you know how much of that impressive 70-hour power reserve remains. 

Providing contrast, the vivid inky black dial is framed by a white minuterie with Arabic numerals at 5 minute intervals, all anchored by Romans at 12 o’clock and 6 o’clock. This artistic choice keeps the dial tidy while also adding some finesse. The indexes also have a generous fill of Super-LumiNova in a cool blue hue to shed more light in dimmed conditions. The original models were dressed with a white dial and employed Roman numerals to denote each hour save for 3, 6, and 9 o’clock. The alternative dial colour and style of hour markers identifies this as a stainless cased model. Personally, I find this reference striking, making me gravitate to this model more. 

First and foremost, the Glashütte Original Senator Chronograph Panorama Date is a tool watch, but that doesn’t mean it will blush in a more formal crowd. The white gold hour, minute and stop seconds hands are crafted in white gold. Completing the picture, the 42mm stainless case, with both polished and satin-brushed finishes, secures to the wrist with either a black calfskin strap, highlighted with blue thread, or a satin-brushed stainless steel bracelet with a patented closure allowing little adjustments for a comfortable fit. For a sportier look, there’s also the option of a rubber strap. 

In 2018, the German marque added another steel variant to the model range, this time sporting a crisp varnished white dial. 

Since the Senator Chronograph Panorama Date was only offered in precious metals when it hit the stage, it put the watch out of reach for some fans lusting for the new creation. Now offered in stainless steel, the watch is better able to fulfil people’s dreams, by becoming a reality. 

My temporary ownership experience by Angus Davies

Glashütte Original kindly provided a sample of the Senator Chronograph Panorama Date for a few days hands-on evaluation. Mindful of not repeating Meehna’s eloquent overview, I will touch on those points that stood out during my brief courtship with this German beauty.

I know I have said this before, there is no escaping that Glashütte Original’s in-house dials are superb. In this instance, each counter is recessed while the date is framed with a two-level aperture. The sky blue hands and baton-type indexes express meaning with a notable dose of style. 

In my opinion, the Panorama Date function is the best on the market. Two date discs appear as one with only the faintest of lines disclosing that this is a delightful duet rather than a solo performance. The stainless steel case measures 42mm in diameter, while the lugs are comparatively short. These latter characteristics suggest this watch will suit most wrists.

Flip the watch over and you are invited to survey a sublime mechanical landscape courtesy of the exhibition case back. It’s a glorious scene where components are finished to a matchless standard. The three-quarter plate, a regional speciality, is adorned with Glashütte ribbing, while thermally blued screws abound. 

The 21-carat gold mass affixed to the rim of the rotor runs in a neat channel, encircling the Calibre 37-01, thereby mitigating the overall height of the movement. Another refinement is the free-sprung balance, making the watch less susceptible to positional errors as well as providing superior rate stability. Glashütte watchmaking traditions are repeatedly celebrated. For example, a swan neck sits near the balance wheel, providing an elegant means of addressing any beat error.

Those horophiles with a penchant for chronographs should certainly give the Glashütte Original Senator Chronograph Panorama Date due consideration. The execution of the dial, case and movement proves impressive. To compare this watch with cheaper alternatives fitted with modular movements or cam-actuated calibres would be foolish. This integrated movement, with an über-desirable column wheel, sits on a higher plane. Further, the finishing of the Calibre 37-01 is wonderfully refined and stands comparison with costlier watches.

Based in Lengnau, the family firm, Delma, has a penchant for making accessible divers’ watches. Its latest release, the Delma Shell Star Decompression Timer, features a vertical scale at 12 o’clock corresponding to the wearer’s depth underwater, allowing them to determine whether they are safe to return to the surface without decompression stops or otherwise. US-based journalist, Meehna Goldsmith examines the composition of this robust divers’ watch.

By 1975, Delma had established itself as a brand that could build rugged divers’ watches worthy of professionals. These were called the Shell Star and Quattro, cased in stainless steel with the requisite rotating bezel. 

Reaching back into its history, Delma rebooted the Shell Star collection in 2016 with a model that retained the spirit of the original but included up-to-date technology. It was outfitted with a helium valve and water-resistant to 500m. 

The Delma Shell Star Decompression Timer is the latest addition to the Shell Star family, and she arrives decked out in some mighty fine functionality. Hope the other kids won’t be jealous. As you can see, the dial is chock full of indications. Don’t be overwhelmed, the layout is actually very clear and easy to read. So, what are we looking at? Get ready to geek out. 

You probably know that when you go deep diving, you can’t safely rise to the surface all at once. The rapid change in pressure upon ascent causes Decompression Sickness, also known as the bends.  To prevent this from happening, divers must come up gradually, staying at certain levels for periods of time before rising further. But how do you know where to stop and for how long? 

During the 1950s and 60s, Swiss divers Hannes Keller and Albert Bühlmann, buddies from the University of Zurich, recognised the relationship between altitude and decompression. With their combined expertise in maths, physics and diving, they developed tables showing specific gas mixtures for different elevations, along with decompression stops. Not only were their tables applicable underwater, they also proved useful on land. The Swiss military adopted them in 1972 for use in the mountains. 

Once you know what you’re looking at, the information on the dial pops into relief: Keller and Bühlmann’s table at the ready. As you can see the scale shows depth in both metres and feet, along with white rectangles signifying the no-decompression limit (NDL), and another scale showing decompression stops with the duration indicated by numbers. 

Baton-style hour indications receive luminescent treatment as well as the hour and minute hands along with the central sweep seconds. This latter indication is a requirement for a diving instrument. And yes, the date makes it to the party at 3 o’clock. 

Grab a hold of that unidirectional bezel and you get a satisfying click. While a lot of companies have chosen to go with an updated ceramic bezel, the Shell Star Decompression Timer keeps it classic with an aluminium insert. Aluminium does fade over time, but that gives the watch character and shows it’s been loved. 

The 44mm tonneau-shaped case in stainless is really shapely. It incorporates a helium valve and is water-resistant to an impressive 500m. The case frames the dial, guiding your attention to where it needs to be, rather than distracting the wearer’s attention away from the essential indications. A bit of a puzzler is why Delma chose an exhibition caseback for an unfinished, stock Sellita movement. Granted it’s a workhorse that reliably gets the job done, but if you’re going to make a point of opening up the hood, it would be good to see a little decoration on the engine. 

The Delma Shell Star Decompression Timer is offered with a stainless steel bracelet and deployant clasp or on a genuine rubber strap with stainless steel buckle. The dials are offered in blue or black with the latter shade being offered with a choice of a black or orange bezel. Everything comes neatly packaged in a Delma blue box. 

The Maurice Lacroix AIKON Master Grand Date features a new self-winding manufacture movement, the ML331 Calibre. Courtesy of its ingenious blue dial plate, the wearer is indulged with pockets of openworked delight. However, as its name implies, this model’s pièce de résistance is the large date display located just above 10 o’clock. Angus Davies takes readers on a guided tour of this new innovative timepiece.

Maurice Lacroix is based in Saignelégier, a town nestling within the verdant landscape of the Swiss Jura. Its residents speak French, albeit many of them are multilingual, a fact I find very humbling as an Englishman with few linguistic skills. Thankfully, the Swiss watch firm is very kind to unilingual Brits, often employing English words for the names of its products eg the Master Grand Date.

The inaugural AIKON model was released in 2016 and has gone on to enjoy huge commercial success. Indeed, the AIKON collection has grown exponentially with Maurice Lacroix adding additional references over the years, some encompassing new materials or complications. After five years of AIKON production, the Swiss marque has become very adept at naming each new AIKON variant with a highly descriptive English nomen.

As its name implies, the Maurice Lacroix AIKON Master Grand Date is endowed with a large date display. However, when dissecting the product name linguistically, other meanings come to the fore. For example, while thumbing through my well-worn dictionary, I disocvered that ‘Master’ has several meanings, including ‘having or showing very great skill or proficiency’. Likewise, ‘Grand’, is defined as ‘magnificent and imposing in appearance, size or style’.

Recently, I had the opportunity to affix the AIKON Master Grand Date to my wrist. I could not help wondering was the name of this new model apt or merely a classic piece of overstatement?

Dial architecture

The dial resembles a vast canvas, painted in a bewitching shade of cerulean blue. Should the wearer expose the watch to sunlight, the dial will repeatedly flit between light and shade.

A mere glance at the AIKON Master Grand Date and it is clear that its display does not subscribe to watchmaking convention. The hours and minutes are presented off-centre, adjacent 2 o’clock. Rhodium-plated hour and minute hands sit above a sea of blue Clous de Paris and converse with matching indexes and a steel-toned minuterie. Both the hands and indexes are coated with white Super-LumiNova, enhancing readability in dim light.

An openworked small seconds display overlaps the hour and minute display. A lone second hand, with a cheery red tip, points to a second track marked with a combination of Arabic numerals and fine black strokes. The openworked design affords sight of the fourth wheel in motion. 

Throughout this composition, Maurice Lacroix has cleverly exposed the AIKON’s many thought processes. At 6:30, the escape wheel is partially shown, while between 7 and 9 o’clock, a large aperture reveals the balance wheel oscillating to and fro.

The balance bridge is secured at each end, granting superior stability over a simple balance cock. Despite the modernity of the watch, the screwed balance wheel doffs its hat to traditional watchmaking, while the large index, positioned atop the balance, facilitates ease of regulation. As a self-confessed horological voyeur, I love seeing the pallet lever repeatedly kissing the teeth of the escape wheel. Indeed, the Maurice Lacroix AIKON Master Grand Date repeatedly delivers an extraordinary degree of theatre.

The eponymous date indication resides at 11 o’clock. By employing two date discs instead of just one, the display proves larger, hence easier to read. One disc indicates the ‘tens’, while the second displays the ‘units’. 

Accommodating the large date mechanism with the new Manufacture Automatic ML331 Calibre

Maurice Lacroix appraised the movement, the Manufacture Automatic Calibre ML230, within its existing Masterpiece Gravity model. On this movement, the gear train is centrally aligned and features a module for the off-centre hour and minute display. However, with the AIKON Master Grand Date, the Swiss marque wanted the movement to be thinner, thereby better suited to the new model’s design. By repositioning the gear train, the watch brand was able to remove the module for the off-centre display and have sufficient room for the large date indication, a function not found on the Masterpiece Gravity.

Each date disc sits atop its own gear train and employs a star wheel, allowing both gear trains to rotate. By locating the two gear trains at the centre of the star wheel, the brand has been able to increase the size of the windows, improving legibility. Moreover, the company has been able to optimise the position of the display, thereby, contributing to the model’s harmonious mien.

The Jura-based brand has never been afraid of employing cutting-edge technology. On this occasion, it has used laser technology for the fabrication of complex components and their subsequent assembly. By adopting this approach, Maurice Lacroix attests that the date complication is more reliable.

The case

Measuring 45mm in diameter, the Maurice Lacroix AIKON Master Grand Date may sound large, but when worn it appears much smaller. I suspect this can be attributed to the lugless union between the watch head and strap. Unlike most watches that have horns protruding noticeably from the case, the strap on this model integrates neatly within the watch head. Moreover, the strap is predisposed to point downwards, thereby enveloping the wearer’s wrist. 

The AIKON’s proven design language is alive and well. The six gleaming claws, synonymous with the AIKON line, straddle the bezel and contrast wonderfully with the adjacent satin-brushed surfaces. Brand disciples will already know that Maurice Lacroix has a penchant for juxtaposing polished and satin-brushed surfaces. For example, the angled vertical flank of the bezel has been enlivened with a polished finish.

Whenever a watch brand places two contrasting finishes in close proximity it increases production time and costs. The best practitioners ensure the finishes are consistently applied and there is clear delineation between both forms of surface treatment. Throughout this composition, the Maurice Lacroix design team has endowed the case with several instances of muted brush and gleaming ebullience. Having scrutinised the AIKON at close quarters, I am pleased to report the execution of the case is beyond reproach.

A pane of sapphire crystal, positioned to the rear of the case, grants sight of the Manufacture Automatic ML331 Calibre.

Unusually, the watch is supplied with both a 5-rows steel bracelet and a blue Cordura strap. Consistent with other AIKON timepieces, this model features the brand’s Easy Strap Exchange, an ingenious system that allows the wearer to easily switch between the bracelet and strap without the need for tools.

The movement

The word ‘Master’ appears within this model’s nomenclature, signifying it is equipped with a manufacture movement. As previously mentioned, the self-winding ML331 Calibre perfectly demonstrates Maurice Lacroix’s watchmaking expertise. Beyond its ingenious large date display, the movement is enriched with various refined finishes. 

The AIKON Master Grand Date eschews a conventional dial, employing a dial plate instead. Movement components are affixed to the dial plate which also serves as the façade of the watch. Steel-toned parts feature vertical brush, while the remaining sections of the dial plate are dressed in blue PVD.

The balance bridge is rhodium plated with a sun-brushed finish. Other movement surfaces are sandblasted. The oscillating weight is openworked, affording partial views of the bridges below, and embellished with snailing and brushed detail. 

The balance has a cadence of 18,000 VpH (2.5Hz) and the movement features 43 jewels. Assuming the watch is fully wound, it will run autonomously for 50 hours.

Closing remarks

The Maurice Lacroix AIKON Master Grand Date features some interesting stylistic choices. While the Swiss firm already makes skeleton versions of the AIKON as well as three-handers, the advent of the Master Grand Date has led to an interesting niche, few, including myself, would have thought of. Indeed, it has avoided making a facsimile of a rival’s model, preferring to employ a sizeable dose of blue-sky thinking and create its own highly original composition.

The danger of being highly original is that in the pursuit of style, some practical considerations can be overlooked, however, no such issues afflict this model. The AIKON Master Grand Date displays the hours, minutes, seconds and date in a clear, intelligible form. With some ingenious engineering, Maurice Lacroix has endued this watch with a highly legible large date display. Furthermore, the watch delivers a spectacular theatrical performance with the pallet lever and escape wheel in conversation and the balance wheel pirouetting clockwise and counterclockwise.  

Another endearing characteristic of this model is the optimised arrangement of each dial element. The Swiss marque has positioned each indication such that it delivers a harmonious appearance. Moreover, a benefit of the 45mm case is that it affords sufficient room for each of the model’s indications.

Perrelet has recently released the LAB PERIPHERAL 3-Hands & Date, offered in four distinct iterations. Carl Eady reviews this latest creation and also delves into the world of Perrelet, a brand with its own unique design codes and fascinating history.

Introduction

Abram Louys Perrelet (widely known as Abraham-Louis) was born in Le Locle, Neuchâtel in 1729. His father was a farmer and a talented craftsman who was known to have made quality tools for watchmakers. Abraham-Louis’s ambitions, however, lay way beyond woodworking and toiling the land. In his teens, he embarked on an apprenticeship with a local watchmaker named Prince. This brief encounter proved frustrating for Perrelet, in part due to his employer’s questionable work ethic. It did, however, ignite such a desire in him that he embarked on a journey to become a watchmaker in his own right. His natural aptitude, innovative creations and technical prowess won him the respect of his peers and, in turn, an illustrious clientele. 

It is for his work as one of the founding fathers of automatic watches that Perrelet will forever be remembered. His ground-breaking invention utilised a side weight to create power from motion and he is widely credited with being the first watchmaker to create the self-winding watch back in 1777. News of Perrelet’s work spread throughout Europe and it wasn’t long before the great Abraham-Louis Breguet heard of his invention and acquired a number of his watches. Another watchmaker, Hubert Sarton from Belgium, improved on Perrelet’s invention and was the first to supply accurate drawings and a full description of a self-winding watch with a rotor, rather than just a weight-driven mechanism. Breguet used elements from both designs to further his own watchmaking knowledge, successfully marketing his new pieces as ‘Perpétuelle’. Given the era, all of these ingenious movements were housed within pocket watches. Indeed, it was 1926 before the first wristwatch with an automatic winding rotor appeared at Baselworld when Fortis announced their Harwood Automatic.

In the early 90s the name of Perrelet was revived. Enlisting the help of Paul Gerber, a Master Watchmaker from The Académie Horlogère des Créateurs Indépendants (AHCI), the company set to work on the concept of a dial side / double rotor to celebrate Perrelet’s illustrious heritage. The first pieces produced by the new Maison appeared in 1995 and, despite their merit, stiff competition and high development costs contributed to financial difficulties. Eventually, Perrelet was saved by the intervention of Miguel Rodriguez of the Festina Group, who acquired Perrelet in 2004. New models ensued including an array of complications such as retrogrades and jumping hours as well as the release of a new double-rotor. Perrelet had a wealth of supporting sister brands all under the Festina banner, including the highly regarded movement manufacturer, Soprod. Today, the name Perrelet is held in high esteem, creating high quality watches encompassing contemporary designs.  The brand’s collections usually sit at the more affordable end of the luxury market, save for a few occasional excursions into costlier, five-figure creations such as the Turbine Tourbillon.

The ‘LAB PERIPHERAL DUAL TIME BIG DATE’ was launched in October 2021. Now, the brand has followed up with four iterations of its latest creation, the ‘LAB PERIPHERAL 3 HANDS & DATE’. This new model delivers innovative styling and uniquely animated dials, reinforcing the brand’s commitment to ‘Luxury in Movement’.

Case

The case of the Perrelet ‘LAB PERIPHERAL 3-HANDS & DATE’ is available in a choice of two finishes, stainless steel or stainless steel with a razor grey PVD coating. The latter option appears more contemporary and slightly edgy. Measuring 42mm x 42mm, the model has masculine proportions, while the cushion shape delivers a palpable sense of refinement.

The watch’s luxury credentials are enhanced by a three-part stepped construction. An octagonal bezel sits atop the case and encompasses contrasting brushwork and high polish. Despite its multiple layers and intricate profile, the watch is not unduly thick, measuring 13.5mm in height.

When viewed from the side, the case band features a fluted design which leads boldly to the short but nicely faceted lugs. On the reverse, the Perrelet ‘LAB PERIPHERAL 3-HANDS & DATE’ includes an exhibition caseback, affording sight of the movement within.

Movement

With a casual glance through the caseback, it would be easy to mistake the Calibre P411 for a hand-wound movement given there appears to be no visible rotor. However, as seen with previous models, Perrelet celebrates this component on the dial side of the watch. The three rhodium plated bridges and balance cock are finished to a high standard, with a degree of bevelling and nicely executed Côtes de Genève.  Underneath the exposed golden balance wheel, the movement affords a glimpse of the rhodium finished baseplate with perlage decoration. 

Beating at 4Hz (28,800 Vph), the 30 jewelled P411 movement also features ‘Incabloc’ shock protection, conferring a degree of sports watch robustness.

Dial

The dial embraces a unique design with a sea of multi-layered monochromatic concentric circles.  The central base of the dial features fine vertical striping and the two coloured variants are complemented by an outer ring in either sandblasted black or brushed silver. Luminescent hour markers sit atop the outer ring and project over a channel accommodating the oscillating weight. It is this latter detail which proves especially captivating as the rotor moves to and fro as it harnesses energy from the motion of the wearer’s wrist. 

Like many of its previous collections, Perrelet has placed the automatic winding rotor on the dial side, appearing so inconspicuous that you could be forgiven for missing it until it bursts into life and moves. The previously mentioned channel is circular brushed while the oscillating weight is embellished with a motif of diagonal lines granting a sense of dynamism to proceedings.

Despite sporting many layers, each complements the other, bestowing a harmonious composition. Excellent legibility is assured, courtesy of the bold silver-toned hands filled with a generous helping of Super-LumiNova.

Strap

To secure the Lab Peripheral, Perrelet has selected a black calf leather strap enlivened with contrasting white stitching. To heighten the overall perception of luxury, the strap is adorned with an alligator pattern.

A stainless steel deployant clasp makes for easy fastening. When opening the clasp, the wearer is indulged with the sight of attractive areas of perlage. The crown features the brand’s Perrelet ‘P’ logo, presented in relief.

Closing thoughts

As the popularity of wristwatches continues to increase, the shrewdest of brands look for ways to differentiate themselves in what appears to be a saturated market. Perrelet has successfully created a point of differentiation by bringing the winding rotor to the dial side of the watch. Indeed, this provides a wonderful dose of animation to the dial and a fabulous sense of fun. When coupled with the floating hour markers, and the multi-layered and textured dial components, Perrelet has created a fabulous design that is likely to endure and prove commercially successful. Furthermore, the model’s keen pricing allows it to comfortably breathe within the affordable luxury watch segment. Quite simply, this watch delivers a lot for a comparatively modest sum.  

Following on from the launch of the Alpine Eagle in 2019, Chopard has released a new addition to the collection, the Alpine Eagle Cadence 8HF which, as its name implies, is endowed with a high-frequency movement. Since releasing its first high-frequency movement in 2012, Chopard has amassed much expertise in this field, especially with using silicon components. With the advent of this latest model, Chopard has delivered another sublime creation.

Often when I am relaxing at home, my faithful cocker spaniel, Oscar, is close to my side. On several occasions, while watching the television, happy and relaxed, Oscar springs up and commences barking, seemingly for no reason. However, some moments later my front doorbell rings and I discover yet another Amazon delivery left on my porch. The human ear cannot hear sounds above 20,000 Hz, whereas a dog can hear sounds between 40Hz and 60,000 Hz. Clearly, Oscar’s ability to hear much higher frequencies proves very useful.

In the world of mechanical watches, the word frequency is typically employed when discussing the cadence of the balance. The balance wheel, part of the escapement, oscillates to and fro. The frequency of many modern-day mechanical movements is 4Hz which means the balance makes 4 oscillations per second or 8 semi-oscillations (vibrations) per second. Sometimes, watch brands express the frequency in vibrations per hour (Vph), hence the frequency of a 4Hz movement is sometimes expressed as 28,800 Vph.

High-frequency movements – the benefits

Most watches have a frequency of between 2.5Hz and 4Hz, however, a few movements operate at a higher frequency. Often when discussions turn to high-frequency movements, most people cite superior precision as the raison d’être for their use, however, this explanation is a tad simplistic.

When a normal movement (with a regular frequency) is subject to an impact, the metronomic behaviour of the balance may be interrupted, potentially impairing precision. If the balance wheel rotates at a higher frequency, any shock that the watch is exposed to will have less effect. Moreover, when the frequency of the balance is temporarily out of specification due to an impact, it will return to its isochronous rate more readily. If the regulating organ is isochronous it will run at the same rate ie each oscillation will be the same length. Sometimes this is termed ‘rate stability’

When a high-frequency watch is worn, the influence of positional changes will be ameliorated.

So yes, a high-frequency movement will prove more precise or, as most experts prefer to say, high-frequency movements deliver superior chronometry. 

High-frequency movements – the challenges

So, why don’t all watch companies fit their watches with high-frequency movements? Quite simply, there are several technical obstacles that have to be surmounted.

With a high-frequency movement, the pallet-lever makes contact with the escape wheel more often. This may lead to greater wear and the lubricants are more likely to be displaced due to the increased speed of said parts.

Another challenge facing watch brands is high-frequency movements can create more friction and often quaff high amounts of energy, culminating in the watch having a shorter power-reserve.

High-frequency movements – Chopard’s expertise

In 2012, Chopard unveiled a limited-edition model, the L.U.C 8HF. It was a delightful fusion of classic details, such as dauphine-type hands and triangular hour markers, with contemporary elements such as an asymmetrically-positioned small second display along with tasteful red accents on the dial. However, the pièce de résistance was the model’s movement, the L.U.C 01-06-L featuring cutting-edge silicon technology, sometimes referred to as ‘silicium’ in Switzerland.

Since the advent of Chopard’s first high-frequency movement, the Maison has returned to silicon technology on three further occasions, the most recent being with this new model, the Chopard Alpine Eagle Cadence 8HF.

Silicon has been widely used in the semiconductor industry for some time, however, in recent years it has also been adopted by a number of watch companies. This material is produced in laboratory-type conditions eg a dust-free environment. A benefit of this approach is incredible consistency when making parts.

This glass-like material is not liable to corrosion nor is it affected by magnetism. Moreover, silicon is unaffected by changes in temperature. It can also be made into elaborate shapes that were previously impossible to realise. This has allowed watch brands to make components with optimised geometry, delivering tangible benefits.

In this instance, Chopard has used silicon for making several components that form part of the escapement. These parts include the pallet lever, escape wheel and impulse pin. The relentless motion of these parts ordinarily leads to high levels of friction, especially when the cadence of the balance is also high. With silicon components there is a welcome absence of friction, culminating in virtually no wear. Moreover, the absence of friction means there is no requirement for lubricants, obviating problems with oil consumption or the degradation of lubricants.

Lastly, silicon parts are light, hence when they are in motion, less energy is consumed. This is manifest with the Chopard 01-12-C, the self-winding movement at the heart of the Alpine Eagle Cadence 8HF. Despite the high-frequency of the balance, this movement has a prodigious power-reserve of 60 hours.

The Alpine Eagle – an introduction

In the second half of 2019, Chopard unveiled a new sports watch, the Alpine Eagle. At the time of its launch, the model was offered in two sizes; 36mm and 41mm. In addition, would-be wearers were indulged with a choice of several references housed in a choice of Lucent Steel A223, Lucent Steel A223 and ethical 18-carat rose gold or, the ultimate expression of Alpine Eagle ownership, an ethical 18-carat rose gold case and bracelet pairing.

Back in 2019, I visited the company’s sites at Fleurier and Geneva and viewed the production of the movement as well as the making of the case and bracelet (habillage). The reports from my visit provide a detailed behind-the-scenes look at the making of the Alpine Eagle as well as information about the curiously sounding Lucent Steel A223.

Since its successful launch, Chopard hasn’t sat on its hands. It released a chronograph model in 2020 and now it’s just launched a new version featuring the aforementioned high-frequency movement, the Chopard Alpine Eagle Cadence 8HF.

The dial 

At first glance, the dial looks identical to the inaugural 41mm version of the Alpine Eagle, however, a closer look reveals some subtle differences. Upholding the design language of earlier models, the brass dial features numerous gently curving lines emanating from the centre of the dial, inspired by the appearance of an eagle’s iris. However, in this instance, the dial is dressed in a sophisticated shade of ‘Vals Grey’. Apparently, Vals, located in the Swiss canton of Graubünden, is known for quarrying grey quartzite, a material used for construction.

The rhodium-plated hour and minute hands, along with the hour markers, are painted with Super-LumiNova. They share the same design as previous iterations of the Alpine Eagle, save for one subtle difference. On the new Chopard Alpine Eagle Cadence 8HF, the Roman numerals positioned at 3, 6 and 9 o’clock have been supplanted with simple rectangular batons. I liked the previous dial design, but somehow, this minor change makes the horological vista appear slightly cleaner. The central sweep seconds hand continues to have an ‘eagle feather counterweight’ as well as a date indication at 4:30.

This watch plays with subtle details to differentiate it from its older siblings while perpetuating the Alpine Eagle’s reputation for seemly styling. Below the brand’s nomenclature, the frequency of the balance is shown adjacent the word ‘Chronometer’, a detail I will return to later. The brand’s arrow-shaped logo is positioned at 6 o’clock, reaffirming this is a high-frequency watch from the Manufacture. This latter detail shuns any vulgar use of colour, simply residing on the dial, tasteful and unassuming.

Lastly, the ‘regular’ Alpine Eagle features a crisp minute track, comprising 60 near marks, located atop the flange encircling the dial. On the new Alpine Eagle Cadence 8HF there are 180 white strokes. This latest Alpine Eagle feels special. Indeed, with just 250 pieces being made, scarcity is assured.

The case

This limited-edition model is housed in a 41mm Grade 5 titanium case. This lightweight alloy is not liable to corrosion is anti-magnetic. It’s also very strong and hypoallergenic, ideal for those individuals with sensitive skin. Grade 5 titanium is costlier than Grade 2 titanium, but it proffers superior strength and, unlike its cheaper counterpart, it can be polished to a brilliant gleam.

Whereas some steel cases are stamped, those made of Grade 5 titanium are usually made using a CNC machine (computer numerical control). This heightens production costs, hence the lightweight alloy is normally the preserve of high-end watches.

The bezel is secured with 8 screws with each of the heads neatly echoing the profile of the dial. The upper surface of the bezel is vertically brushed whereas its sloping sides are highly polished. Chopard has repeatedly juxtaposed vertical satin-brushed and polished surfaces throughout, something which is clearly evident on the caseband.

In the feature I wrote in December 2019, covering the habillage of the inaugural model, I provided a detailed insight into the making of the watch’s bracelet. Aesthetically, the bracelet of the Chopard Alpine Eagle Cadence 8HF looks the same as the ‘regular’ model, with its polished central row projecting beyond the neighbouring rows. However, the bracelet on this new model is made of titanium, mitigating the overall weight of the watch, thereby, delivering impressive levels of wearer comfort.

The steel crown is of the screw-down variety, contributing to the model’s useful 100 metre water resistance. The vertical flank of the crown is adorned with a compass rose motif. Finally, to the rear of the watch, a pane of sapphire crystal, marked with the words ‘Cadence 8HF’, allows the wearer to view the movement.

The movement

In addition to my earlier discussions relating to high-frequency movements and Chopard’s use of silicon for certain parts of the escapement, there are several other aspects relating to the Chopard 01-12-C, worthy of discussion.

The silicon escape wheel is a highly unusual design in that it features numerous teeth. By adopting this design, the escape wheel rotates less when engaging with the pallet lever, thereby, reducing energy consumption. While some brands have also used silicon for hairsprings, Chopard has used an Iron-Nickel-Chromium alloy, a specification that is widely used within the watch industry with great success.

Despite the modernity of this watch, some traditional details endure. For example, the mainplate is adorned with perlage. However, the bridges shun the ubiquitous Côtes de Genève motif in favour of a contemporary colimaçon-type finish.

The watch is a certified chronometer, independently tested by the Official Swiss Chronometer Institute (COSC).

Closing remarks

I fell under the spell of the inaugural Alpine Eagle back in 2019. It admirably fulfils the role of sports watch, but, with its case and bracelet made of Lucent Steel A223, it also feels luxurious, making it a worthy accompaniment to a black-tie ensemble.

The new Chopard Alpine Eagle Cadence 8HF shares the same highly legible dial design as the 2019 release, albeit there are some minor differences. However, this merely serves to demonstrate that there was little wrong with the ‘regular’ model. The Vals Grey dial looks particularly beautiful and is specific to the 8HF model. Chopard has delivered both day-to-day practicality and an abundance of style.

Likewise, the case and bracelet showcase the Manufacture’s talents. Each surface, facet and flank is incredibly refined with vertically brushed and polished surfaces sitting in concert. There is a welcome absence of sharpness and, consistent with the standard Alpine Eagle, a gentle interaction with the wearer’s skin. 

Beyond practical considerations of the 8HF, it looks handsome from all angles.

However, all roads lead to the movement, or, more specifically, the high frequency of the balance. There are many reasons to recommend high-frequency movements, all coalescing around the notion of chronometry. The Chopard 01-12-C has been subjected to the scrutiny of COSC and, most notably, it’s a certified chronometer.

The NOMOS Glashütte Club Sport neomatik 42 date blue is the brand’s latest divers’ watch. Sporting a blue dial and equipped with a sumptuous bracelet, this new reference looks different from its forebears whilst remaining unequivocally a NOMOS. Angus Davies provides an insight into the brand and goes on to describe what makes this watch wonderful.

The start of my romance

In the traditional world of watchmaking, several brands have been in operation for over 100 years. Indeed, the history of some brands exceeds 200 years. NOMOS Glashütte, on the other hand, was founded in 1990, just over 30 years ago, making it relatively young by comparison. However, despite its youth and modest origins, the company has since become ‘the largest manufacturer of mechanical timepieces in Germany’. So, what is the secret to the brand’s rapid ascent and remarkable growth? Allow me to explain.

My romance with NOMOS began in 2011. Whilst attending an exhibition, I discovered the brand for the first time and I recall being immediately smitten. Each model I appraised between forefinger and thumb was beautifully understated and endowed with a pristine white dial. Moreover, unlike many of the German firm’s rivals which often used third party movements, the NOMOS models on display were fitted with the brand’s own in-house movements. And then, there was the matter of value. The watch firm from Saxony was offering beautiful timepieces for remarkably keen prices.

Commentators at the time talked at length about the brand’s predilection for Bauhaus design. However, the composition of each watch also subscribed to the traditions of the Deutscher Werkbund. This latter movement harks back to 1907. It united craftspeople, artisans and architects in the pursuit of one common objective, namely, combining good design and craftsmanship when making mass produced goods and architectural structures.

Such was my affection for NOMOS and its products, I brought them to the attention of my wife and daughter. When their respective birthdays arrived, I duly gave them a Tangente model each. On a couple of occasions, I have purchased a replacement strap for each watch, but otherwise, they have never missed a beat, serving both my wife and daughter admirably.

Design

NOMOS is known for producing watches that successfully blend form and function. Indeed, part of the attraction of models such as the Ludwig, the Orion and the Tangente is that they eschew any unnecessary adornments, conversing with the wearer with a highly intelligible voice.

However, perhaps wishing to avoid being typecast, NOMOS has also unveiled new models which look different from their forebears. The Lambda and Lux, housed in gold cases, feature high-end finishing and even have some hand engraving adorning their balance cocks. With the advent of these models, NOMOS informed the watch collecting community that it was not limited to making just one genre of watch, but potentially several.

In 2014, NOMOS unveiled the Metro Date Power Reserve, a watch style conceived by external designer, Mark Braun. Again, it was different from its siblings, courtesy of the judicious inclusion of white, red, black and mint-green hues. On one hand, the Metro looked new, yet it was still recognisable as a NOMOS. In my opinion, this has contributed to the NOMOS success story, ie creating watches that look new, but reassuringly familiar at the same time.

When the first Autobahn left the confines of the company’s Glashütte Manufactory and burst onto the watch scene, I freely admit I was shocked. The model displayed hours, minutes, small seconds and the date. However, with its concave dial and centrally positioned, curved band of colour, the Autobahn was, and remains, radically different from any other watch on the market and yet, somehow it still looks like a NOMOS. 

Interestingly, the caliber DUW 6101 is at the heart of the Autobahn, a self-winding movement that is now widely used in numerous references. Ordinarily, the date display on most watches should not be adjusted between 2000 hours – 0300 hours ie a 7-hour window (model dependent). However, with the caliber DUW 6101, there are just 90 minutes each day when the date must not be altered. Moreover, the 3-position crown allows the wearer to rotate it in either direction and perform rapid date changes. As well as the Autobahn neomatik, the caliber DUW 6101 also features in the Ludwig neomatik and Tangente 41 Update. Both of these latter models also feature a date display, albeit they are presented in different forms. The date disc is positioned to the outer edge of the movement and, in turn, the outside edge of the dial. This has allowed NOMOS to include a larger than normal date display, augmenting readability.

In recent years, NOMOS Glashütte has changed the perception of the watch-buying public. No longer is the company viewed solely as a purveyor of monochrome designs. Today, the German marque is also a keen advocate of ebullient shades, sometimes adding liberal splashes of luminescent treatment to a dial design, proffering extra eye-appeal and lucidity. Moreover, the Saxony-based firm has been willing to play with contours, placing indications in non-standard locations.

Quite simply, NOMOS is a multi-talented company that can play many roles with aplomb. Indeed, its design prowess has been recognised on several occasions with the award of many prizes and silverware. 

Club Sport neomatik 42 Date Black

When NOMOS Glashütte released the Club Sport Neomatik 42 date black, again I was surprised. Save for the Tangente Sport, most versions of the Tangente have tended to look lean, somewhat dressy and are usually water-resistant to 3 ATM. The Club Sport Neomatik 42 date black sets aside the stylised Arabic numerals of the Tangente, still exhibits a degree of formality, albeit it’s more lounge suit than black tie, and, most notably, it’s water-resistant to 30 ATM.

The dial of the neomatik 42 date black is dressed in a brooding, sultry shade of black, the polar opposite of the chaste-white complexion synonymous with Tangente ownership. Furthermore, the Horween Shell Cordovan strap that’s extensively used by the brand is supplanted with a new metal bracelet. 

Some time after its release, my colleague, Mark McArthur Christie, wrote extensively about this watch. In his feature it was clear he felt genuine affection for the model.

Now, the German marque is back with another new reference, the NOMOS Glashütte Club Sport neomatik 42 date blue. Recently, I was provided with a sample of the model and had the opportunity to get hands-on.

Club Sport neomatik 42 Date Blue – the dial

Many watch brands release ‘animations’ of existing models. A simple change of dial colour and ‘voila’, a new reference. Well, as its name implies, this latest model from NOMOS has a blue dial, however, it brings much more to the table than this may imply. Allow me to elaborate.

Like the Club Sport Neomatik 42 date black, the hands are broad and lined with luminescent treatment. The hour track features a combination of plump Arabic numerals and crisp rectangular batons. Consistent with the hour and minute hands, the hour markers have also received a liberal application of Super-LumiNova. A minuterie sits just beyond the hour track, hugging the interior walls of the case. NOMOS has employed a combination of svelte white strokes marking each minute, while Arabic numerals, in a two-digit format, are presented at 5-minute intervals.

A snailed, recessed subdial, sits at 6 o’clock while a date display is located at 3 o’clock. With many watch brands the ‘bean-counters’ dictate that one date disc should fit all. However, NOMOS has clearly rejected such penny-pinching, choosing to match the date disc with the colour of the dial as horological etiquette dictates. Moreover, the scale of the date display would rival some so-called ‘big date’ displays which utilise two date discs. Indeed, the readability of the date on this latest model is beyond reproach.

Unlike Club Sport neomatik 42 date black, the dial on this version is endowed with a prominent sunburst motif. In my opinion, this provides an additional dose of elegance to proceedings. 

Club Sport neomatik 42 Date Blue – the case

Measuring 42mm in diameter, the NOMOS Glashütte Club Sport neomatik 42 date blue has presence but without being cumbersome. There are watches on the market which have greater water-resistance, but invariably they come with additional bulk. An attribute of the NOMOS is that its construction and water-resistance of 30 ATM confer a high degree of robustness and practicality whilst remaining genteel and tasteful.

A significant improvement found with this model is the introduction of a new 3-rows bracelet. The German firm has juxtaposed polished and brushed surfaces throughout the case, extending this approach to the bracelet as well. The central row evinces a brilliantly polished gleam, heightening the overall sense of luxury.

I found some of the early NOMOS bracelets a tad fiddly to put on and adjust, however, no such criticisms can be directed towards this latest model. It’s fitted with a twin-blade deployant and the clasp closes with a reassuringly positive click.

The crown is equipped with a wonderful detail. When it is pulled out, for example when changing the date, a red circlet comes into view, reminding the wearer to push the crown home afterwards in order to prevent ingress of dust and moisture. The brand from Saxony always seems to pay close attention to the minutiae.

To the rear of the watch, the caseback is equipped with a pane of sapphire crystal, affording views of the self-winding movement.

Club Sport neomatik 42 Date Blue – the movement

This latest model is fitted with the Caliber DUW 6101, a self-winding movement that appears in several of the brand’s models. As stated earlier, this is an in-house movement featuring the brand’s neomatic date mechanism. The system allows the wearer to rotate the crown in either direction and make rapid date changes.

Upholding Glashütte tradition, the movement features a three-quarter plate. This approach confers greater stability when contrasted with multiple bridges. In a similar vein, the NOMOS features a balance bridge, secured at two points, rather than a balance cock retained with just one screw.

The three-quarter plate and balance bridge are rhodium-plated and adorned with Glashütte ribbing. They also feature golden text and thermally blued screws, while the mainplate is embellished with perlage.

An interesting characteristic of the Caliber DUW 6101 is its slender profile, measuring just 3.6mm in height, affording the brand more options when incorporating it within other watch designs. Indeed, by using the same movement in several references, NOMOS is able to achieve economies of scale, allowing the firm to deliver an impressive quality-price ratio.

Throughout its history, NOMOS has strived to be increasingly independent. In 2014, the German brand unveiled the Metro, powered with a movement containing the NOMOS ‘swing system’. This latter term is used to describe the escapement or assortment. This mechanism controls the flow of time, releasing precise doses of energy to the gear train and ultimately the motion works.

Most companies purchase escapements from third-party specialists, however, NOMOS chose to embark on a difficult journey by creating its own ‘swing system’. One of the most challenging components to make is the balance spring as it must deliver rate consistency and remain unaffected by temperature changes. When making balance springs, the tolerances are measured in nanometers (1nm = 0.000001mm). Needless to say, production processes must be strictly controlled.

Moreover, the balance spring has to work in empathy with the balance wheel, hence the technical challenges don’t simply end with the balance spring. Indeed, every element of the swing system has to be carefully considered and designed to work in harmony.

Another factor that contributes to the overall slenderness of the Caliber DUW 6101 is the design of the gear train. When it developed this movement, NOMOS looked closely at the various movement components, including the gear train. Comprised of several wheels, the gear train transfers energy from the spring barrel to the escapement. Most gear trains are not very efficient. Indeed, the industry average is approximately 80% efficiency. In order to compensate for this loss of power, the norm is to equip the movement with a larger barrel, however, this makes the movement bigger. 

NOMOS expended much effort looking at the order, angle and number of teeth on each wheel of the gear train, keen to improve its efficiency. Ultimately, the brand’s work led to a gear train efficiency of 94.2%. This allowed the brand to fit a smaller barrel and, by default, reduce the height of the movement. While the NOMOS Glashütte Club Sport neomatik 42 date blue is hardly ultra-thin, measuring 10.2mm in height, the slender profile of the Caliber DUW 6101 makes the movement suitable for use in a number of watches, including some of the brand’s slimmer timepieces.

Closing remarks

In recent years, NOMOS has shown a desire to explore its creativity, unveiling new designs which often incorporate delightful idiosyncratic details. However, despite sometimes embracing avant-garde styles and playfully employing vibrant shades, the German firm cleverly innovates new models which still retain a family likeness.

Irrespective of the model selected, all NOMOS timepieces exhibit notable style, the dials clearly enunciate the time and each movement is always endued with a high level of mechanical integrity. While NOMOS makes a number of different calibres, it has incorporated the Caliber DUW 6101 within several references and I suspect this is one reason why the brand delivers an impressive quality-price ratio.

A few weeks ago, I wrote about the DuBois et fils DBF007, focussing on its case, vintage movement and design. I also touched on what constitutes a ‘Swiss Made’ watch. Recently, I had the opportunity to get ‘hands-on’ with three versions of this new model and I relate my observations herein.

Over the years, I have handled a number of watches produced by the Swiss brand, DuBois et fils. There is a reoccurring theme with this company’s products, namely, a palpable quality that can be readily discerned with an outstretched index finger or an inquisitive eye.

The brand does not compete in the rarefied world of Haute Horlogerie, its middle-of-the-road prices preclude such an approach. However, when it comes to delivering a high quality-price ratio, Dubois et fils, led by its charismatic CEO, Thomas Steinemann, has an impressive track record.

There have been occasions when I’ve seen a rival’s watch and superficially it has appeared better value for money, however, close examination of the materials used invariably reveals they lack the same virtue. Furthermore, DuBois et fils places much importance on a Swiss watch being, well, primarily Swiss.

A few years ago, DuBois et fils chose to equip the DBF004, a new model at the time, with a vintage movement, the Calibre Record 662. It set the brand on an interesting course, utilising ‘new old stock’ movements. Later, the Swiss Maison equipped its DBF006 model with a period Felsa Calibre 4007N and simultaneously introduced the watch buying public to the idea of tokenisation. This proved incredibly popular and the company has now repeated this approach with the sale of 330 examples of an Adolf Schild movement dating back to 1960. It is this latter movement which sits at the heart of the new DuBois et fils DBF007, the focal point of this article.

The dial

The DuBois et fils DBF007 is the brand’s first divers’ watch. This is a popular horological genre among horophiles, even though few buyers will ever wear a neoprene ensemble nor engage in subaquatic pursuits. However, before dismissing the divers’ watch as irrelevant, it is worth noting that, with few exceptions, most divers’ watches prove simple to read, have a useful degree of water resistance and tend to be exceptionally robust. On reflection, the reasons for purchasing a divers’ watch prove compelling.

During my time with Thomas Steinemann, he presented three variants of the brand’s divers’ watch, namely, bronze (DBF007-01), stainless steel (DBF007-02) and stainless steel with a PVD treatment (DBF007-03). While each reference has its own unique look, the family likeness is clear to see.

Upholding the divers’ watch remit, the DuBois et fils DBF007 delivers peerless legibility. The hour and minute hands are plump and employ a unique and distinctive profile. Although the edge of both hands matches the case material, most surfaces of the hands are suffused with Super-LumiNova, aiding readability in restricted light conditions. Personally, I like how the sharp tip of the minute hand kisses the minuterie with laser-like precision. There is no ambiguity, everything is expressed with sublime lucidity.

The central sweep seconds hand is svelte, pointing to the various markings on the minuterie. However, despite being a highly practical dial, DuBois et fils has not eschewed style. The counterweight on the seconds hand emulates the appearance of a fir tree, the brand’s logo and a traditional symbol synonymous with the Swiss Jura.

The hour markers are circular and framed with a gleaming metallic border. Furthermore, upholding divers’ watch tradition, they have received a liberal application of Super-LumiNova. The minuterie, positioned adjacent the hour track features crisp, neat markings, facilitating ease of read-off. A date is positioned at 3 o’clock, completing the model’s inventory of functions.

Divers’ watches are typically utilitarian by nature, however, nobody has told DuBois et fils. The dial of this model is enlivened with a sumptuous sunray motif and exudes a notable quotient of elegance. Put simply, DuBois et fils demonstrates that a divers’ watch can be practical and look sophisticated at the same time.

The case

When it comes to professional divers, watches are often worn over the sleeve of a wetsuit. They may wear a watch that is water-resistant to 2000m and fitted with a helium valve. These timepieces are designed for serious deepwater action, however, such watches are best described as ‘horological leviathans’ and prove unnecessary in most cases.

DuBois et fils, no doubt recognising that most wearers are likely to be ‘desk divers’, has produced a watch that isn’t cumbersome, measuring just 44mm in diameter. And yet, despite its comparative neatness, the DBF007 is robust and water-resistant to 200m, making it ideal for daily wear.

The unidirectional bezel features a ceramic insert and is endowed with beautifully defined knurling around its edge, facilitating manipulation. In addition, the bezel sports a luminous triangular index at noon and is marked with a count-up scale employing a combination of Arabic numerals and simple strokes. Beneath the aforementioned knurling, the sides of the bezel swoop inwards, making it easier to grip.

A bevelled edge hugs the upper edge of the lugs. As the lug emanates from, say 4 o’clock, the bevel narrows, tapering to nothing. This may sound inconsequential, but it is one example, along with a myriad of other features, that demonstrates the brand’s fastidious attention to detail. Throughout its composition, the DBF007 encompasses brushed and polished surfaces, adding a touch of elegance, thereby surpassing the perfunctory approach found with some divers’ watches.

The dial sits beneath a domed sapphire crystal, endowing the watch with a slightly retro appearance. It proves stylish while contributing to the dial’s overall impressive legibility.

To the rear of the watch, DuBois et fils has subscribed to divers’ watch convention, equipping the DBF007 with a solid caseback. In this instance, the caseback is stylishly engraved with a crest incorporating three fir trees standing to attention.

The bronze version of the DBF007 is supplied on a tan calfskin strap paired with a gold-plated polished and brushed clasp. Both the steel and steel-PVD options are presented on black rubber straps with matching steel or steel-PVD clasps.

The movement

In my previous feature, I talked extensively about the Calibre AS 1895, however, in this article, I wish to supplement this information with some additional details.

Ordinarily, at this stage of a detailed watch review, I would discuss the finishing of the movement, but the Calibre AS 1895 is different. The self-winding movement is not decorated with mirror-polishing nor does it feature hand-bevelled bridges. Quite simply, when the Calibre AS 1895 was made in 1960, robustness and day-to-day reliability were the order of the day. Indeed, the movement was clearly intended for use in watches made for manual workers. Moreover, unlike many modern-day watches that require servicing every 3 – 5 years, the Calibre AS 1895 was designed to go much longer without seeing the watchmaker’s bench. As a result, the Calibre AS 1895 was widely revered within the watch industry in the 1960s and was used by the likes of Blancpain, Girard-Perregaux and Tudor.

The movements employed within the DBF007 are referred to as ‘new old stock’, meaning they have remained unused since their production some 50 years ago. DuBois et fils has subsequently overhauled, revised and regulated these movements. The Swiss brand has not added additional finishing, preferring to retain the movement’s original character.

The frequency of the balance is 21,600 Vph (3Hz) and the movement contains 25 jewels. Assuming the watch is fully wound, it will run autonomously for 42 hours.

Closing remarks

As mentioned in my previous article, the Swiss brand commissioned freelance designer, Stephan Messmer, to design the DBF007 and the results speak for themselves. A quick glance reveals this is an accomplished design which not only admirably fulfils the remit for a divers’ watch but proves exceptionally handsome. Furthermore, with prolonged examination, a plethora of exquisite details comes to the fore. It is these refined aesthetic details which help deliver ownership delight, making the model ideally suited to daily wear.

The Ferdinand Berthoud Chronomètre FB1.4-3 was recently unveiled at Dubai Watch Week. Angus Davies looks closely at this new model and explains the reasons for some of the watch’s many technical features.

Introduction

In the annals of horology, some watchmakers continue to stand out as remarkable individuals despite their passing some two hundred years or so ago. Often the interests of these watchmakers encompassed mathematics, physics and astronomy. Indeed, in the 18th century, the upper echelons of watchmaking were frequented by intellectuals whose sphere of reference would invariably extend beyond mere clocks and watches.

Personally, my watchmaking heroes remain Ferdinand Berthoud, Abraham-Louis Breguet, and, lastly, Antide Janvier. These men conceived wholly original ideas, sketched components on paper and fabricated parts with primitive equipment. This was an age that pre-dated computer-aided design, 3D printing and CNC machines, yet many of the inventions that were conceived by the aforementioned horological triumvirate have never been surpassed.

In 2006, Karl-Friedrich Scheufele, Co-President of Chopard acquired the rights to the Ferdinand Berthoud name. This represented a huge coup for Mr Scheufele, an avid admirer of Berthoud. In fact, Mr Scheufele personally owns several examples of Berthoud’s work, many of which are held at his private museum at the Chopard Manufacture in Fleurier.

I suspect Mr Scheufele, having acquired the Ferdinand Berthoud name, felt a huge sense of responsibility. To create a mediocre watch bearing the great man’s name would have been sacrilege. Only an exceptional creation would suffice.

The revival of the Ferdinand Berthoud name and the brand’s inaugural model

In 2015, nine years after acquiring the Ferdinand Berthoud name, I attended the launch of the brand’s inaugural model. At the time, Mr Scheufele wanted to create a contemporary timepiece which ‘Ferdinand Berthoud might have created if he was living now.’ The industry veteran did not disappoint the assembled commentators.

The Ferdinand Berthoud Chronomètre FB1 was offered in two variants, one housed in 18-carat white gold and titanium (later called FB1.1) and the second in 18-carat rose gold and black ceramic (subsequently named the FB 1.2). Each watch proved stunning both aesthetically and technically. Looking back, I wrote that the FB1 was my favourite watch of 2015.

Innovation and new product development

Following the unveiling of the FB1, I could not help but wonder what the brand would do next. After all, the market for watches operating within this price segment was, and remains, comparatively small, potentially inhibiting innovation and new product development.

Ferdinand Berthoud employed an interesting strategy. It released new models which subscribed to a similar design language to that of the FB1 of 2015, save for the dial and movement designs which were radically different. The sequel, Chronomètre FB1R, was unveiled at SIHH 2018. Thereafter, In 2019, the high-end Manufacture released the Chronomètre FB1L.

In between releasing entirely new models, Ferdinand Berthoud also revisited its existing references, offering what some brands would term ‘animations’. However, the changes went beyond a new dial colour. The brand employed different materials for the case and dial, alternative hues, gem-setting and other artistic crafts.

And then, just as you thought you knew the direction the brand was taking with the styling of its products, it unveiled the Chronomètre FB 2RE (2020). With this model, the Maison eschewed the octagonal case profile, favouring a new round case. This housing did not supplant the eight-sided case, it was merely an addition to the company’s portfolio.

Earlier this year, the creative minds at Ferdinand Berthoud conceived the Chronomètre FB RS. Prospective clients were indulged with a choice of an octagonal case or a round case. Interestingly, the Swiss marque chose to endow each variant with a large openworked vista, affording horophiles the tantalising prospect of seeing numerous movement components typically hidden from prying eyes. However, when the finissage is executed to such an exalted level, many commentators would argue, myself included, that it deserves to be seen.

Recently, at Dubai Watch Week 2021 (24.11.2021 – 28.11.2021), Ferdinand Berthoud unveiled another timepiece that disclosed many of its thought processes, the Ferdinand Berthoud Chronomètre FB1.4-3. Indeed, this model, a pièce unique, is endowed with sapphire half-bridges exposing much of the hand-wound movement’s inner beauty.

Ferdinand Berthoud Chronomètre FB1.4-3 – a pièce unique

One glance at the Ferdinand Berthoud Chronomètre FB1.4-3 and the family likeness is apparent. Personally, I feel cohesion is a prerequisite for any watch firm’s collection to prosper in the long term. There should be innovation, but there should be common design elements that link each model. This latest watch, a unique piece, features many distinctive details, but it also possesses a myriad of reassuringly familiar aspects.

This latest watch bears a strong resemblance to the Swiss marque’s initial creation, the Ferdinand Berthoud Chronomètre FB1 (released in 2015). However, there are some eye-catching features that are unique to this model.

The 44mm case is presented in bead-blasted titanium. This material is ultra-light and is not liable to corrosion nor is it affected by magnetism. Another useful benefit of titanium is that it is hypoallergenic, making it ideal for would-be wearers who may suffer an adverse reaction to nickel. When the watch is fully assembled, it weighs a mere 80g, making it remarkably light for any watch, especially one of such complexity.

The inaugural version of the Chronomètre FB1, which remains in production, contains the Calibre FB-T.F.C, a hand-wound movement. It features traditional, pillar-style architecture and the bridges and plates are formed of German silver. In many ways the composition of the Chronomètre FB1.4-3 is similar, save for two principal differences. With this latest model the bridges and plates are rhodium-plated and adorned with various blue details and text.

Despite its obvious modernity, the movement within the Chronomètre FB1.4-3, the Calibre FB-T.FC-2, upholds traditional fine-watchmaking practise, including finely chamfered and sandblasted bevels. The power-reserve indicator, positioned at 9 o’clock, is presented via an aperture. This opening is recessed and includes bevelled edges. In common with all Ferdinand Berthoud creations, all finishes are entirely hand-crafted.

As stated earlier, the movement features three sapphire half-bridges which, in combination with the rhodium-plated bridges and plates, allow light to pass through the tourbillon aperture to the base of the display and flood the dial plane.

Ferdinand Berthoud has judiciously employed blue tones throughout. For example, adjacent the silver-toned dial with its vertical graining, running north to south, sits an off-centre hour and minutes display, dressed in indigo blue. This shade also extends to the blue bead-blasted translucent sapphire seconds track. Lastly, the central seconds hand is formed of bronze and treated with blue CVD.

Ferdinand Berthoud Chronomètre FB1.4-3 – A tour de force

The Ferdinand Berthoud Chronomètre FB1.4-3 is festooned with a cornucopia of technical features. Allow me to elaborate.

Constant force

With a conventional watch, the energy held within the mainspring(s) is sent via the gear train to the escapement and, thereafter, to the regulating organ. When the mainspring is fully wound there may actually be too much energy passing through the gear train. This scenario may cause ‘banking’ or ‘knocking’ which can adversely affect the precision and may potentially damage the impulse pin and pallets. Once the mainspring has relaxed a little, the energy delivered to the escapement is ideal, the amplitude is within the desired range and the movement delivers a high degree of precision.

When the mainspring becomes relaxed, the energy drops and, by default, the rate of the balance increases. This is because the amplitude of the balance is less than the optimal range. Moreover, by moving the watch, especially when holding it in a vertical position, the amplitude will drop further, again making the watch run faster.

The Ferdinand Berthoud Chronomètre FB1.4-3 features a fusée and chain transmission, both suspended with no support underneath. The fusée resembles a cone with a series of grooves or channels arranged along its flank. The chain, comprising 790 links, fully encircles the fusée when the mainspring is fully wound. The profile of the cone is matched to the torque characteristics of the mainspring. As the chain unwinds, less torque is required to turn the fusée, compensating for the relaxed state of the mainspring. Moreover, as the chain unwinds, it migrates from the fusée to the barrel. This system helps to deliver a consistent supply of torque or energy to the escapement.

Furthermore, the barrel is endowed with a Maltese cross stopwork system. This prevents the barrel being fully wound or totally unwound. Indeed, when the torque is represented on a graph, the optimal range is in the centre of the graph where the line is flattest and the energy is the most consistent. By equipping the Chronomètre FB1.4-3 with a Maltese cross stopwork system, any fluctuations in energy within the mainspring are mitigated.

Constant force is a critical factor in these rarefied heights of chronometry.

Tourbillon

The Ferdinand Berthoud Chronomètre FB1.4-3 is fitted with a tourbillon. This system was patented by Abraham-Louis Breguet (1801) as a means of countering the influence of gravity upon the regulating organ.

By placing the escapement and the regulating organ within a lightweight cage that rotates 360° every minute, any potential gains in rate are negated by the losses experienced opposite (180° away).

Interestingly, the watch features a patented system relating to the central sweep seconds hand. A wheel positioned atop of the tourbillon cage is connected to an identical wheel at the centre of the dial. This centrally positioned wheel drives the aforementioned seconds hand.

Power-reserve indicator

The teeth affixed to the barrel are in mesh with a wheel, positioned adjacent. A mobile cone is attached to this wheel interacting with a jewel-equipped feeler, which, in turn, indicates the status of the mainspring.

As is the case with many features on this innovative watch, the mobile cone system is patented.

The balance

Most wristwatches are equipped with an index-adjusted balance. With this means of regulation, the hairspring sits between two curb pins fitted to a ‘raquette’. By moving the raquette towards or away from the ‘stud’, the watchmaker changes the effective length of the hairspring making the watch run faster or slower.

However, the Calibre FB-T.FC-2 is equipped with a variable-inertia balance. In this instance the watchmaker regulates the movement by rotating four inertia blocks, positioned on the four spokes of the balance wheel. This system is far superior to an index-adjusted balance as the watch is less susceptible to positional errors and the rate stability is superior.

Furthermore, by placing the inertia blocks in-board, instead of using traditional timing screws set in the rim of the balance wheel, the balance wheel is more aerodynamic, creating less air turbulence and, as a result, making the movement more precise.

Lastly, the hair spring features a hand-crafted Phillips terminal curve. This feature causes the hairspring to develop more concentrically, improving isochronism and, by default, precision.

Closing remarks

When surveying the many contours and crisp lines that form the anatomy of the Ferdinand Berthoud Chronomètre FB1.4-3, one cannot help noticing the Maison’s remarkable attention to detail. The various colours, depths and textures have been judiciously employed, skilfully enlivening the overall appearance of the watch.

There are several parcels of delight awaiting the onlooker. Personally, I adore the blue toned arrow-shaped tourbillon cock. Every element supplants the perfunctory, demonstrating the brand’s protracted consideration of each component. This extraordinary level of fastidiousness extends to the many exquisitely appointed surfaces, each the product of peerless hand-crafted finishing.

Beyond its aesthetic attributes, an array of technical features contribute to the model’s notable precision. Indeed, the accuracy of the Chronomètre FB1.4-3 is independently evaluated and certified by COSC.

The MeisterSinger Edition Planet Earth upholds the German brand’s fondness for expressing the time with a single hand. However, where this model is different from its forebears is that it features a photo-realistic depiction of the Earth centre stage. Moreover, with every sale, €200 is donated to the World Wide Fund for Nature (WWF). US-based journalist Meehna Goldsmith shares her thoughts on this watch and its philanthropic intentions.

Up until the 18th century, wall and table clocks, church towers and pocket watches only employed one hand to impart the time. In today’s world, we’re are obsessed with measuring the minutest fractions of time. Zenith makes a chronograph measuring increments down to 1/10th of a second, while Tag Heuer claims the fastest at 1/1000th of a second. 

In a world of ever-increasing pace and information overload, Manfred Brasler wanted to revisit a simpler way of tracking time, where every minute and second didn’t have to be accounted for. That’s why 20 years ago he founded Meistersinger with the concept of designing single-hand watches, slowing down life so it can be experienced and savoured.  

MeisterSinger watches are designed to celebrate not only the simplicity and aesthetic beauty of our timekeeping forebears, but also their precision, despite marking time with only one hand. The dial of all the brand’s watches features a longer and more tapered hour hand than conventional renditions and point to precisely placed five-minute markings encircling the perimeter. This layout also references the heritage dial layouts admired by Brasler.  

Recognising that the Earth is facing an environmental crisis, MeisterSinger decided to take action. Inspired by the 26th UN Climate Change Conference in Glasgow operating under the motto ‘Uniting the world to tackle climate change’, it has released the MeisterSinger Edition Planet Earth, bringing focus and support to a crucial cause. Working in close cooperation with WWF (World Wide Fund for Nature), this limited edition of 500 pieces is intended as a reminder of how precious and beautiful our native planet is and our obligation to protect it. MeisterSinger is putting its money where its mouth is by donating €200 of the proceeds from each watch to WWF’s conservation efforts. 

Unsurprisingly, the Edition Planet Earth features a photorealistic picture of the globe in a striking blue colour, which pops front and centre against the black background. In addition, the date is presented on a circlet surrounding said globe, which is a handy little feature, especially if you tend to forget where you are in the month. Guilty as charged over here. 

In line with the environmental theme, the MeisterSinger Edition Planet Earth affixes to the wrist with a vegan watch strap made of apple fibre. Although I haven’t yet seen or experienced an apple fibre watch strap, MeisterSinger claims that it’s identical to real leather in terms of form, function and comfort. In addition, the watch comes packaged in an FSC-certified cardboard box, along with FSC-certified paper. Even the cover cushion is made of recycled velour fabric. 

MeisterSinger is no dilettante when it comes to protecting the environment. It doesn’t just pay lip service by presenting the Edition Planet Earth as a one-off watch. In fact, the whole brand is shifting to an environmentally friendly model of production based on the Edition Planet Earth. Currently, vegan leather straps are available for purchase online and the brand intends to also make its cases sustainable within the year. 

The F.P.Journe Répétition Souveraine is a minute repeater, one of the most technically challenging complications to make. However, consistent with François-Paul Journe’s reputation, this watch is very different from its counterparts. Measuring 40mm in diameter and just 8.6mm in height, the watch is modestly proportioned despite containing 312 movement parts. Angus Davies explores how Monsieur Journe has ‘invented and made’ such a remarkable timepiece.

As any tourist will attest, a suitcase has a maximum capacity. While you can squash your prized designer clothes into a rectangular case employing brute force, perhaps even sitting on your trusty Samsonite when necessary, there is ultimately a limit as to what it will hold. Likewise, in the world of horology, complexity is often linked to case size. Put simply, the greater the number of movement components, the larger the case required.

However, while the aforementioned wisdom applies to most brands, it doesn’t seem to pertain to the watch firm, F.P.Journe. In 2008, the ultra-refined Maison from Geneva unveiled the Répétition Souveraine, a minute repeater with all of the complexity this implies yet housed within a case measuring 40.0mm in diameter and just 8.60mm in height. The housing of the watch plays host to 312 movement parts and yet it’s smaller than many simple two-hand watches. The inevitable question is how can such complexity be accommodated within such a small space? Well, before I answer this question, it may be worth starting with a brief explanation of the minute repeater.

The minute repeater, handcrafted by watchmaking’s elite

There is often a hierarchy in the world of watchmaking. After completing their studies, a watchmaker will begin their professional life working on the simplest of mechanisms. For example, a watch displaying hours and minutes sans complications would be a logical start. As a watchmaker ascends the career ladder, they begin working on increasingly complex movements. With career advancement, a gifted watchmaker will note they will have fewer colleagues in their department. Eventually, the most technical watches, the so-called ‘high complications’ are worked upon by the most gifted few, sometimes sat in solitude.

After the Grand Sonnerie, the minute repeater is technically the most challenging complication to make. Indeed, while tourbillons, perpetual calendars and rattrapantes are notably intricate complications, their complexity pales by comparison with the minute repeater.

The origins of the minute repeater

Wealthy Romans used lamps containing vegetable oil to illuminate the front of their homes to discourage intruders. In the 15th century, the Lord Mayor of London, Sir Henry Barton, decreed that lanterns should illuminate the exteriors of homes during winter months. Later, in the 19th century, coal and gas would provide a suitable means of nocturnal illumination. Paris is said to have been the first place in the world to install electric street lighting (1878), a convenience we now take for granted.

However, while some places were early adopters of street lighting, in various forms, the notion of communal illumination remained rare for many years hence, the minute repeater provided the solution for determining the time in the dark. By actuating a chiming sequence using some form of lever, a pocket watch would aurally convey the time, chiming the hours (low note), quarters (low and high notes) and minutes (high notes).

The origins of the minute repeater can be traced to the early part of the 18th century, when Benedikt Fürstenfelder of Friedberg (circa 1710) created the first example of the complication. This latter town is located in the district of Aichach-Friedberg, Bavaria. Interestingly, it is alleged that several watches made in this town were falsely marked with ‘London’ or engraved with other forms of misleading information. This may have led some commentators to believe that the first minute repeaters were made in London.

The ‘regular’ minute repeater

As stated earlier, in order to actuate the chiming sequence a lever or slide, usually positioned on the caseband, is pulled in one clean step. Not only does this start the chiming sequence, it also winds a dedicated mainspring serving the strike train. As the chiming sequence consumes much energy, it is not usually powered by the mainspring serving the gear train as this would cause the amplitude of the balance to drop, impairing precision.

A centrifugal governor, equipped with two arms, slows the rotational speed of the minute repeater’s mainspring, influencing the period of the chiming sequence. This reduction of the rotational speed is achieved by using two weighted arms which extend outwards as the dedicated mainspring unwinds. The extended arms create resistance, reducing the rotational speed of the repeater’s mainspring, thereby ensuring the tempo of the chiming sequence is not too fast nor too slow.

Traditionally, an anchor governor was used to control the tempo of the chiming sequence, however, these proved noisy, marring the sweet tone of the hammers striking the gongs. Increasingly, modern-day watches employ a centrifugal governor, selected for its silent operation.

A series of ‘snails’ are connected to the motion works which in turn reads the time. Once the minute repeater is activated, ‘racks’ pivot against the snails. There are three racks, one for hours, one for quarters and, finally, one for the minutes. The snails have ‘steps’. The hour snail has 12 steps, the quarter snail has 4 and, lastly, the minute snail has 14. The steps cause the rack to stop at the correct place. The rack springs to life when the strike train is running and continues to move until it engages with the corresponding snail. The racks have ‘beaks’ that match the maximum number of potential hammer strikes. The beaks trip the hammers as they pass causing them to strike the gongs.

Minute repeaters normally feature two ‘gongs’ made of steel wire. The wire is subjected to several heat cycles, quenched in a liquid (often the composition of these liquids remain secret) and then formed into the desired circular shape. Thereafter, the gong is tuned by carefully filing the metal hoop in order to remove infinitesimal amounts of steel. One single gong can take one or two weeks to make, hence great care is needed when filing the steel.

The two gongs are held together with a ‘gong heel’, sometimes termed a ‘plot’. The gongs don’t touch one another, but they are only a few millimetres apart. The gong heel is fixed to the movement and positioned close to the internal walls of the case, thereby helping the sound to resonate. The interior design of the case is very important as it helps accentuate the sound. While noble metals, such as gold and platinum, are often used for minute repeaters, some watch aficionados believe that materials with a lower density such as steel or titanium deliver a superior sound.

Each gong is struck by a hammer that is optimally shaped. Typically, the hammer for the hours is larger than its counterpart, the minute hammer. When striking the quarters, both hammers strike their respective gongs but with a small gap in between heightening the beauty of the duet performance.

The aforementioned explanation is merely a synopsis. The intricacies of a minute repeater cannot be conveyed in a few hundred words.

Owner beware

With most minute repeaters there are two costly mistakes an owner can make.

Firstly, when the slide is pulled and the chiming sequence commences there are numerous parts in motion, each beautifully choreographed and designed to make the sweetest sound. If the slide is pulled again before the first chiming sequence has completed its cycle, parts can be fouled resulting in the choreographic sequence being ruined. This would invariably necessitate a full strip down of the mechanism and possibly the installation of replacement parts.

Secondly, if the watch is chiming, the crown should not be touched. If the hour and minute hands are adjusted while the chiming sequence is striking the gongs, it can foul the incredibly complex mechanism. As the snails are in conversation with the motion works, adjusting the indicated time would interrupt this dialogue, once again, causing distress to the mechanism.

However, treat a minute repeater with due reverence and it will serve you well, imparting a mellifluous indication of the hours, quarters and minutes.

F.P.Journe Répétition Souveraine – the secrets for a svelte torso

When François-Paul Journe conceived the idea for the Répétition Souveraine his objective was to produce a timepiece featuring a notoriously complex mechanism that proved no bigger than a simple time only watch. Indeed, as stated earlier, the F.P.Journe Répétition Souveraine measures just 40mm in diameter and, quite remarkably, it’s just 8.6mm in height.

Normally, a minute repeater is fitted with two circular gongs which encircle the movement. Monsieur Journe has also endowed his watch with two gongs, but they resemble flat blades. In fact, they look similar to a sickle in profile. The end of each gong features a triangular-shaped plate which fits to the movement on a corresponding mount. The gongs are positioned beneath the dial affording more space for the movement. Each hammer strikes the edge of the blade-type gong, producing a comparatively louder, clearer sound than traditional gongs.

Another difference with the F.P.Journe Répétition Souveraine is it benefits from ‘an innovative system of striking racks and strike selection mechanisms which take up much less space than conventional strike mechanisms.’

An endearing characteristic of Monsieur Journe is he doesn’t merely produce watches that replicate the work of others. Indeed, he is an innovator, hence the company’s motto, ‘Invenit et Fecit’, meaning ‘Invented and Made’. Normally, as I previously mentioned, the hours are represented with a low note, the quarters are signified with a combination of low and high notes and the minutes are announced with high notes. Interestingly, with the Répétition Souveraine, the hours and minutes are both chimed with a low note.

With all minute repeaters, when the time is at some point between 1 minute past the hour and 14 minutes past the hour, the quarters are not chimed. To ensure the wearer can distinguish between hours and minutes, F.P.Journe has engineered the chiming sequence to create a discernible pause between the hours and minutes.

As one would expect of the venerable Maison, the Répétition Souveraine is equipped with a centrifugal governor, conferring a chiming sequence, free of annoying background noise.

The dial

The dial of the Répétition Souveraine is made at the Maison’s own dial making facility. It is silver-toned and adorned with a guilloché motif (Clous de Paris). Unusually, the hour markers (Arabic numerals) are depicted in blue, a departure from Journe’s customary use of black numerals. The blued hour and minute hands uphold the Maison’s unique style. Both the hour track and nearby chemin de fer are executed in a satin finish.

A small seconds display is located between 7 and 8 o’clock, while a power-reserve indicator is positioned adjacent the crown. This latter indication shows the status of the two mainsprings on an arcing scale. Both the small seconds and power-reserve indicator feature a moiré finish.

However, without doubt, the pièce de resistance is the sight of the gongs in motion, visible via an aperture, positioned between 9 and 10 o’clock. A mirror-polished hammer (low tone) occupies approximately 60% of the aperture. The movement is visible to the side of the hammer. The exposed surface is embellished with perlage, a motif that is extensively used on the baseplate. Once the minute repeater bursts into song, a second hammer (high tone) temporarily comes into view, collaborating with the first hammer to proclaim the quarters.

Most minute repeaters feature hammers and gongs to the rear of the watch. This necessitates the wearer removing the watch from their wrist in order to witness the chiming sequence taking place. However, the Répétition Souveraine indulges the wearer with a fabulous visual performance to accompany the mellifluous soundtrack, while the watch is still secured to the wearer’s wrist.

Despite this watch containing much complexity within, the indications prove eminently simple to understand.

Prospective clients can specify the watch with a smoked sapphire dial on request. An option that affords views of various components, sometimes in flight.

The case

F.P.Journe is an exemplar of Haute Horlogerie. Needless to say, it often houses its sublime movements within cases formed of noble metal. Therefore, it may come as a surprise to learn that the Répétition Souveraine is housed in stainless steel. The rationale for this decision is clear to understand. Compared with precious metals, the crystalline structure of stainless steel conducts sound extremely well. Indeed, stainless steel allows the sound of the struck gongs to resonate more efficiently, thereby granting exquisite dulcet tones.

A narrow slide unobtrusively hugs the left flank of the case (near 10 o’clock), awaiting its owner’s instructions. A charming attribute of this model is that it does not fanfare its complexity with gauche branding. Indeed, to the majority of observers, the watch resembles the much simpler, yet handsome, Chronomètre Souveraine. With the F.P.Journe Répétition Souveraine everything is wonderfully understated and exhibits notable decorum.

Longstanding admirers of Journe will note the familiar crown design, featuring a charming knurled silk cord pattern. Sitting close to the caseband, the crown is relatively slim and sports two circular indentations on its vertical flank.

Despite being equipped with an 18-carat rose gold movement, the watch proves remarkably light, weighing just 69.6 grammes. This low mass contributes to the model’s impressive levels of wearer comfort. The watch is available on a blue strap or stainless steel bracelet.

The movement

The hand-wound movement, the Calibre 1408, features two barrels in parallel. By employing two barrels instead of one, the power serving the escapement and, ultimately, the regulating organ is more consistent, thereby augmenting precision.

Precision or chronometry is an overriding concern for Monsieur Journe. Indeed, over the years he has created several models that deliver extraordinary accuracy. A few notable examples include, the Chronomètre à Résonance, the Chronomètre Optimum and the Tourbillon Souveraine Vertical.

Most watches are equipped with an index-regulated balance. With this latter system the hairspring passes between two curb pins mounted on a ‘raquette’. When the raquette is moved towards or away from the stud, the effective length of the hairspring changes, making the watch run faster or slower.

However, the Calibre 1408 is fitted with a free sprung balance which means the effective length of the hairspring never changes. The rate is adjusted by rotating four C-shaped masselottes, positioned on the spokes of the balance wheel which, in turn, alter the moment of inertia. Consistent with the Maison’s fastidious attention to detail, the C-shaped masselottes are placed in-board thereby producing less air turbulence which again enhances precision. Furthermore, a free sprung balance is less susceptible to positional errors and grants superior rate stability.

Beyond the functional aspects of the movement, it is beautifully appointed. The baseplate is suffused with circular graining (sometimes called ‘perlage’) and the bridges are embellished with straight Côtes de Genève, crisply engraved with various text. The screw heads are polished and bevelled, the pegs sport polished rounded ends and other examples of hand polishing and decoration abound. Indeed, the finissage found on the F.P.Journe Répétition Souveraine is of the highest order.

Closing remarks

Throughout the history of F.P.Journe, the company has challenged industry norms, ingeniously conceiving new solutions to the problems other marques have chosen to accept. The company’s founder, François-Paul Journe, regularly looks to the work of Berthoud, Breguet and Janvier for inspiration rather than his contemporaries. Indeed, when Monsieur Journe invented his Chronomètre à Résonance he read the works of Breguet and Janvier but refined their ideas over a number of years, conceiving a mechanism suited to the wristwatch.

In the case of the Répétition Souveraine, it is surprising that a watch of such complexity is so modestly sized. However, F.P.Journe has surmounted all obstacles. The dimensions of this watch make it very wearable and its lucid display proves particularly user-friendly.

The Parmigiani Fleurier Tonda PF Micro-Rotor is just one of four new models produced by the Swiss brand, designed for today’s discerning horophile. Each watch is dressed in fine attire with textures, lines and colours collaborating to confer a lasting joy. Recently, Angus Davies grasped the opportunity to get ‘hands-on’ with this latest model, a timepiece conceived with significant input of brand CEO, Guido Terreni.

Guido Terreni was appointed the CEO of Parmigiani Fleurier in January 2021. Shortly after his arrival, he began in earnest developing a new collection of models. In August 2021, at Geneva Watch Days, he unveiled the new Tonda PF collection. Recently, I interviewed Mr Terreni and it soon became apparent that he, along with his team, expended much time and energy honing the design and specification of each new variant.

The collection comprises four core models, namely the Tonda PF Micro-Rotor, PF Chronograph, PF Annual Calendar and, the pièce de resistance, the Tonda PF Split Seconds Chronograph 25 years anniversary edition. With the exception of the latter model, all members of the Tonda PF collection are available in steel, with a platinum hand-knurled bezel, or 18-carat rose gold.

Examining the Tonda PF collection and closely appraising the composition of each variant, it is clear that Mr Terreni has imbued every reference with his own notion of style. Interestingly, when I spoke to Mr Terreni, a dapper gentleman of Swiss-Italian origin, I couldn’t fail to notice the defined cut of his suit jacket and the pristine appearance of his Italian silk tie. Therefore, it came as no surprise to hear the industry veteran talk of a ‘mature, sartorial approach to watchmaking’. He explained that the Tonda PF models pay close attention to ‘texture, form and detail’, suddenly the parallels between fine tailoring and watchmaking became clear.

As an avid fan of the Swiss Maison and someone who has enjoyed wearing many of its exquisite timepieces, I am very familiar with its models. They have always been blessed with beautiful proportions, sumptuous details and a high quotient of mechanical integrity.

However, while the Tonda PF collection upholds the aforementioned characteristics, each reference is also blessed with a youthful complexion. These new models are clearly intended to seduce a younger audience and introduce them to the intoxicating charms of Haute Horlogerie. Mr Terreni freely admits that the new collection is intended for clients who appreciate subtle details, that are ‘savvy’ and possess a ‘strong sense of style and refinement’.

Having concluded our interview and heard Mr Terreni itemise the many refined details that Tonda PF ownership grants, I wondered when I would have the opportunity to get ‘hands-on’ with the new models and appraise each watch at close quarters. Thankfully, I did not need to wait too long.

The dial

In this instance, I have chosen to focus on the Parmigiani Fleurier Tonda PF Micro-Rotor. As previously mentioned, the watch is available in a choice of steel, with a platinum hand-knurled bezel, or 18-carat rose gold. Both models feature a grey dial, enlivened with Grain d’Orge guilloché. This latter motif is very traditional, however, the Maison has chosen to depict the pattern in diminutive form. The resultant texture of the surface is softly spoken and, when viewed from some angles, barely visible to the naked eye. In some respects, it sets the tone for the whole of the watch. Indeed, where some watch designs incorporate very conspicuous design elements, the styling of Parmigiani Fleurier Tonda PF Micro-Rotor embodies discreet elegance.

This sense of restraint extends to the branding of the watch. Usually, watch dials are dominated by a brand’s nomen. In fact, it has become the accepted norm, few horophiles ever questioning excessive text. However, when I was growing up, self-promotion was frowned upon by parents and teachers alike. Indeed, it was considered unbecoming. The Tonda PF Micro-Rotor downplays the notion of unseemly branding. Good taste is the order of the day. The only concession to modern-day marketing relates to the brand’s initials, positioned within a gleaming oval frame.

To be honest, when I first saw an image of the Tonda PF Micro-Rotor I thought it looked a bit plain. However, this is a watch that creeps up and beguiles you with its pulchritudinous looks. Having seen the watch up close and personal, I can attest, it is exquisite.

­­Consistent with several other models from the Manufacture, the hour and minute hands are Delta-shaped, albeit in this instance they are also skeletonised. On one hand, the open sections reveal more of the guilloché motif and yet the hands convey the time clearly. Put simply, the Tonda PF Micro-Rotor demonstrates that style and functionality can happily co-exist.

Depending on the case material, the indexes are either rhodium-plated or 18-carat rose gold. They fulfil their role but without overwhelming the overall appearance of the dial. A minuterie, encircles the central guilloché section and is presented on a lower level. Parmigiani Fleurier has endued this model with a myriad of details, some of which are only discovered with prolonged examination.

A date indication is positioned at the base of the dial. White numerals sit atop a grey disc, matching the main dial, thereby, upholding horological etiquette.

The case

As previously stated, the Parmigiani Fleurier Tonda PF Micro-Rotor is available in two options, steel or 18-carat rose gold. Both models share the same design and dimensions. Measuring 40mm in diameter, the scale of the watch will suit a large cross-section of would-be wearers. Moreover, the watch is not marketed as a ‘men’s model’, a shrewd decision on the part of the Maison. I found the watch suited my wrist, but it would equally befit a female wearer.

I would liken the Tonda PF Micro-Rotor to a perfectly fitting garment or a beloved pair of shoes. When the watch touches the body it feels like a second skin. Indeed, its surfaces are optimally shaped and finished, conferring a sublime ergonomic relationship between the watch and its wearer. In addition, the modest height of the watch head, just 7.8mm contributes to the model’s exalted levels of wearer comfort and ensures the watch does not protrude unduly from the wrist.

The design of this timepiece is unlikely to be popular with many of the Swiss-firm’s artisans. Many of the design elements are complicated and, by default, their manufacture will be protracted and costly. For example, the lachrymose-themed lugs feature a bevelled edge that is barely visible at one end and gradually becomes wider nearer the other end. It is clear that this detail will take an inordinate amount of time and require absolute concentration.

Parmigiani Fleurier has juxtaposed polished and brushed surfaces throughout, another aspect that requires much time and patience on the part of the company’s employees.

Sometimes metal bracelets can appear a tad gauche, however, consistent with the refined make-up of the Tonda PF Micro-Rotor, the Maison has tempered the exuberance of the polished sections of the bracelet by positioning brushed surfaces adjacent. The resultant appearance of the bracelet exudes an air of sumptuousness whilst still remaining tasteful.

Both the steel and gold versions of the Tonda PF Micro-Rotor are fitted with a hand-knurled bezel. Unusually, the steel variant is equipped with a platinum 950 bezel. Clearly, the watch brand could have equipped the watch with a steel bezel and saved a few precious Swiss francs, but Mr Terreni wanted to create a collection of watches, rich in details. To the casual observer the steel and platinum surfaces may appear the same. However, platinum appears whiter than steel. Moreover, when touching the surfaces, the platinum exhibits a soft feel, akin to silk.

The movement

At the heart of every Parmigiani Fleurier is a magnificent mechanical movement, in this instance, visible via an exhibition caseback. The company’s origins are entwined with the restoration of antique automata, clocks and watches. Michel Parmigiani, the founder of the eponymous brand, has always chosen materials that confer longevity and facilitate restoration by a competent watchmaker in ‘150 years time’. Moreover, he has always viewed finissage as not merely superficial embellishment of movement components but also a means of enhancing corrosion resistance. This was evident when the firm was founded in 1996 and it remains the case today.

The Tonda PF Micro-Rotor is equipped with the Calibre PF703, a self-winding movement featuring a platinum micro-rotor. Few brands have mastered the making of micro-rotors, but Parmigiani Fleurier has possessed this know-how for a number of years. Many automatic watches have a large oscillating weight that occupies almost 50% of the movement’s upper surface area. The rotor is made from dense material, sometimes gold or tungsten. The bulk of the mass is often biased to the periphery of the rotor in order to create sufficient momentum to energise the mainspring.

A micro-rotor is much smaller than a regular rotor, hence in order for it to generate sufficient inertia, it needs to be as dense as possible. Furthermore, the automatic train has to be very efficient at harnessing energy.

The Calibre PF703 features a platinum micro-rotor, a material that helps provide the required inertia. The upper surface of the micro-rotor is embellished with Grain d’Orge a popular form of guilloché decoration, similar to that featured on the dial, albeit in larger form.

At this juncture, the inquiring mind may wonder why a micro-rotor has been selected in preference to a regular rotor. Firstly, a full-size rotor sits atop the movement, increasing the calibre’s overall depth, whereas a micro-rotor sits in a circular recess, set within the movement. The platinum micro-rotor sits flush with the neighbouring bridges and the resultant depth of the movement is just 3mm, contributing to the watch’s slender profile of just 7.8mm.

Another benefit of using a micro-rotor is that it indulges the wearer with superior views of the finishing. Indeed, there is nothing more frustrating than owning an exemplar of Haute Horlogerie only for the view of finely decorated components being obscured by a full-size rotor. In fact, if you are a horological voyeur who requires a self-winding movement, the micro-rotor provides the perfect solution.

In terms of finishing, the mainplate of the Calibre PF703 is adorned with perlage, a detail that can be seen adjacent the micro-rotor. The bridges are embellished with straight Côtes de Genève motif. The edges of the bridges are beautifully bevelled and gleam resplendently.

Most watches are equipped with an index-regulated balance. With this latter system the hairspring passes between two curb pins mounted on a ‘raquette’. When the raquette is moved towards or away from the stud, the effective length of the hairspring changes, making the watch run faster or slower.

However, the Calibre PF703 is fitted with a free sprung balance which means the effective length of the hairspring never changes. The rate is adjusted by rotating four masselottes, positioned on the spokes of the balance wheel which, in turn, alter the moment of inertia. Consistent with the Maison’s fastidious attention to detail, the masselottes are placed in-board thereby producing less air turbulence which again enhances precision. Furthermore, a free sprung balance is less susceptible to positional errors and grants superior rate stability.

The balance has a frequency of 21,600 Vph (3Hz) and the movement contains 29 jewels. Assuming the mainspring is fully wound, the watch will run autonomously for 48 hours.

Closing remarks

In the modern, Instagram-obsessed era, many individuals select products which conspicuously flaunt their wealth. However, the Tonda PF Micro-Rotor is unequivocally a luxury product, its constitution is not intended to garner attention. On the contrary, this model is intended for connoisseurs. This latter group of individuals look beyond mere branding, choosing to focus on discreet details and subtle refinements.

Mr Terreni chooses to draw parallels with the world of fine tailoring. To employ this association, the buyer of a Tonda PF Micro-Rotor will know that the buttons on a jacket sleeve should be functional. Moreover, they should know that a jacket should have a thread, positioned behind the left lapel in order to accommodate a boutonniere. Likewise, whether the chosen cloth is Harris Tweed or Loro Piana Vicuña, the importance of the cut will determine the end result.

Swiss brand ‘Bianchet’ chose Geneva Watch Days to launch two stunning iterations of their Tourbillon B1.618 Openwork. Carl Eady finds much to admire about the latest timepieces from this exciting, upcoming brand from Neuchâtel.

Introduction

Back in 2017, Rodolfo Festa Bianchet and his wife Emmanuelle took the bold and courageous step to launch their own watch brand.  Emmanuelle was a respected artist and sculptor, whilst Rodolfo had built a successful career in the world of Fintech. However, neither individual had any knowledge of running a watch brand. It was the lucrative sale of Rodolfo’s Forex trading platform, ‘Trade Interceptor’ which enabled the couple to capitalise on their newfound freedom and immerse themselves into a shared passion for luxury timepieces.   

By 2019, Bianchet had developed an impressive prototype, which the brand used as a barometer to test the market’s appetite for its design ethos. This first venture, known as the G5000, offered avant-garde sports styling and high impact resistance (hence the name).  It paired an open-worked dial with a tourbillon in a beautifully finished tonneau case. Generating enough intrigue and positivity, the G5000 was a springboard for Bianchet to create their inaugural launch timepiece.  The B1.618, kept the majority of design cues but included refinements to the movement design and impact resistance. With avant-garde sports styling and the ability to withstand an impact of 6000G, the design of B1.618 inevitably drew comparisons with the work of Richard Mille, an enviable compliment considering Bianchet’s tender years.

It is, however, the inspiration behind the proportions of the tonneau case and the B1.618’s skeletonised movement that adds an additional level of intrigue. Now, two new contrasting iterations of the Tourbillon B1.618 Openwork are presented, one in Grade 5 Titanium and the other in an ultra-lightweight carbon case.

The case

To understand the case proportions, it is necessary to understand the work of Italian mathematician Leonardo Pisano Bogollo, better known as ‘Fibonacci.’ He is widely, though perhaps generously, credited for the Fibonacci number sequence, in which each number is the sum of the two previous numbers e.g. 0, 1, 1, 2, 3, 5, 8, 13, 21, 34 and so on.  

When graphically presented, by tiling together squares with sizes increasing in correlation with the Fibonacci sequence, it is possible to produce the ‘Golden Ratio’. This is usually shown as a decimal, approximately 1.618, and it is also referred to by the Greek letter Phi ‘Φ’. Whilst not exact, due to Phi being an irrational number, the higher one goes in the sequence, the closer the number gets to exactly 1.618.  

Often referred to as the ‘Divine Proportion’, the Golden Ratio has forever been evident in the natural world and has also been employed by mankind across many cultures over the centuries. From proportions in Greek architecture, the masterful artwork of da Vinci and classical composers such as Beethoven and Debussy, protagonists have employed the Golden Ratio to deliver harmonious equilibrium.  

Bianchet is fascinated by the Golden Ratio and is even said to have employed it when making financial predictions, so it is no surprise that the proportions of the brand’s cases are designed to reflect this beautiful phenomenon. Two distinct finishes of the curved tonneau-shaped cases are offered. Firstly, a lightweight (just 54 grams) Grade 5 titanium version contrasts highly polished and fine satin-brushed surfaces. The addition of a thin red vulcanised rubber strip, running around the case, heightens the overall sense of sportiness. 

The second ownership option is even lighter, weighing in at 33 grams. It is housed in a carbon fibre and titanium powder composite case.  This material combination creates a pattern, alternating between shiny and matte, providing each piece with its own unique moiré effect. Blue rubber adds a tasteful dose of colour to the composition. Certainly, of the two case options, the latter reference looks sportier.

The Bianchet Tourbillon B1.618 Openwork measures 43mm by 50mm, while the height of the case is 13mm. A titanium crown featuring an engraved Bianchet ‘B’ is flanked by two pronounced crown guards. The crown and associated guards contribute to the model’s notable wrist presence. Naturally, glare-proof sapphire glass features to the front and rear, affording perfect views of the fascinating B1.618 movement within.

The dial and movement.

The hand-wound B1.618 movement boasts a highly impressive specification and, being openworked, it lays all its secrets bare. Throughout the calibre, form is matched by function. The curved, lightweight titanium bridges are hand finished and skeletonised, enhancing their appearance while mitigating their weight. The deep case exhibits a wonderful three-dimensional design. Indeed, the various arches and circles subscribe to Fibonacci derived proportions and deliver a harmonious sense of order.

Beating at a relaxed 3Hz, the movement is regulated by a 60-second tourbillon with a variable inertia balance. With an accuracy of -2 to +6 seconds a day, the Calibre B1.618, once fully wound, will run autonomously for 105 hours.

The Bianchet Tourbillon B1.618 Openwork has a shock resistance of up to 6000G, courtesy of the materials used and its sturdy construction. Therefore, owners can relax, safe in the knowledge that their Bianchet watch will cope with the extreme shocks typical of tennis, golf and polo, where excessive forces can adversely affect the regulating organ.

Seconds are indicated by a colour coded needle-shaped hand sitting neatly above the tourbillon cage. In contrast, the baton-shaped hour and minute hands have received a generous helping of lume and are white-toned on the titanium model and blue on the carbon fibre edition.

The strap

Consistent with the coloured rubber detail on the cases, each watch is secured with a band of natural vulcanised rubber, executed in red/black or blue/black. The straps are broad and tactile, in keeping with the watch’s masculine appearance, and fit perfectly around the wrist by being recessed into the case. This creates a near-seamless modern look, perfectly complementing the watch’s contemporary identity. A folding clasp and titanium pin buckle complete the look and ensure the watch is more than fit for its intended purpose.

Closing thoughts

A new brand faces many challenges if it is to compete with watchmaking’s old guard. Bianchet has already proven that it is very capable of producing watches of the highest quality. In fact, the brand displays much confidence, belying its comparative youth.  

The key to attracting customers is to have a strong marketing story behind each watch, and the B1.618 certainly ticks this box. The Golden Ratio’s influence on design is tried and tested having been used by a number of prestigious brands previously, including the case of the JLC Reverso and several exquisite dials produced by Parmigiani Fleurier. 

H. Moser & Cie, the high-end watch brand based in Neuhausen am Rheinfall, has enjoyed much success with its Streamliner collection first launched in 2020. Now the Manufacture has unveiled a new variant, the Perpetual Calendar Ref. 6812-1200. Mark McArthur-Christie, a self-confessed admirer of the brand, explores this wonderfully minimalist composition.

A 1970s style stainless sports watch with an integrated bracelet? This is going to be a Gentafest, isn’t it? Let’s spot the design cues from his greatest hits – you all know them, so sing along – and see which ones made it into the Streamliner.

Er, actually not – not that there’s anything whatsoever wrong with Mr Genta’s work, we’re fans. But H Moser & Cie has, as ever, done its own thing, in its own way, with the Streamliner. This is unquestionably a Moser and all the more interesting for it. It’s definitely a ‘70s influenced watch but without being in any sense derivative.

H. Moser & Cie hasn’t made things easy for themselves though. Looking at the Streamliner you’d have absolutely no clue that the cushion case contains that stickiest of complications, a perpetual calendar. But then this is the same company that hid its gorgeous, tourbillon minute repeater HMC 901 movement behind the plain black dial of the Alp Watch. 

The 12 ATM waterproof steel case – just over 42mm and 11mm high – flows straight into the bracelet. Because there are no lugs, it wears smaller than its dimensions would suggest.  Bracelets can often end up as a bit of an afterthought, but not here. This one is integrated and straight brushed with polished edges, yet works with the radial brushing on the case. At the same time, each link is so well-engineered that it makes the whole thing feel almost organic – there’s a flow to the way the bracelet moves. Again, typically Moseresque, it looks simple but the amount of cutting, polishing and finishing that goes into every single link is significant.  Simple ain’t always easy.

Remember the way 1970s watches used chamfered plexi box crystals? The Streamliner picks up on the look with a domed sapphire that has a sharply angled edge. It gives another layer of depth to the dial, particularly to the ‘racing’ minute track with little ticks of red marking off each division. 

Even without the rather understated lacquered logo, you’d know who’d designed the dial. For a start, it’s in Moser’s now almost trademark sunburst fumé. The hands are unusual though – the company says they’re “…reminiscent of those on the dials of car dashboards or measuring instruments…” and all feature the same double-layer style. There’s a lumed top layer inset in a metal base. Moser calls this lumed layer ‘Globolight’, it’s a ceramic containing Super-LumiNova pigment. 

A quick glance and you’ll get the time easily enough but you’ll also miss most of the interesting action. As well as the hour, minute and seconds hands there’s a tiny red central hand and a power reserve indicator at 10. That central hand indicates the month – January at 12, February at 1 – you get the idea. It enables you to set the perpetual calendar to the right month and the movement gets on with doing the rest of the work. It uses a large format date thanks to two superimposed discs, one operating after the other. The first runs from 1 to 15, the second 16 to 31. Unusually, particularly for a perpetual, the calendar numerals are lumed too. All-round watch genius Andreas Strehler designed the brand’s inaugural QP movement, the HMC 341, some years ago. Superbly engineered, you can safely change the date at any time of day without causing any damage to the movement’s workings.  Try the same stunt on your Valjoux 7750 and you’ll be waiting outside your friendly watchmaker’s workshop pretty briskly, bank card in hand. This movement, the Calibre HMC 812, is the latest evolution of Strehler’s design.

You might be wondering, given that this is a mechanical perpetual calendar, how you’d adjust for leap years. There’s a tiny, recessed push-piece on the non-crown side of the case. That moves a lever which in turn, moves the leap year wheel, visible via the caseback. 

Over at 10, you can see another tiny hand, pivoted towards the centre of the dial. It runs along a two-box scale set within the minute track. That’s the movement’s power reserve indicator. By using the same weight of line and tone of red, Moser has managed to incorporate it so it’s not a distraction from the time but is easy enough to read when you need to.   

While the dial is simplicity itself, turning the watch over reveals a gloriously rich movement visible via the display caseback. That’s the aforementioned hand-wound Calibre HMC 812, powered using the screw-down crown at 4 o’clock with its engraved “M”. Not that you’ll have to unscrew it too often – Moser claim a 168 hour power reserve thanks to its double barrel and leisurely frequency of 18,000 VpH, so it’ll happily run for a week on a full wind.  

Moser hasn’t skimped on the movement finishing either – it’s a proper beauty. There are double horizontal ‘Moser stripes’ and the balance bridge, train wheels, barrel and escapement plate are all PVD coated. The mainplate features anthracite rhodium plating.

Carl Eady reviews the latest additions to the Louis Erard Excellence Régulateur line. Each new model features either a natural stone or glass dial, namely Aventurine, Lapis-Lazuli or Malachite. Once again, the Maison from Le Noirmont has democratised the use of materials which have historically been the preserve of far costlier timepieces 

Introduction

Regulator clocks first came to prominence in England in the 1700s.  Perhaps the most famous early example was produced by Benjamin Vulliamy, to whom George III had bestowed the prestigious title ‘The King’s Clockmaker’. Vuilliamy was subsequently commissioned to produce a Regulator clock around 1780. Once finished, it took pride of place in the Kings Observatory in Kew and kept official London time until 1884 before responsibility for timekeeping moved to the Greenwich Royal Observatory. 

Effectively, the regulators were precision pendulum clocks and supremely accurate for their day. Some of the finest examples recorded a deviation of just ten seconds per month. Wherever timing precision was required, such as railways, observatories and horological workshops, the regulators would act as ‘Parent’ clocks from which all other timepieces would take their reference. To ensure their accuracy, they were weight rather than spring driven, thereby delivering consistent power as well as requiring less maintenance. Aesthetically, they differed from regular clocks in that their hours and minutes were indicated on separate dials, making them more legible and, therefore, easier to read.

In wristwatches, the regulator is a far more recent proposition. Some examples had been made by a few brands, albeit in small numbers, but in 1987, Gerd Rüdiger Lang spotted an opportunity to produce regulators in greater numbers under his Chronoswiss brand. Since he popularised this style of watch, a number of other brands have followed, with Louis Erard perhaps being the most noteworthy. 

Back in 2011, the Swiss firm launched its ‘Excellence’ collection to mark its 80th anniversary of making mechanical watches. The ‘Excellence’ showcases the brand’s finest creations, where complications and collaborations deliver a contemporary interpretation of horological history. Appropriately, this collection is home to the Maison’s ‘Régulateur’ models, which, in recent years, have become an integral part of the brand’s DNA. 

Not only are regulators a popular choice with consumers, Louis Erard pieces are fast gaining an enviable reputation throughout the watch industry. In what has become a significant year for the brand, its reputation has recently been enhanced thanks to three worthy nominations for this year’s the Grand Prix d’Horlogerie de Genève (GPHG). Two contemporary collaborations with architect turned watch designer Alain Silberstein and a stunning regulator produced with horological genius, Vianney Halter, will see the brand centre stage at the annual watch Oscars. 

Building on this achievement, the brand’s designers have created ‘Le Régulator’ in three new iterations which are inspired by fine stone and glass. Furthermore, these new models embrace two ‘on trend’ colours of the moment, namely, blue and green. 

Dial

For each of the pieces, the Jura-based Maison has used the same tried and tested template used on previous models. Employing a two-layered design, the hour and small seconds dials are printed in matt silver opaline and recessed beneath the stone outer. With strict attention to detail, concentric circular (snailed) finishing combines with applied markers and Arabic numerals to stunning effect, creating a decorative elegance one would expect to see on watches costing significantly more.

As stated previously, green is currently one of the market’s hottest dial colours, and ‘Le Régulator Malachite’ is surely one of today’s most striking examples. The more one stares at the dial, the more a spectrum of emerald, ivy, jade, pea and lime seem to play in the light. The watch world is no stranger to Malachite, indeed, many of the most recognised luxury marques have used it with some success, however, some executions have been somewhat polarising. A dial so full of this stone can risk overpowering the appearance of the watch. The vivid green lines of Le Régulator, however, share the stage with the figure of eight opaline subdials, resulting in a harmonious and balanced composition.

Louis Erard has long been inspired by the magic of the l’heure bleue, the time of day between the dead of night and the dawn of a new day. In a shade of blue, reminiscent of tones from the French artist Yves Klein, the ‘Le Régulator Lapis Lazuli’ displays flecks of silicate that naturally punctuate the dial and add a pleasing texture.  

Completing the trio is the striking deep blue of Aventurine. Much in favour in recent years, watch designers and collectors are mesmerised by its appearance. Its tiny silvery sparkles give the semblance of a meteor shower on a tenebrous night sky above the Swiss Jura mountains. Said to bestow confidence and courage to its owner, hence, aventurine is more than just aesthetically pleasing. It is likely that the ninety-nine pieces of ‘Louis Erard Excellence Régulateur Aventurine’ will be in much demand and probably the most popular of the three limited editions.

The time is indicated with silver-toned, slim and elegant hands. Both the central minute hand and subsidiary hour hand are fashioned into a fir tree shape, seemingly unique to Louis Erard, whereas the small seconds hand is arrow tipped.

Case

The stainless-steel case of each model is highly polished and measures 42mm in diameter with a thickness of 12.5mm. Despite being larger than most modern-day watches, the case affords a comfortable fit, courtesy of its short lugs which coax the strap to encircle the wrist.

The domed sapphire crystal top is treated with anti-reflective coating on both sides, ensuring the dials are shown in all their glory. On the reverse, an exhibition caseback provides sight of the movement. Water resistance is rated at a commendable 50 metres, although I suspect few owners will test this.

Movement

Powering the Louis Erard Excellence Régulateur Aventurine et al is the Sellita SW266-1 calibre. Having built a strong reputation for highly reliable movements over many years, Sellita supplies a multitude of brands. Its movements have long been favoured by Louis Erard, enabling them to deliver reliability coupled with keen pricing. 

The finishing is minimal as one would expect given the modest pricing of the watch. However, it is pleasing to see the firm’s logo on the rotor. The thirty-one jewelled movement beats at 4Hz (28,800 VpH) and will run autonomously for approximately 38 hours once fully wound.

Strap

Colour co-ordinated straps accompany each of the collections. ‘Oceana’ blue complements the Lapis Lazuli dial, a few shades lighter than the ‘Deep’ navy blue of the Aventurine, while the Malachite is paired with rich ‘Basilico’ green. Each is crafted from soft and tactile nubuck leather, sports tone-on-tone stitching and is paired with a polished stainless steel pin and buckle. The lug width is 22mm and in the unlikely event of owners wishing to switch their straps, they have a quick-release mechanism, facilitating changes without the need for tools.  

Closing thoughts

In the luxury world, where prices often seem to defy logic, it is refreshing to see such exceptional value for money. The brand has clearly hit the sweet spot of ‘entry level’ luxury and is rightly getting recognition for the value it delivers. Louis Erard has bolstered the Excellence Régulateur collection with this fabulous trio.

I suspect these models are likely to attract more admirers to the Maison. Indeed, the combination of an ‘out of the ordinary’ regulator dial combined with natural stone or artisanal glass makes a compelling case for acquisition.  

The Maurice Lacroix AIKON Automatic Chronograph Titanium is packed with a myriad of impressive features. Most notably, the model’s case is made from Grade 5 titanium, an alloy usually found on much costlier timepieces. Angus Davies recently wore an example of this watch for a week-long period and recounts his experience herein.

One of the joys of purchasing a new car is deciding on its specification. Personally, I derive much pleasure using a car marque’s web-based configuration tool. Beyond choosing the colour of the exterior paint and leather interior, there is a long list of options to consider. Initially, there is a temptation to select everything on offer, however, after all the potential costs have been aggregated, a moment of realisation comes to the fore: the chosen options would add a further 50% to the sale cost! The frustrated buyer then has to deselect options. The 1000W Hi-Fi system is struck from the inventory, the 22″ alloy wheels with low profile tyres deleted forever, the glorious panoramic glass with solar cooling and numerous other sumptuous delights, all deselected and resigned to memory. Quite simply, cost often curtails the notion of choice. 

However, in the world of luxury watchmaking, Maurice Lacroix has repeatedly delivered both impressive features and discernible quality for comparatively affordable prices. For example, I recently enjoyed a week-long ‘hands-on’ experience with the Maurice Lacroix AIKON Automatic Chronograph Titanium. Several details on this watch would suggest it costs north of €6000 and yet it retails for €3,950 including VAT (RRP as at 31.10.2021). Allow me to guide you through the composition of this timepiece, pointing out the costly details that come as standard.

The dial

The dial is presented in gunmetal grey and adorned with an embossed motif comprising numerous squares. Baton-style hour and minute hands, lined with luminescent material, converse with applied faceted batons. Three counters populate the dial: a 30-minute chronograph register (12 o’clock), a 12-hour chronograph register (6 o’clock) and a small seconds display at 9 o’clock. Each counter is snailed, recessed and framed with a gleaming, bevelled circlet. 

Adjacent to the crown are two apertures, one revealing the day display and a second proclaiming the date. Most text on the dial is printed, but the brand’s M logo is applied and polished to a sparkling conclusion. A minute track encircles the perimeter of the dial and features a combination of Arabic numerals and legible strokes. Interestingly, Maurice Lacroix has positioned the minute track on a lower level, masterfully playing with depths. The Swiss brand has also endowed the dial with a variety of interesting textures. However, despite the numerous stylish details in evidence, nothing inhibits readability.

Making a watch case

Watch cases are often made of stainless steel. Simple shapes are generally formed by stamping metal using huge pressures. In some instances, the steel is stamped, tempered, stamped, etc on a repeated basis. The tempering process prevents the steel from becoming brittle.

The case of the Maurice Lacroix AIKON Automatic Chronograph Titanium is made of Grade 5 titanium. This material cannot be stamped, hence it needs to be milled using CNC, transforming a block of alloy into a case. To achieve the desired shape using this process takes a long time and proves far more expensive than stamping. 

When milling Grade 5 titanium, the alloy generates much heat which can harm the metal, potentially cause a fire or machine tools to wear out prematurely. In some extreme cases, processing Grade 5 titanium can even cause harm to the CNC machines. 

To mitigate the above risks, milling speeds are reduced to prevent damage to the alloy, tools and machines. Moreover, CNC machines are never left unattended when working on Grade 5 titanium parts because of the heightened risk of fire. The protracted processing times associated with this alloy, as well as the high wear rate of tools, significantly increase production costs, a factor which is inevitably reflected in a model’s retail price.

Grade 5 Titanium

Grade 5 titanium is an alloy of titanium (approximately 90%), aluminium (6%), vanadium (4%) and small amounts of iron and oxygen. It is very strong, light, corrosion-resistant, unaffected by magnetic fields, hypoallergenic and it can be polished.

The case – The Maurice Lacroix AIKON Automatic Chronograph Titanium 

The Maurice Lacroix AIKON Automatic Chronograph Titanium is housed in a 44mm Grade 5 titanium case. While this may sound a tad large, the watch does not feel unduly cumbersome when affixed to the wrist. When viewed from the side the bracelet does not project outwards from the watch head but seems to freefall downwards, readily encircling the wrist. Certainly, having had the watch in my possession over a number of days, I can attest it is incredibly comfortable to wear.

Although Grade 5 titanium is light, the watch still has a reassuring heft. It is certainly lighter than its stainless steel alternatives, but it doesn’t feel flimsy or malnourished. In my opinion, the Swiss marque has judged the composition to perfection.

During the 1990s, Maurice Lacroix produced the Calypso, a very popular model. The first examples of the AIKON were released in 2016 and were effectively modern reinterpretations of the former Calypso references. One of the design elements carried over from the 90s icon is undoubtedly the six arms spanning the bezel. While the upper surface of the bezel is presented in a satin finish, the six arms are polished to a brilliant gleam. A reoccurring theme on the Maurice Lacroix AIKON Automatic Chronograph Titanium is this juxtaposing of contrasting finishes. This design aspect delivers an abundance of eye-appeal. However, whenever two contrasting finishes are placed in close proximity, it necessitates much skill and time to realise, inevitably heightening cost. Needless to say, it is yet another feature usually the preserve of premium watches.

Maurice Lacroix has endowed this chronograph with screw-down pushpieces, a detail much loved by horophiles. Rotating the screw-down pushpieces confers a cathartic experience. Indeed, throughout this horological composition, the wearer is indulged with numerous smile-inducing moments.

The 5-rows titanium bracelet is endued with a satin finish and fitted with a butterfly buckle. However, the pièce de résistance is undoubtedly the Easy Strap Exchange system. Four M-branded catches, two positioned on each side of the watch head, secure the bracelet in position. Squeeze the catches together and the bracelet comes away from the watch head. No tools or training are required. The wearer can select an alternative leather strap (not included), thereby easily changing the appearance of their cherished icon. 

The movement

An exhibition caseback affords views of the self-winding chronograph movement, the calibre ML112, which sits at the heart of this AIKON model. It is equipped with an index-regulated balance and has a frequency of 28,800 VpH (4Hz). The movement features 25 jewels and, assuming the watch is fully wound, will run autonomously for 48 hours.

The movement is attractively appointed with various types of finishing, including circular graining (perlage) and vertical Côtes de Genève motif on the rotor and bridges.

Closing remarks

The Maurice Lacroix AIKON Automatic Chronograph Titanium features a highly legible dial, a sublime play with heights and textures, a sophisticated blend of surface finishes and a robust chronograph movement.

Undoubtedly, the model’s housing, made from Grade 5 titanium, is an incredible point of difference, especially considering the model’s comparatively modest asking price. Grade 5 titanium is hypoallergenic and notably light, however, it doesn’t feel too light. There have been occasions when I have worn a titanium watch and it has felt devoid of value due to its puny physique. No such allegations could be directed towards this Swiss masterpiece.

Beyond its lightweight characteristics, the watch proves incredibly comfortable when affixed to the wrist. There was a welcome absence of wrist gouging, hair pulling or other forms of annoying behaviour which can easily mar the wearer experience. Indeed, I found this watch to be one of the most comfortable timepieces I have worn, irrespective of price.

Maurice Lacroix products don’t purport to be the last word in Haute Horlogerie, the modest pricing precludes this. However, the Swiss brand does have a remarkable talent for delivering both virtue and value, sometimes referred to as the ‘quality-price ratio’. Moreover, since the advent of the AIKON, the firm has, in my opinion, ascended to greater heights. The overall designs, the tasteful application of subtle detail and the incredibly keen pricing of its products make a compelling case for acquiring an M-branded watch.