The moon phase holds a place of its own in women’s hearts. Chopard is giving it pride of place within its stellar Imperiale collection. The cycle of the night star and the depiction of the constellations are an invitation to embark on a poetic journey through the shimmering nuances of white and blue mother-of-pearl, lit up by the fire of diamonds. This supreme sophistication extends through to the very heart of this new creation, the self-winding Chopard 96.25-C movement stemming from the expertise of Chopard Manufacture.
The subtle stylistic echoes of the Roman empire have instilled their majesty into the contemporary elegance of the classic Chopard line aptly named Imperiale. The breadth of the collection reflects the vast scope of its inspiration, encompassing territories ranging from extreme purity to supreme refinement. For the first time, the Imperiale collection welcomes a moon phase, an horological complication whose aesthetic appeal in no way overshadows its technical sophistication. It immediately places this new model within the elite circle of Haute Horlogerie watches.
Deliberate watchmaking content
As beautiful on the inside – with its Chopard 96.25-C movement – as it is on the outside, the Imperiale Moonphase is an eloquent reminder that watchmaking loves women. Horology is indeed the daughter of astronomy and bases its fundamentals of sequencing time on observing the heavenly pairing of the sun and moon.
Historically, it was also women who first began wearing watches on the wrist. The Imperiale Moonphase model is thus intended for ladies who are moved as much by technical complexity as by aesthetic elegance. The self-winding moon-phase movement driving this new creation and supplying it with an extremely comfortable 65-hour power reserve belongs to a proud lineage of 10 calibres and their 70 variations, all entirely designed, developed and produced in-house. Certified by the most prestigious quality labels, they have propelled Chopard Manufacture – within just 20 years – to the status of a major and entirely legitimate player in the prestigious world of Haute Horlogerie.
Imperiale time
The statuesque and sensual collection is graced with a wealth of details reminiscent of an Empire with a monumental heritage. Roman numerals were a natural choice for such an inherently noble creation. The shape of the lugs reflects the tradition of ancient columns, famed for their perfect proportions. The curvaceous outline of the hands is reminiscent of the tapered daggers that sovereigns used in combat. Another weapon of seduction lies in the small seconds at 6 o’clock, graced with interlacing arabesque motifs forming the famous Imperiale pattern, appearing here arrayed in textured mother-of-pearl.
Heavenly enchantment
The opulence of the dial is an open invitation to embark on a celestial journey in which the gaze is irresistibly drawn to the silver-toned constellations standing out against a blue textured mother-of-pearl disc. At 12 o’clock, the moon disc covered with white and blue textured mother-of-pearl reproduces the cycle of the night star – new moon, first quarter, full moon and last quarter. A ring of diamonds forms a radiant halo around this sky that harbours our destiny, framed by Roman numerals and diamond-set hour-markers against a white mother-of-pearl background.
Extreme femininity
The eminently refined design, the exquisite delicacy of the shimmering mother-of-pearl, the choice of softly powdery colours extending onto the lavender blue alligator leather strap, the presence of diamonds – on the bezel and lug covers – creating an inimitable luminous sparkle, along with the ideal 36 mm case diameter, all combine to make the Imperiale Moonphase an alluring timepiece radiating an aura of dainty femininity.
La colaboración con TAG Heuer, también de LVMH, ha permitido a Zenith evolucionar El Primero y lograr pasar de una precisión de una décima de segundo a la ansiada centésima. Para ello se ha partido de una mecánica de doble regulador, uno para la función horaria y otro en exclusiva para el cronógrafo, este último funcionando con una frecuencia de 360.000 alternancias a la hora. Hay que destacar en el desarrollo del nuevo calibre la elección de un composite para la fabricación de los órganos reguladores que evita la influencia de los campos magnéticos. El calibre cuenta además con el certificado COSC. La disposición en la esfera es muy fácil de leer, con una aguja central que completa una vuelta cada segundo y un contador independiente de segundos del cronógrafo. Este formato recuerda al utilizado en los antiguos contadores usados en las carreras, y un poco de este rastro vintage aparece en la elección de una caja de aires retro.
CAJA
Titanio o aluminio ceramizado. 44 mm de diámetro. Cristal abombado de zafiro con tratamiento antirreflejos. Fondo transparente. Hermético hasta 100 metros.
MOVIMIENTO
Mecánico de cuerda automática. Calibre 9004. 203 componentes. 53rubíes. Reserva de marcha de 50horas. Doble regulador: uno a 36.000 alternancias a la hora y otro a 360.000 alternancias a la hora. Certificado COSC.
FUNCIONES
Horas, minutos y segundos. Cronógrafo.
ESFERA
Esqueletada o plateada con tres contadores negros. Índices rodiados o chapados en rutenio con tratamiento luminiscente.
PULSERA
Piel de caimán negra revestida con caucho negro y cierre de titanio.
Born from an approach that is unique in the world of modern watchmaking, the new Chronomètre FERDINAND BERTHOUD FB 1.3 is the most exclusive to date, coming on the heels of the FB 1.1 chronometer that won the “Aiguille d’or” Grand Prix award at the 2016 Grand Prix d’Horlogerie de Genève, and the FB 1.2. Distinguished by its unique shape and complexity, the platinum case frames a partially openworked nickel silver dial featuring an understated and distinctive play on colours. Its movement is endowed with complications inspired by the 18th century Ferdinand Berthoud chronometers that served as reliable scientific instruments. Nonetheless, even terms such as “suspended tourbillon”, “constant force” or “fusee-and-chain transmission” cannot begin to express the true sophistication of this exceptional calibre. The philosophy driving Chronométrie FERDINAND BERTHOUD cannot be summed up as a tribute, a reproduction or even a reinterpretation, since it is in fact far more demanding. It embodies a contemporary translation of the quest for excellence pursued by the master horologist who was appointed clockmaker to the French King and the French Navy.
The Chronomètre FERDINAND BERTHOUD FB 1 was the result of an innovative horological approach. Its design, its movement, its finishing and indeed everything to do with this tourbillon and constant force chronometer are highly specific and correspond to an uncompromising pursuit of excellence. Chronométrie FERDINAND BERTHOUD stemmed from a very special mind-set that breathed life into this project, powered by personal passion. That of Karl-Friedrich Scheufele, President of Chronométrie FERDINAND BERTHOUD, who since 2006 has been patiently putting together a major collection of objects relating to time measurement in the L.U.CEUM: the in-house museum based in Fleurier and showcasing a number of remarkable works by Ferdinand Berthoud.
A philosophical approach
Fired by respect for Ferdinand Berthoud, a native of the Val-de-Travers who went on to become a horologist, inventor and talented author, Karl-Friedrich Scheufele set up a team dedicated to offering connoisseurs the kind of chronometers that Ferdinand Berthoud might have created if he were still alive today. To support this approach, a specific development process was put in place by Karl-Friedrich Scheufele and his team. FERDINAND BERTHOUD chronometers comprise a wealth of aesthetic and technical details that call for authentic expertise and considerable know-how. The Chronomètre FERDINAND BERTHOUD 1.3 is thus naturally produced in a 50-piece limited numbered series.
A unique case design
The Chronomètre FERDINAND BERTHOUD FB 1.3 picks up all the aesthetic and technical features of the previous versions that were respectively crafted in 18-carat white gold (FB 1.1) and 18-carat rose gold (FB 1.2). The 44 mm-diameter case of this watch sits naturally and comfortably on the wrist. Composed of a 950 platinum cylinder housing the movement, it comprises two octagonal-shaped side pieces in polished platinum that contribute to its distinctive shape. The latter is inspired by an overhead view of a marine chronometer fitted inside its case: its round shape is cut through by the arms of the gimbal suspension that holds it in place when the ship is at sea. The grey ceramic lugs are secured to the case middle by two stylised titanium bolts marking the starting points of the hand-stitched double-sided alligator leather strap. The same ceramic is also present on the medallion adorning the knurled platinum crown. Finally, four ‘portholes’ cut out from the sides of the case provide a chance to admire the fusee-and-chain mechanism in action, as well as to allow light to flood through the movement.
Grey and black
Another opening in the satin-brushed nickel silver dial reveals the wheel driving the tourbillon carriage and the seconds wheel to which the central seconds hand is fitted, an unusual feature on a tourbillon. This slim black hand sweeps around a translucent sapphire railtrack circle around the rim of the dial. The hours and minutes are offset at 12 o’clock on a black lacquered subdial bearing white Arabic numerals and white gold cut-out hands. The same black shade also graces the chamfered edges of the dial openings. The nature and origin of the Chronomètre FB 1.3 are also indicated on this large dial that is engraved with the inscription “Chronomètre Val-de-Travers Suisse”. Far more than merely representing a signature or an appellation of origin, it proudly proclaims the model’s identity.
A characteristic pillar-type structure
The way the FB-T.FC calibre is built is a truly unique phenomenon on the contemporary watchmaking scene. This hand-wound movement features 15 bridges and three half-bridges in nickel silver, framed by polished titanium pillars surrounding the mechanical organs. This construction is typical of 18th century marine chronometers, and enables the portholes of the Chronomètre FERDINAND BERTHOUD FB 1.3 to reveal the interior of the watch. Equally high aesthetic standards apply to the design of all components, and especially to the symmetrical visual balance characterising the various sets of components.
Equalising torque
This movement is one of the rare examples to feature a fusee-and-chain transmission, which is the oldest historical solution developed to ensure constant force for the escapement. This system acts like an automatic gear box, with the torque delivered by the barrel varying according to the level of winding.
When the movement is fully wound (53 hours of power reserve), the chain is entirely coiled around the small end of the fusee and the barrel spring is at maximum power. This force dwindles in the course of time, as the chain coils around the drum, moving from the small to the large end of the spindle-shaped fusee. The variation in the diameter of the fusee compensates for the reduction of the mainspring torque. The escapement thus receives constant energy, thereby equalling out the amplitude of the balance wheel and thereby enhancing the movement’s timekeeping precision.
The quest for slenderness
The distinctive nature of the FB-T.FC lies in the fact that its barrel and fusee are reversed, upside down, and above all suspended – meaning they are held on one side only. This helps save a few precious millimetres and contributes to the overall slimness of the calibre. At just 7.96 mm thick, the movement powering the Chronomètre FERDINAND BERTHOUD FB 1.3. is the thinnest in its category and a patent has been duly filed for this construction.
Safeguarding the movement
When the mainspring is associated with a fusee, the barrel drum turns in one direction while the spring is unwinding, and in the other during winding, thus serving to coil the chain.
During the winding of this type of mechanism, the movement generally stops running. To counteract this effect, the FB-T.FC is equipped with a distinctively designed differential gear, enabling the balance-wheel to continue oscillating even during winding and thus preserving the movement’s precision timekeeping properties. Another patent has also been filed for this device.
Gentle winding
The winding mechanism fitted with a pinion featuring cone-shaped toothing, together with a large-diameter knurled crown, enables smooth winding of the movement – a gentle motion that naturally enhances the quality of the rapport established between the watch and its owner, which plays an essential role in the case of a hand-wound watch.
Force and security measures
As typically found on fusee-and-chain mechanisms, the barrel of Calibre FB-T.FC is equipped with a “Maltese Cross” stopwork device. The latter serves to limit the number of winding turns of the mainspring to around six, and to use only the most stable portion of this spring – thereby breaking free of its far ends. This device also servers as a buffer when the barrel is fully wound. At that point, the mainspring torque exerts a 3 kg force, which is considerable for components measuring just a few millimetres.
To perfect the security of the movement, the engineers at Chronométrie FERDINAND BERTHOUD have endowed the crown with a dynamometric function serving to avoid any damage to the movement that might be caused by excessive winding.
Suspended mobile power-reserve cone
The highly sophisticated power-reserve indication device warranted a patent in its own right. A truncated cone moves up and down along an arbor connected to the barrel. This suspended cone is topped by a feeler spindle in the form of a mobile arm tipped with a watch jewel. Its position on the cone reflects the state of wind. This feeler spindle is in turn connected to the hand on the power-reserve display, which features graduations engraved on the baseplate and visible through a dial opening. This daring mechanism provides a highly accurate indication of the movement’s power reserve.
Tourbillon with central seconds
Teamed with the seconds wheel and pinion, the tourbillon of Calibre FB-T.FC comprises 67 components assembled within a titanium carriage measuring 16.55 mm in diameter, and fixed to an arrow-shaped steel arch whose tip points towards the space between the barrel and the fusee. A large variable-inertia balance-wheel is regulated and balanced by four gilded nickel silver inertia-blocks. It is coupled with a self-compensating regulating balance-spring in a stainless alloy, featuring a Phillips outer terminal curve (overcoil) manually shaped by the expert hands of the women serving as balance-spring fitters at Chronométrie FERDINAND BERTHOUD. To poise the escapement’s unbalance, two 18-carat gold inertia-blocks ensure the uniformity of the weights of this large-size tourbillon. This tourbillon contributes to earning Calibre FB-T.FC its chronometer title awarded by the Swiss Official Chronometer Testing Institute (COSC). One particular characteristic makes this tourbillon extremely distinctive: although it performs one rotation per minute, it does not display the seconds. The Chronomètre FERDINAND BERTHOUD FB 1.3 is one of the rare tourbillon models to have a central sweep-seconds hand. The latter is extremely long, slim and made of bronze, displaying the seconds with extreme accuracy and in a remarkably stable manner.
Noble materials
Within the traditional approach to watchmaking, construction and mechanical structure are inseparable from the choice of materials and the quality of the finishing. In this respect, the movement of the Chronomètre FERDINAND BERTHOUD FB 1.3 is in a league of its own. The bridges of Calibre FB-T.FC are made of non-treated German silver: a copper, zinc and nickel alloy that is particularly brilliant when polished, yet also extremely fragile. Any imperfection is irreparable and the part must be discarded. Nickel silver is also distinguished by its warm grey colour easily recognised by connoisseurs.
Noble finishing
The stainless steel arrow-shaped tourbillon bridge is decorated with the utmost care: the upper side is specular polished, the flanks are straight-grained, the angles are polished and the underside is circular-grained and smooth polished. All levels of the tourbillon carriage, with its titanium components, are entirely chamfered. Some surfaces are polished, others circular satin-brushed, sandblasted or smooth polished. The lever bridge is entirely chamfered, while its visible side features a specular-polished finish and its invisible side is straight-grained. Further up in the gear train, the power-reserve cone is mirror-polished across its inner surface, while the upper and undersides are circular satin-brushed. Two small steel plates are screwed to the cover of the barrel drum: one bears the watch’s limited-edition number, while the other is left blank to be engraved with the initials of its future owner. The 790-part chain measuring 285 mm long is also entirely hand-finished. The sides and studs are satin-brushed and the flat surfaces are polished.
Noble skills
Whatever their position and their function, these component finishing operations are entirely done by hand using traditional tools, in the workshops of Chronométrie FERDINAND BERTHOUD. The quality control of this finishing is performed at a far higher degree of magnification than usual, under a 6x loupe. Under such intense scrutiny, no detail, however tiny, goes unnoticed. No error, imperfection or insufficiency is tolerated. Such is the horological excellence cultivated by Chronométrie FERDINAND BERTHOUD as part of its unfailing commitment to precision for explorers.
This respect for watchmaking tradition, expressed in resolutely modern terms through FERDINAND BERTHOUD chronometers, will remain the core of future developments from the Maison.
Hunter, cushion, barrel (tonneau): these are all everyday words that horology has adopted to describe the shapes of watch cases, but only the French term Galet (pebble) has become inextricably bound up with the Laurent Ferrier universe. Galet is the name of the first collection from the Manufacture, unveiled in 2010. Six years later, polished by time and shaped by experience, the ‘pebble’ is revealing a new facet. On the occasion of the Salon International de la Haute Horlogerie, Laurent Ferrier presents its new model: the Galet Square Boréal.
Galet Square Boreal
Its evolution has been gentle and gradual, like the curves of minerals polished by the waves. The pebble, stemming from centuries of the incessantly repeated work of nature, magnifies the softness and purity of shapes. For Laurent Ferrier, the Galet embodies the perfect integration of all case components, as if one were holding a pebble in one’s hand.
For this new model, Laurent Ferrier, revisits an Art Deco aesthetic while giving it a contemporary twist. This timepiece is intended to be resolutely original while complying with the brand’s signature design codes.
Galet Square Boreal
The dial is enhanced with harmoniously varied tones and textures through associating Superluminova for the chapter ring, a vertical satin-brushed finish on the dial, a snailed small seconds subdial, and a fine slate-grey transfer around the periphery. The small seconds picks up the central theme, thereby endowing this model with a fine aesthetic balance, in keeping with the principles of purity and legibility cherished by Laurent Ferrier. The dial is also graced with “arrow- shaped” hours and minutes hands enhanced with Superluminova, and a baton-shaped seconds hand.
The pure aesthetic codes of the Maison have been been maintained, but in this 41 x 41 mm size, the model is more powerfully present on the wrist than its predecessors. Fitted with a ball-shaped winding-crown ensuring pleasing handling, the back is equipped with a snap-on back ensuring that the movement remains easily accessible to watchmakers via the olivette.
The movement is a self-winding FBN 229.01 calibre, equipped with a unidirectional pawl-fitted micro-rotor and offering a three-day power reserve. This is the first exclusive in-house movement developed, assembled and adjusted in the Laurent Ferrier workshops. It is fitted with a silicon escapement featuring a double direct impulse on the balance. This technology developed by Laurent Ferrier enables the balance to be impelled twice per oscillation, a principle that requires two escape-wheels and an appropriately shaped lever. This innovative construction, combined with the use of cutting-edge materials, maximises energy efficiency, thereby guaranteeing a high amplitude of the balance. This in turn reduces the amount of mechanical force required to wind the mainspring and optimises winding.
The finishes reflect the high standards Laurent Ferrier imposes on all its creations. All are performed in keeping with the finest watchmaking traditions. Alongside the Côtes de Genève motif on the bridges and the circular graining on the mainplate, the wheel spokes are bevelled, the screw heads are chamfered and polished and the interior angles are hand-crafted. The sapphire crystal case-back provides a fascinating glimpse of this fine workmanship and reveals an attractively balanced structure stemming from a clever combination of lines and curves.
Laurent Ferrier reinvents the graphic composition of the Galet Square dial while preserving the distinctive aesthetic codes of its collection. For this new variation, this so-called “sector-type” dial typical of the late 1930s attractively combines a vintage touch with a highly contemporary appearance.
At the occasion of the 2017 Geneva International Motor Show, Zenith and Land Rover are celebrating their creative relationship by presenting a new Chronomaster El Primero Range Rover Velar Special Edition.
The timepiece features a new elegant brushed grey dial with copper-toned details, and a new black rubber strap coated with black-toned perforated calfskin, inspired by ideas from both brands’ product design and engineering departments. A watch to embrace the heritage and strong credentials of two legends.
In 1969, Zenith unveiled its fabled El Primero chronograph. That same year, British car manufacturer Land Rover introduced the prototype of the very first luxury off-road vehicle: the iconic Range Rover, which hit the markets in 1970. Fired by the same pioneering spirit and the same ability to explore new horizons, these two original creations achieved legendary status.
In 2017, Zenith and Land Rover are continuing to celebrate the creative relationship. Featuring a ceramised aluminum case of 42 mm and beating at 36,000 vibrations per hour, the new Chronomaster El Primero Range Rover Velar Special Edition introduces an appealing brushed grey dial with copper-toned details. Whether on the wrist of an intrepid explorer or an elegant gentleman, it also exudes an inimitably chic aura, enhanced by a new black rubber strap coated with black-toned perforated calfskin. This leather is the same high quality hide used on Range Rovers and is secured by a triple folding clasp in DLC-treated titanium.
Jean-Claude Biver, Zenith CEO & President of the LVMH Watch Division said: “Zenith is the ultimate reference for chronometry (precision timekeeping), having won 2,333 chronometer prizes. The authentic Manufacture is a major player in the Swiss watch industry. Zenith stands for Art, Tradition, Culture and above all, produces real and authentic “museum quality” models at nonetheless affordable prices. It is essential that we preserve these qualities, as they all belong to the more than 150-year DNA of Zenith. We are here not just to run a company, but also to serve its brand history and DNA – just as Range Rover is doing. The main task and challenge we have in common is a determination to protect our tradition, but at the same time to find the right and harmonious way of connecting our tradition to the future, while showing extreme respect for our iconic products.”
Gerry McGovern, Land Rover Chief Design Officer, added: “The Range Rover Velar brings a new dimension of modernity, elegance and a touch of glamour to the range rover family. The Chronomaster El Primero Range Rover Velar Special Edition, created with these very same principles, comes with a bloodline like no other and is refined for every occasion. It will stir the emotions.”
Blue brilliance as a tribute to artistic craftsmanship
With an exclusive HANDWERKSKUNST edition, A. Lange & Söhne demonstrates how artisanal virtuosity becomes truly grand art. The dial and the hinged cuvette of the new 1815 RATTRAPANTE PERPETUAL CALENDAR HANDWERKSKUNST consist of blue enamelled white gold with elaborate relief engravings. Ennobled with special decorative techniques, the movement stands out with the rare and fascinating combination of a split-seconds chronograph and a perpetual calendar with a moon- phase display.
In its launch year, the 1815 RATTRAPANTE PERPETUAL CALENDAR attracted considerable attention in two respects: in January 2013 at the Geneva Salon, it was enthusiastically received by the horological community as a technically and aesthetically convincing union of classic complications that rank among the most sophisticated mechanical ensembles in precision watchmaking. At the Grand Prix d’Horlogerie de Genève in that same year, the watch was not only the winner in the Grand Complications category but also won the Public’s Choice Award.
This remarkable timekeeping instrument was the ideal starting point for a limited 20-watch HANDWERKSKUNST edition. It is the sixth A. Lange & Söhne model with this attribute that stands for the particularly artistic decoration of the movement, dial and case. The 1815 RATTRAPANTE PERPETUAL CALENDAR HANDWERKSKUNST confronted the finishers, engravers and enamel artists with an exciting challenge: to raise the decorative opulence for which the manufactory is known to the next level with rare and in some cases revived techniques as well as innovative ideas.
This is the first model to combine enamel art and engraving on its dial. Solid white gold is the substrate for the deep-blue enamel beneath which the sculpted contours of the relief- engraved stars appear to be a visual extension of the moon-phase display. The Arabic numerals are flush with the enamel and harmonise perfectly with the rhodiumed white- gold hands of the time and calendar indications as well as of the power-reserve indicator. The colour of the enamel is echoed by the lunar disc as well as the blued-steel minute- counter hand. These elements contrast exquisitely with the four recessed subsidiary dials in argenté-coloured white gold. The chronograph hand offers an especially distinctive colour accent: it is crafted from gold-plated steel. The dial is framed by an argenté- coloured flange ring with a traditional railway-track minute scale.
The moon theme recurs on the hinged cuvette that protects the sapphire-crystal caseback. It depicts the goddess Luna, the ancient mythological personification of the moon, executed in relief and tremblage engraving. The medallion shows her with her characteristic attributes: a billowing veil, a crescent moon diadem and a torch with which she lights up the darkness. The medallion is surrounded by a raised star and cloud relief in blue enamel.
Artistic movement decorations reflect the technically ambitious multiple-complication timepiece. The German-silver train bridge is finished with a granular texture often found in the movements of historic pocket watches. Relief and tremblage engravings on the operating-lever, cover and chronograph bridges as well as on the rattrapante and balance cocks reflect the stellar motif of the dial. In all other respects, the finissage of the 631-part manufacture calibre L101.1 complies with the strictest Lange standards.
The split-seconds chronograph allows the measurement of lap times and consecutive times. It is controlled by two column wheels – one for the chronograph and one for the readily visible rattrapante mechanism which is activated by a pusher at 10 o’clock. The perpetual calendar mechanism correctly displays the individual durations of each month in the course of a calendar year, including all leap years until 2100. Integrated in the subsidiary seconds dial at 6 o’clock, the moon-phase display is calibrated to remain accurate for 122.6 years. The manually wound movement has a maximum power reserve of 42 hours. A power-reserve indicator reminds the owner when it is time to rewind the watch.
The 1815 RATTRAPANTE PERPETUAL CALENDAR HANDWERKSKUNST comes in a 41.9 millimetre white-gold case with an edition engraving. It is worn on a blue-grey alligator leather strap secured with a white-gold deployant buckle.
La Alta Joyería de Jaeger-LeCoultre El arte de sublimar el tiempo
La búsqueda de la excelencia, la pasión por el detalle, la precisión… Todas estas características, propias del mundo de la Alta Joyería, son las que nuestros artesanos ponen al servicio de la fascinación. Su pasión les lleva a sublimar el momento presente a través de lo bello, lo inolvidable, lo emocionante… Con un mismo impulso creativo, por su ingenio y su dominio técnico, el mundo del Séptimo Arte está íntimamente vinculado al universo de Jaeger-LeCoultre y al oficio relojero.
Al igual que un artesano joyero que elige lenta y minuciosamente cada piedra antes de engastarla con habilidad sobre la esfera de un reloj, los artistas y creadores de una película se esmeran para pulir cada detalle de su trabajo con el fin de dar vida a una joya cinematográfica que transporte al espectador. El sentido de la precisión, el dominio de los conocimientos especializados, la elección de las mejores herramientas… Todos estos elementos forman parte no solo del trabajo de los cineastas y los actores, sino también de los joyeros. Cada artista es un artesano de las emociones.
Y para acompañar a los actores a la cumbre de su oficio y hacerlos brillar sobre la alfombra roja que los conduce a la consagración de su trabajo, ¿qué mejor ornamento que el destello de las piedras preciosas enalteciendo sus muñecas? Cada día, los artesanos joyeros que trabajan con ahínco en el Taller de Oficios Exclusivos e Inauditos de Jaeger-LeCoultre subliman las creaciones relojeras de la Casa con un destello atemporal para rendir homenaje a la belleza de las mujeres.
Rendez-Vous Secret
El Rendez-Vous Secret, auténtica obra maestra de los relojeros y artesanos joyeros de la Manufactura, pone en escena los conocimientos especializados de miniaturización de la Grande Maison al tiempo que adopta con desenvoltura la estética de un reloj de los años sesenta perteneciente al patrimonio de Jaeger-LeCoultre. Esta nueva versión luce un abrigo de piedras azuladas e ilustra el espíritu creativo siempre renovado de nuestros artesanos.
Los diamantes, de talla brillante, baguette y marquesa, juegan con zafiros de talla brillante de cuatro colores distintos para configurar, sobre la tapa ligeramente abombada, una flor que parece capturada para siempre en el cristal, inmortalizada en una belleza sin fin. Todo el talento del engastador se puede admirar en esta composición, que destaca todas y cada una de las 304 piezas que ornamentan el Rendez-Vous Secret. Un trabajo de reflexión y de dominio técnico.
Cual confidencia, o como un secreto que solo se revelará con pudor, la tapa del reloj se entreabre para dejar ver la hora. En la delicada esfera de nácar aparecen las cifras emblemáticas de la línea Rendez-Vous, rodeadas por hojas de hiedra grabadas y luego pintadas a mano con un matiz azulado. Un rostro con un encanto sorprendente e innegable, ensalzado por una hilera de zafiros del más puro y claro azul.
Reverso One Duetto Jewelry
Eminentemente femenino en su engaste de luces y su rostro lleno de gracia, el Reverso One Duetto Jewelry se inspira en los primeros Reverso para señora de los años treinta. Sus rasgos finos y alargados, sublimados por el destello de los diamantes, son emblemáticos del Art Déco.
Los artesanos joyeros de la Manufactura han engastado hileras de diamantes de talla brillante sobre las tres molduras icónicas del Reverso, situadas a ambos lados de la esfera, para ofrecer un destello único al reloj. En el anverso las gemas destacan la suavidad del nácar de Bali sobre la esfera, que además presenta dígitos arábigos estilizados como pintados a mano. Cada ángulo de este rostro está destacado por rasgos que acentúan el aspecto geométrico de la pieza, de acuerdo con el más puro espíritu Art Déco.
En el reverso, el ópalo negro ofrece sus reflejos tornasolados y misteriosos, que alían distintos matices de azul, desde el azul noche al índigo, pasando por tonalidades verdosas. Esta piedra está enaltecida por un engaste de diamantes que evoca unos rayos celestes. Un rostro realmente bello destacado por el azul noche del brazalete de satén.
Y para destacar aún más el espíritu de época, la corona se ha replanteado con facetas geométricas muy Art Déco que juegan reflejando los rayos del sol. Rendez-Vous Celestial
Con su esfera en esmalte, su disco del cielo en lapislázuli pintado a mano, su bisel engastado, que ofrece un degradé de zafiros, y sus diamantes estremecedores, el Rendez-Vous Celestial se distingue desde la primera mirada.
Este tesoro de la creatividad, que se inspira en la impresión única que deja el espectáculo de una aurora boreal, palpita al pausado ritmo de su movimiento automático Calibre Jaeger-LeCoultre 809/1. Con sus generosas formas (37,5 mm), afirma su originalidad, evocando con precisión el paso de las constelaciones tal como se observa desde el hemisferio norte. Con sus tonalidades cautivadoras, entre azul intenso y púrpura, embellece el tiempo.
Para esta pieza de Alta Joyería, Jaeger-LeCoultre ha concentrado la inventiva y el ingenio de sus Oficios Inauditos. En el bisel, la corona de zafiros talla baguette es una obra de arte en sí misma. Bajo el juego de luces que se reflejan aquí como en un espejo, la impresión es a la vez gráfica y extremadamente equilibrada. El nuevo Rendez-Vous Celestial invita, en efecto, a sumergirse en el fundido encadenado de azul, rosa y púrpura. Bajo la bóveda del cielo despejado, este degradado de ensueño continúa sobre los contornos de la banda de la carrura. Las cifras florales emblemáticas de la colección Rendez-Vous presentes en la parte alta de la esfera están esqueletizadas sobre una placa de oro blanco que combina con elegancia con el preciosismo de la caja.
Rendez-Vous Moon Medium
El Rendez-Vous Moon Medium ofrece una interpretación joyera de una función que seduce a las grandes soñadoras y a la vez muestra los conocimientos especializados, relojeros y joyeros, de la Manufactura del Valle de Joux.
En la prolongación de su esfera, finamente decorada con una delicada textura, se desprende una fase de la luna muy presente. En el corazón del reloj destaca un motivo guilloché de forma geométrica elíptica sabiamente trabajado, mientras que el astro de la noche indica un acabado arenado que libera una sorprendente impresión de profundidad y de relieve. Una manera inspirada con la que los artesanos de la Manufactura reproducen fielmente las facetas múltiples de la luna, con reflejos más o menos jaspeados a lo largo de las horas. Esta función emblemática, que solo necesita una corrección de un día tras 972 años, ofrece una precisión impresionante.
Este rostro dulce y absolutamente femenino está realzado por un engaste de diamantes de talla brillante que enaltece su destello. ¿Otra novedad? La complicidad discreta, pero notable, del segundero, que pone de manifiesto el espíritu relojero de esta obra maestra.
Con estas creaciones joyeras, la Grande Maison renueva con elocuencia su deseo de hacer soñar a las mujeres. Un arte que se ejerce cada día en el seno de su Taller de Oficios Exclusivos e Inauditos, donde nacen sus creaciones más preciosas.
A photoessay of a one of a kind – bespoke piece, the Czapek «Quai des Bergues – nº 23bis».
For many connoisseurs, Czapek has been making a very notable appearance in these last two years. Since its «unorthodox» resurgence to the presentation of their Tourbillon and winning the Public Prize at the «GRAND PRIX D’HORLOGERIE DE GENÈVE 2016», Czapek has steadily entered the scene amongst the high-end and even well-established watch brands. Even being part of the «Only watch 2017» auction has established the feeling as if they have been around for decades. Undoubtedly a considerable feat by its management.
What is most notable about Czapek is without a doubt the value for money. There is no question that when looking at the Czapek «Quai des Bergues « few are able to give more for less. With those finishings, a proprietary movement, 8-day power reserve, power reserve indication… and all that inside stunning watch case makes this Czapek a real contender despite its youth.
I confess that I have a weakness for manual 8-day movements for the comfort of winding them once a week and not ever needing a rotor. The smoothness of the winding and very comfortable winding crown make you wish the weekly interaction with the crown was more often.
The watch case is absolutely fabulous. Complex yet elegant, complicated yet extraordinarily well executed.
The movement finishings are a joy to watch and are well above this price tag. Like a friend and one of the most horologically savvy gentlemen I know said;
«There is nothing missing and nothing in excess…»
He could not be more right. This Czapek has the perfect balance between excellence and cost. Going a bit more complex (with hand executed bevels or inward angles…) would undoubtedly place the Quai des Bergues outside of the reach of most watch enthusiasts.
All the details are carefully considered and administered in the Czapek. All is where it should be, and most important, how it should be. This is a watch to take VERY seriously not only as a watch but as a long-term companion.
Pese a que la marca oficialmente habla de 55 minutos, yo estuve algo más de 60 minutos disfrutando del humo del Davidoff Escurio Gran Perfecto y de un Brandy Ximénez-Spínola 10.000 botellas. Durante el tiempo que me llevó fumar esta interesante vitola pude paladear y apreciar con detalle un Brandy muy especial, ideal para maridar con cualquier tipo de puro.
Sin duda alguna, el trabajo logrado por los sucesores de Phelipe Antonio Zarzana Spínola es encomiable. Una empresa dedicada al mundo de la viticultura desde 1729 y que en la actualidad tienen una gama de Brandy elaborado a base de uva Pedro Ximénez muy interesante que al menos, en su versión 10.000 botellas, me ha parecido fascinante. Pese a no ser el destilado de la casa específico para el maridaje con puros, que denominan como Cigar Club y que ofrecen en tres variedades (Nº1, Nº2 y Nº3) en función de la intensidad del cigarro escogido, el 10.000 botellas ya presenta todas las características que hacen de el un maridaje extraordinario para un cigarro de fortaleza media. A la vista, su color ámbar es la antesala de un olor a ciruela y pasa logrado en parte a los toneles de castaño, envinados con Pedro Ximénez y en los que el 10.000 botellas pasa al menos doce años antes de ser embotellado y numerado. En esta ocasión pude probar la botella número 2740.
En boca es donde este brandy marca las diferencia con cualquier otro que haya podido probar hasta el momento. La intensidad de su sabor contrasta con la suavidad en paladar lo cual lo hace ideal para maridar con puros. En ningún momento se nota esa sensación fuerte en la lengua que en algunos brandies es hasta agresiva y que en este Ximénez-Spínola es más bien un primer sabor a uva pasa que permanece en el retrogusto y que ayuda a matizar el fuerte sabor alcohólico que suelen tener este tipo de destilados y que en ocasiones dejan una ligera sensación de quemazón en la garganta. Pese a no pertenecer a la gama Cigar Club este Ximénez Spínola es ideal para un puro como el Escurio Gran Perfecto, un cigarro que en la linea del tabaco dominicano de Davidoff tiene unos matices dulces y cremosos, una mezcla a regaliz y pimienta y un singular olor a roble, un elenco de sensaciones ideales para combinar con este Brandy.
A traditional wristwatch has a relatively straightforward role: to tell the time. All that is needed is a hand for the hours, another for the minutes and perhaps a power reserve indicator to keep track of running time. Horological Machine No4 has a hand for the hours, another for the minutes and a power reserve indicator. HM4 tells the time.
HM4 is not a traditional wristwatch.
The aviation-inspired case and engine of the HM4 are one. Neither would, nor could, exist without the other, yet each is so transcendental as to be able to stand alone as a work of art in its own right.
The HM4 engine is the culmination of three long years of development. Each of the 300-plus components – including the regulator and even the screws – was developed specifically for this anarchistic calibre. Horizontally configured dual mainspring barrels drive two vertical gear trains, transferring power to the twin pods indicating hours/minutes and power reserve.
But describing HM4’s engine through its mechanical functionality is like describing Renoir’s work through the chemical composition of his paint. Only careful contemplation enables full appreciation, and the sapphire case section and display panels top and bottom allow full access to the flawless fine finishing of HM4’s intricate and vibrant micro-mechanics.
The sleek aerodynamic form of Horological Machine No4’s envelope has its roots in Maximilian Büsser’s childhood passion for assembling model plane kits, though none looked remotely as futuristic as these. The striking transparent sapphire section of the case requires over 185 hours of machining and polishing to transform an opaque solid block of crystal into a complex, exquisitely curved panel allowing the light to come in and the beauty of the HM4 engine to stand out. Every component and form has a technical purpose; nothing is superfluous and every line and curve is in poetic harmony. Articulated lugs ensure supreme comfort. Highly legible time is a fringe benefit.
The HM4 series:
– HM4 Thunderbolt: launched in 2010, nicknamed after the A-10 Thunderbolt aircraft; case in titanium/sapphire.
– HM4 ‘Razzle Dazzle’ & ‘Double Trouble’: presented in 2011, these limited editions of 8 pieces each take the aviation theme even further with real rivets in their titanium fuselages and hand painted nose art, inspired by the rebellious paintings on WWII aircraft.
– HM4 RT: launched in 2012, a limited edition of 18 pieces in red gold, titanium and sapphire.
– The HM4 Final Edition closes the HM4 series in 2013 with a limited edition of 8 pieces in blackened titanium and sapphire.
Inspiration and Realization
A long childhood passion for assembling model aircraft had Maximilian Büsser’s walls, cupboards and ceiling covered in small aircraft of every description. Planes were what he saw last thing at night and planes were what he saw first thing each morning.
Many boys sketch supercars and fast planes, but few have the drive and determination to make their dreams come true. Büsser created MB&F to do just that. The HM4 Thunderbolt is born of the child’s fantasy and the man’s tenacity.
Engine
HM4’s engine was entirely designed and developed by MB&F over three years of intensive work with Laurent Besse and Beranger Reynard. Each of the 311 components were developed specifically for HM4, no off-the-shelf mechanisms or parts were used at all due to the extreme nature of its architecture.
Two mainspring barrels connected in parallel provide 72 hours of energy, and they transfer their power to the dual jet-turbine-like indication pods (one displaying the hours and minutes, the other the power reserve) via vertical gear trains.
Visible through a shaped sapphire display panel on the top of the case, a distinctive streamlined cock supports the balance, its centre cut away to reveal as much of the oscillating wheel as possible and validating the «kinetic» in MB&F’s «kinetic art».
A work of art rewards when viewed from different angles and the HM4 is no exception. Turning the machine over reveals a veritable panorama of meticulously finished micro- engineering through the sapphire sections. In a playful trompe l’oeil, what at first glance appears to be a micro-rotor in the form of MB&F’s iconic battle-axe is actually a bridge.
Indications
For a timepiece not developed specifically to tell the time, HM4 performs that role superbly. In fact, with its highly legible dials perpendicular to the wearer’s wrist, Horological Machine No4 might be described as the perfect pilot’s or driver’s watch.
On the left pod, the power reserve is clearly indicated by a skeletonised hand echoing MB&F’s battle-axe motif. On the right, hours and minutes are displayed by bold, arrow-tipped Super-LumiNova filled hands. Each of the two aviation instrument-styled dials is directly controlled by its own crown, one to wind and re-fuel the tanks, the other to set the time, which provides direct and instantaneous feedback of the action performed.
Case
Inspired by aviation, more specifically the model aircraft kits of Maximilian Büsser’s childhood, the case of HM4 imparts speed, power, technology and refinement in equal measure. Visually, the case is composed of three parts: two streamlined jet-turbine-styled pods supported by a horizontal section housing the engine, which is clearly visible through transparent sapphire display panels and the central section of the case itself.
Technically there are also three main sections, but these comprise a fore section in titanium (red gold/titanium for HM4 RT), which includes the dials and articulated front lugs; a central section in sapphire offering unprecedented 360° access to the superbly finished engine; and an aft section tapering down to the dual crowns and framing the animated balance, which is supported by an aerodynamic cock. Methods borrowed from aeronautic engineering are visible in the externally mounted screws, which provide both rigidity and watch resistance to hold the case’s three sections solidly and elegantly together.
Beginning with a solid piece of sapphire, more than 185 hours of intricate machining and meticulous polishing are required to turn an opaque block of crystal into the clear, light-filled atrium of the central case section, which reveals part of the HM4 engine and engineering details. The metal case sections are milled from solid blocks of high-tech grade 5 titanium (red gold for HM4 RT), which undergoes hundreds of hours of machining before polishing, masking and finally satin-finishing of the surfaces. The results speak for themselves.
The contrasts of matte with highly polished surfaces, metal with sapphire, straight lines with seductive curves and rigid forms with articulated arms endows Horological Machine No4 with a life and vibrancy that sets it apart from anything that has ever gone before.
HM4 is the quintessential machine as three-dimensional kinetic art.
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