Posts Tagged ‘Interview’
Maximilian Büsser nous en dit plus sur la nouvelle HM No.2 SV!!
The HM No.2 SV © Ian Skellern
TWL: Avant tout, Maximilan, permettez-nous nous de vous redire toutes nos félicitations pour cette dernière pièce qui est absolument stupéfiante ! Dîtes-nous, qu’est-ce qui vous a motivé à relever le défi d’un mouvement si complexe, à partir d’une base réputée si difficile à travailler ? N’avez-vous jamais eu une petite voix pour vous dire “mais qu’est-ce que je suis en train de faire , je suis fou ?” ?
MB: Merci Tom! Depuis le premier jour où j’ai décidé de créer le HM2, j’ai senti que ce serait vraiment dommage de ne pas montrer le moteur du mécanisme 349, qui n’est pas seulement en trois dimensions, mais également dessiné en même temps que le boîtier et bien sûr superbement fini à la main par l’équipe de Jacques Rochart dans la vallée de Joux. Nous avions commencé à travailler sur un boîtier ajouré sur la Only Watch Sage Vaughn version – qui représentait déjà un beau défi; c’est alors que Serge Kriknoff, mon associé, et moi, nous sommes dit : “et pourquoi ne pas aller un cran plus loin ?”. Et c’est ici qu’a débuté le vrai défi, voire la véritable épreuve !
TWL: Combien de temps cela vous a pris pour trouver le professionnel qui n’aie pas peur de s’atteler à la réalisation de cette tâche exceptionnelle qu’est le boîtier transparent en verre saphir ?
MB: Nous avons pris contact avec près d’une dizaine de fabricants, en Suisse comme ailleurs, et trois seulement ont relevé le défi. Deux d’entre eux n’ont pu présenter de prototype viable après une période de six mois, et c’est finalement Martin Stettler, propriétaire de Stettler, à Lyss (Suisse), qui est parvenu à livrer cette pièce magnifique il y a seulement trois mois…
© Ian Skellern
TWL: Y-t-il un moment où vous vos êtes dit que cette pièce ne serait tout simplement pas réalisable ? Comment avez-vous surmonté ces revers ?
MB: Je me souviens en septembre 2009 avoir regardé Serge en lui demandant “Bon, on fait quoi maintenant, qu’est-ce qu’on peut faire ?”. Il a juste levé les sourcils et répondu “attends…”, et soupiré. L’attente était en effet assez déconcertante.
TWL: Qu’est ce qui vous fut le plus difficile et le plus stimulant à créer ?
MB: Il faut à peu près 55 heures pour réaliser un des trois verres saphir, de l’usinage, le perçage, jusqu’à l’assemblage et le traitement anti-reflets. Et trois de nos quatre prototypes se sont brisés avant de voir le jour… . Ce qui prend le plus de temps est de rendre incurvé un si gros bloc de saphir. Le plus délicat est de percer les 8 trous destinés à accueillir les points de fixation. Etant d’une épaisseur de seulement 3,6 mm, le perçage au diamant prend un temps considérable; et comme ces trous sont très près du bord, 50% des pièces se brisaient durant l’opération. Le moment le plus appréciable est bien entendu lorsque l’on reçoit un verre fini et que l’on assemble le premier prototype. C’est comme la naissance d’un enfant après un travail long et douloureux.
TWL: Est-ce que le résultat final correspond bien à l’image que vous vous en étiez fait ?
MB: Oui, c’est assez ressemblant avec ce que j’avais en tête. Le joint de résistance bleu marine fut pensé alors que nous avions fini le montage avec un joint Plexiglas. Avec un joint noir, la pièce dans son ensemble aurait été de gris et de noir – ce qui n’aurait pas conduit l’oeil à se focaliser sur un point précis, comme si l’on mélangeait de savoureux ingrédients tous ensemble. Nous avons donc opté pour ce bleu électrique qui intervient un peu comme une trame supportant le travail d’art à proprement parler.
© Ian Skellern
TWL: Que voyez-vous lorsque vous regardez la création une fois finie ? Qu’aimeriez-vous que les autres voient et comment la décririez-vous ?
MB: Cela me fait penser à la vue aérienne d’une ville, prise depuis un hublot. On ne peut pas tout voir, mais on peut distinguer la trois-dimensions, certains endroits de la ville ainsi que des détails significatifs qui en ressortent.
TWL: Y’a-t-il des spécificités sur lesquelles vous aimeriez attirer le regard de certains amateurs pourtant avertis ?
MB: Je leur demanderai simplement de regarder la pièce de loin, puis de près, et pour finir de se demander combien d’opérations différentes il aura fallu pour produire le bloc de saphir qui protège le mouvement.
TWL: Rétrospectivement, y’a-t-il des choses que vous auriez-fait différemment ?
MB: Non, parce que le résultat final est conforme à ce que j’avais en tête, et ceci même si nous avons passé des nuits blanches à nous demander si Stettler allait réussir, ce qui est maintenant une réalité et permettra des premières livraisons au mois de mai.
TWL: Au final, qu’est-ce que vous rend le plus fier dans cette nouvelle vision de la HM2 ?
MB: Qu’elle existe…
Traduction française Olivier Muller – © The Watch Lounge
1 Excellent Comment | Filed under Interviews
Interview With Master Watchmaker Thomas Prescher
*Please note that thanks to the excellent work of Olivier Muller this interview is also available in French
A few weeks ago we told you about the amazing Qatar watch from Master Watchmaker Thomas Prescher. Held in the highest international regard for his exceptional skills, Mr Prescher has created some of the most awe defying timepieces ever seen, including the Triple-Axis Tourbillon. Renowned for his creativity and determination, Mr Prescher recently took a break from his busy schedule to talk to us about his career as a watch maker, the challenges he’s faced and essentially what drives him to do what he does.
Not be missed, please enjoy our interview with Master Watchmaker Thomas Prescher.
TWL: Have you always been passionate about watches and watchmaking? Where do you think this passion comes from?
TP: When I was twelve an aunt of mine presented me with some crystals. They became my hobby. I decided to become a goldsmith to work more with crystals. While I was still in school I did some work experience in a Jeweller shop and this is where I came into contact with watches for the first time. It became my new passion. Two years later I decided to start my career as a naval officer. I quit the navy after six years to realize my true dream and about a year later begun my apprenticeship as a watchmaker.
TWL: When you were first starting out did you ever think “Yes, I can become a Master Watchmaker and create some of the most complicated movements the world has ever seen?” Did you ever think that you would not succeed in achieving this goal?
TP: The first time was during my apprenticeship when my master asked me behind closed doors if I have done private work without asking his permission beforehand. I swore that I had not and asked why. He said that he found a complicated lever of an old chronograph in the cleaning machine. I wanted to know why this guided him to me. He said “you are the only one who has the skills to make this by hand, all the others would have asked me if they had found this”. Well it came out that it was somebody from another department but it told me that he saw something special in my work.
The second time I knew I could achieve great things was when I was able to finish my four year apprenticeship in three years. I was the first ever to be granted this special permission in IWC and I also managed to submit the best exam in Switzerland that year.
Last but not least, I was given permission to make my first Tourbillon as part of my apprenticeship, an almost unheard of challenge for an apprentice watchmaker!
Thomas Prescher Calendar QP1
TWL: What other watchmakers do you admire and why? Is there anyone in particular who stands out in your mind as having made a significant contribution to your knowledge and success?
TP: I would prefer to describe more what I admire as opposed to whom, and so in this way it will be impossible for me to miss anyone’s name out!
I admire strength and discipline in following ideas and visions to fruition, as well as the patience to realize things, even if that takes a long time. I also admire the strength and determination required not to give up, even if the target is not realistic.
I must make special mention though of several people who had a particular influence on my professional career. The person who made the most significant contribution to my handcrafting skills was my master, who taught me to continually search for improvement. I would also like to acknowledge Richard Habring, who not only convinced my master to grant me the opportunity to attempt the construction of a tourbillon but also gave me basic plans for the movement. And for sure Richard Daners who answered all my questions when I got the chance to make my first handmade watch as an employee.
In large part the knowledge I have now I got from many old books, networking and also most importantly from trial and error. I have also learnt an incredible amount from the restoration work I have done on the watches of old masters, who taught me through their watches what could work and what was better not to do.
TWL: What inspired you to create the first ever double axis tourbillon pocket watch and a double axis tourbillon wristwatch?
TP: I saw the picture of Randal and Goods multi axis Tourbillons in a table clock in a Tourbillon book and I thought to myself how nice but senseless this is to equilibrate different position in a clock which does not change positions. This must be done in a portable watch.
I started with a pocket watch but upon presentation to the public I learnt that the world was not waiting for pocket watches. I created the Triple Axis Tourbillon wrist watch for the next year, because the same people who originally said that the double was impossible were now asking for a third axis, again with the intention that this should be impossible for me to achieve.
Triple Axis Tourbillon Regulator Sport – The tourbillon with three axis – first and second axis turn once per minute, third axis turns once per hour
TWL: After the stunning success of those two remarkable pieces in 2003, you followed them up with the Tourbillon Trilogy at Baselworld 2004, where you unveiled the first ever triple axis tourbillon wristwatch. Did you ever think that you would not be able to achieve this remarkable feat?
TP: I knew it was possible but several times during the process I was ready to go throw it in Lake Biel. However, I refused to give up and instead continued to squeeze the piece, so to speak, and force it to give up its resistance. Finally I won the battle with the Triple. Making it is still like riding a full blood Arab Horse. Very difficult but it brings fun and satisfaction.
TWL: What were the greatest challenges you faced when conceiving and realising these pieces? How did you overcome them?
TP: To create the watch as an entire piece of art. From a technical perspective the greatest challenge was to realize that a constant force in the carriage is more or less a must for a system like mine. It was also very difficult to synchronize the arm of the Tourbillon with the minute hand. That took me nearly the half of the time.
Overall though, the most difficult thing was the realization of a prototype financed 100% out of my own pocket. No bank was willing to help. So I did nearly everything with my turning machine and through this process gained a lot of knowledge.
In my opinion the only way to overcome the problems of an independent start up is strong will, hard work and patience.
TWL: Looking back now, would you have done anything differently? Why?
TP: I have only one life and I am where I am because I have done things the way I have. So following this logic I would do everything the same, because I am happy now!
If I had a second life I think I would do many things different to make it easier for others and also for myself, although if this would result in the outcome I intended, I am not sure at all.
Mesmerizing – the inner workings of the Qatar watch.
TWL: Recently you announced the successful completion of the custom made Qatar watch, from your TempusVivendi range. What was the most enjoyable aspect of designing and creating this timepiece? What did you find most difficult?
TP: I am very pleased by the positive comments this watch has received. For me the most enjoyable but at the same time challenging aspect was the coat of arms. At first glance it seemed like they were almost made for my system, but this was to be misleading. I had to change so many things especially as the swords had to be carried from the external side and not from the centre. It took me a month to develop this new system and another again to make the new parts.
A very nice aspect is that I always have the opportunity to come in close contact with a new field of things when I do the research for a watch like this. I discovered a new and extremely interesting country and culture.
In the end the most difficult thing was to make the design balanced so that it shows perfect harmony in both positions; showing the time and swords up.
TWL: How long does it take you to design and manufacture a custom piece from start to finish?
TP: Depending what the client wants between four weeks and two years. The Qatarwatch took me three months.
TWL: What is the most unusual request a client has ever made from you for a custom piece?
TP: Can you make me this mechanism for a Quartz watch!
TWL: Finally, out of all the timepieces you have ever made, which is your favorite and why?
TP: My new Mysterious Automatic Double Axis Tourbillon with calendar on the oscillating weight. When I first had the idea I thought this is now beyond even my limits. So I started to realize each part of this watch as a single part and then I have put all the parts together to form one extraordinary watch!
Make sure you keep your eyes out for this amazing new piece from Thomas Prescher later this week!
Interview With Master Watchmaker Thomas Prescher (French Version)
Il y a quelques semaines, nous avons évoqué ici l’incroyable montre Qatar du maître horloger Thomas Prescher. Reconnu au plan international pour ses capacités, M. Prescher a créé certaines des pièces les plus incroyables qui soient, comme le tourbillon Triple-Axis. Réputé pour sa créativité et sa détermination, M. Prescher a dernièrement pris le temps, malgré sons activité débordante, de nous parler de sa carrière comme créateur de montres, les défis qu’il rencontre, et ce qui l’amène à créer ses pièces.
TWL: Avez-vous toujours été passionné par les montres et leur réalisation ? D’où cette passion vous vient-elle ?
TP: Lorsque j’avais 12 ans, une de mes tantes m’a montré des pierres précieuses. C’est devenu pour moi une passion, et j’ai décidé de devenir orfèvre afin d’aller encore plus loin. Alors que j’étais encore étudiant, j’ai fait un apprentissage chez un bijoutier, et c’est ici que s’est fait mon premier contact avec l’univers de la montre. C’est devenu une nouvelle passion. Deux ans plus tard, j’ai décidé de m’engager comme officier dans la marine. Je l’ai quittée six ans plus tard pour concrétiser ce qui était mon véritable rêve, et environ un an plus tard, j’ai commencé à apprendre le métier d’horloger.
TWL: Avez-vous eu par moment l’ambition personnelle de devenir un Maître Horloger et de vous dire « je vais fabriquer les plus grandes complications que le monde ait jamais connu » ?
TP: La première fois fut durant mon apprentissage, lorsque mon professeur, me prenant à part, me demanda si j’avais déjà réalisé des travaux purement personnels, sans lui en avoir demandé la permission. J’ai juré que non, et lui ai demandé pourquoi. Il m’a dit qu’il avait trouvé un levier complexe d’un vieux chronographe dans la machine de nettoyage des pièces. Je lui ai demandé pourquoi il avait pensé que c’était mon initiative. Il répondit : « tu es le seul à avoir les capacités de réaliser cela à la main ; tous les autres m’auraient demandé si par hasard je n’avais pas trouvé cette pièce ». Finalement, elle provenait d’une autre section, mais il m’a dit avoir vu un talent particulier dans mes réalisations.
La deuxième fois où je me suis dit que je pouvais réellement réaliser de belles choses fut lorsque j’ai terminé mon apprentissage en trois ans au lieu de quatre. Je fus ainsi le tout premier à disposer de mon diplôme par anticipation, et par la même occasion à présenter le meilleur diplôme cette année-là en Suisse.
Enfin, j’ai eu la permission de réaliser mon premier tourbillon dans le cadre de mon apprentissage, ce qui était une performance quasiment jamais vue pour un apprenti horloger !
Thomas Prescher Calendar QP1
TWL:Quels sont les autres horlogers que vous admirez ? Y’a-t-il quelqu’un en particulier qui vous semble avoir contribué de manière significative à cet univers ?
TP: Je préfèrerai évoquer les réalisations que j’admire le plus, par opposition aux personnes, au moins je suis sûr de n’oublier personne !
J’admire la force et la discipline requises pour suivre son idée et sa vision jusqu’à leur réalisation, tout comme la patience de faire les choses, même si cela prend du temps. J’admire aussi la force et la détermination nécessaires pour ne pas abandonner, même si l’objectif n’est pas réaliste.
J’ai toutefois une pensée plus particulière pour tout ceux qui ont eu une influence particulière sur mon travail. Ces personnes qui ont eu la contribution la plus significative à mes capacités actuelles de réalisation sont mon maître, qui m’a enseigné à toujours chercher à s’améliorer. J’aimerai aussi citer Richard Habring, qui non seulement a pu convaincre mon maître de me laisser réaliser un tourbillon durant mes études, mais m’a aussi donné les principes fondamentaux d’un mouvement. Et bien entendu Richard Daners, qui a répondu à toutes mes questions lorsque j’ai eu la possibilité de concevoir mon premier modèle fabriqué à la main lorsque j’étais employé.
La plupart des connaissances que j’ai proviennent de livres, de mes relations, mais aussi et surtout de mes expérimentations et de mes erreurs. J’ai aussi énormément appris lors de restaurations effectuées sur de vieilles montres de maîtres, qui m’ont ainsi appris comment leurs montres fonctionnaient et ce qu’il valait mieux ne pas faire.
TWL:Qu’est-ce qui vous a inspiré pour créer le tout premier tourbillon à deux axes pour montre de poche, puis pour montre bracelet ?
TP: J’ai vu la photo des tourbillons multi-axes Randal & Goods pour montre de table dans un livre sur les tourbillons, et je me suis dit que ce serait une bonne idée, quoique dépourvue de bon sens, que d’équilibrer ceci dans une montre qui ne changerait pas de position. Cela devait donc être fait dans une montre portative.
J’ai commencé avec une montre de poche, mais lors de la présentation au public, j’ai constaté qu’il n’y avait aucune attente pour les montres de poche. J’ai donc créé le tourbillon Triple Axe pour montre de poignet l’année suivante, parce que les personnes qui pensaient à l’origine que le double axe était une réalisation impossible, demandaient à présent une triple axe, pensant que ce serait pour moi une réalisation impossible.
Tourbillon Triple Axe Regulator Sport – Le Tourbillon à trois axes, le premier et le deuxième tournent en une minute, le troisième en une heure.
TWL: Après le succès incroyable de ces deux pièces remarquables, en 2003, vous avez été plus loin avec la Trilogie Tourbillon, à Baselword 2004, durant lequel vous avez révélé le premier tourbillon triple axe pour montre de poignet jamais réalisé. Avez-vous déjà douté de pouvoir réaliser cette prouesse ?
TP: Je savais que c’était faisable, mais plus d’une fois j’ai failli tout jeter dans le lac Biel. Toutefois, j’ai refusé d’abandonner, et j’ai continué à tordre les pièces, à proprement parler, pour qu’elles abandonnent leur résistance. J’ai finalement gagné la bataille conter le Triple. Le fabriquer reste cependant comme chevaucher un pur sang arabe. Très difficile, mais cela procure beaucoup de plaisir et de satisfaction.
TWL: Quels ont été les plus grands défis lors de la conception de ces pièces, et comment les avez-vous surmontés ?
TP: Concevoir une montre comme une véritable pièce d’art. D’un point de vue technique, le plus grand défi fut d’intégrer le fait qu’une force constante dans le mécanisme est plus ou moins une obligation pour un système comme le mien. Il a également été très difficile de synchroniser le bras du Tourbillon avec le mécanisme des minutes. Cela m’a pris presque la moitié du temps total.
Cependant, au global, la chose la plus difficile fut la réalisation d’un tel prototype 100% financé de ma propre poche. Aucune banque ne voulait m’aider. J’ai donc quasiment tout fait avec mon propre matériel, ce qui fut riche d’enseignements.
A mon sens, le seul moyen de surpasser les difficultés lorsque l’on est une start-up est d’avoir une volonté inébranlable, de beaucoup travailler et de s’armer de patience.
TWL: Avec le recul, auriez-vous fait certaines choses différemment ?
TP: Je n’ai qu’une vie, et j’en suis là aujourd’hui grâce aux choses que j’ai faites à ma manière. Par conséquent, je referai tout de la même manière, car je suis heureux aujourd’hui ! Si j’avais une seconde vie, il y a beaucoup de choses que je ferai différemment, pour rendre les choses plus aisées pour les autres comme pour moi, mais je ne suis pas sûr que cela aurait produit le même résultat.
Stupéfiant – les mécanismes intérieurs de la Qatar.
TWL: Récemment, vous avez annoncé la finalisation de la gamme custom de la Qatar, au sein de la série TempusVivendi. Quels furent les meilleurs moments de la conception et de la réalisation d’une telle pièce, et qu’avez-vous trouvé de plus délicat ?
TP: Je suis très heureux des commentaires très positifs que cette montre a reçus. Pour ce qui est des aspects les plus stimulants mais aussi les plus difficiles, je citerai le formatage des bras. Au premier regard, on a l’impression qu’ils ont été fait exprès pour mon système, mais c’est une erreur. J’ai dû changer tellement de choses, principalement car les lames devaient être amenés depuis le bord externe, et non depuis le centre. Cela m’a pris un mois pour concevoir le système, et encore un mois pour faire les nouvelles pièces.
Ce qui est particulièrement plaisant, c’est que j’ai l’opportunité d’être en contact rapproché avec tout un ensemble de nouvelles choses que je découvre lorsque je fais mes recherches en amont de la réalisation d’une montre comme celle-ci. J’ai découvert un nouveau et passionnant pays, et de même pour sa culture.
Au final, la chose la plus difficile fut de réaliser une conception équilibrée, afin qu’elle soit en parfaite harmonie dans les deux positions, en lecture d’heure comme en aiguille verticale.
TWL: Combien de temps cela vous prend-il de réaliser une pièce complète comme celle-ci, depuis sa conception ?
TP: Cela dépend de ce que veut le client, entre quatre semaines et deux ans. La Qatar l’a pris trois mois.
TWL: Quelle est la demande la plus originale que vous ayez eu de la part d’un client pour une montre sur-mesure ?
TP: Pouvez-vous réaliser ce mécanise pour une montre à Quartz !
TWL:Au final, quel est la pièce dont vous êtes le plus fier ?
TP: Ma nouvelle Mysterious Automatic Double Axe Tourbillon avec calendrier et charge oscillante. Lorsque j’en ai eu l’idée, j’ai pensé que ce serait au-delà de mes compétences. Alors j’ai commencé à travailler chaque pièce comme entité individuelle, que j’ai finalement assemblées pour faire cette montre extraordinaire !
Surveillez bien cette nouvelle pièce extraordinaire de Thomas Prescher dans le courant de la semaine !
Weird Watch Wednesday: The Greubel Forsey Effect (Live From SIHH 2010)
Tourbillon 24 Secondes in platinum with gold dial – Image courtesy of Greubel Forsey
Perhaps the hottest ticket in town this year at SIHH 2010 is an interview with Stephen Forsey. The co-founder of Greubel Forsey is a busy man and its not hard to see why when you look at the mind blowing pieces his company has created. But early on Tuesday morning I was able to spend a short time with him to talk about the latest products and look back over the last few hectic years.
While it has been my pleasure to interview only a relatively small number of independent watchmakers, they appear to have a number of common traits and Stephen does certainly seem to fit the mould. Without exception they are driven individuals, which is not surprising when you think about the amount of work and dedication it takes to make and launch your own watch.
This drive is allied to a passion for doing what they do, which understandably to some may appear almost like an obsession, however, manufacturers such as this one cannot be dismissed merely as a business. It involves so much more than just that.
Built On A Solid Foundation
Stephen has an engineering background and following a stint at the Hackney School of Horology in the late 1980s, he started out with the modest ambition of creating a few clocks that people might buy to order and make him a little bit of money. But this was the 1980s: the industry was in crises and quartz movements heralded the prospect of the demise of the mechanical watch-making business, so like many graduate watchmakers he hunkered down in someone else’s company. For Stephen this was Asprey’s in London.
The 1990s saw the return of interest in the mechanical watch, and the layoffs of the 1980s had left the Swiss watch industry with a problem – a lack of talented watchmakers. These companies scored the globe looking for talent to fill their ateliers; when Stephen landed at Renaud et Papi there were 15 different nationalities working there, and watch making was no longer a preserve of the Swiss.
In retrospect the remarkable thing about the members of this group at Renaud et Papi was what they did next. At the end of the 1990s the group began to disperse; with a common purpose, Stephen Forsey and Robert Greubel decided their future lay in creating the watches they wanted to make together. They believed that contrary to the thoughts of some other makers, not everything had been done and that innovation should be their focus.
Tourbillon 24 Secondes in platinum with black dial – Image © Ian Skellern 2010
Talking Shop
Gruebel Forsey is attending SIHH for the first time thanks in part to a 20 per cent investment by Richemont, which has also enabled Greubel Forsey to expand its workforce to nearly 100 spread over Greubel Forsey and its sister company CompliTime.
Stephen was kind enough to spend some time showing me his latest watches and, as I said yesterday, the quality is stunning and photos don’t do them justice, no matter how good they are.
Our discussions turned to how this quality is achieved and by way of an example Stephen explained how all of the screws used in his watches are made in-house. This means that the screws are made by a dedicated artisan, who is able to ensure that they are completely clean, all swarf is removed and there are no chemical residues to spoil the blueing process.
If the company is willing to go to these lengths for the screws, just imagine what it will do for the rest of the watch.
The Final Word
With the company continuing to grow and some excellent people coming on board, it looks like Stephen will be able to step back a bit from the endless rounds of PR and focus on the development of new technologies.
In my humble I think we have a lot more to look forward to from Greubel Forsey over the coming years. Now isn’t that an exciting thought!
Tourbillon 24 Secondes in platinum with black dial – Image © Ian Skellern 2010
Spec Sheet:
And just to really get your motors running, here are the specifications of the amazing Tourbillon 24 Secondes shown above:
Platinum case with lateral window, available in either a black or gold dial
Tourbillon 24 Secondes
Mechanical hand-wound movement, Calibre GF 01
Tourbillon 24 Secondes, 24-second Tourbillon rotation indicator, seconds indicator and power-reserve indicator.
Patented Movement
• Complete movement: 280 parts
• Tourbillon cage: 88 parts
• Weight of the cage: 0.39 g
Number of jewels 36
Olive-domed jewels in gold chatons
Power reserve 72 hours
Barrels Rapid rotating twin barrels (1 Turn in 3.2 hours) one of which equipped with a slipping spring so as to avoid excess tension
Balance wheel Free sprung balance with white gold mean-time screws (10 mm diameter)
Frequency 21’600 vibrations/hour
Balance spring
• Phillips terminal curve
• Geneva-style stud
Main Plates Spotted and snailed palladium-finished nickel silver
Bridges
• Hand bevelled, frosted and spotted palladium-finished nickel silver “Greubel Forsey” gold nameplate,
relief-engraved gold plate with the number of the timepiece
• Steel black mirror-polished and beveled Tourbillon bridge
• Black PVD-coated titanium platform under the Tourbillon and mirror-polished backdrop Gearing
• Involute circle profile
• Tangential inclined gear with profiled teeth, on fixed wheel and escape wheel pinion Tourbillon cage
• Inclined at a 25° angle, 24-second rotation
• Cage pillars in Avional
• Titanium cage bridges
• Gold counterweight
Displays
• Hours and minutes
• Small second sector
• 72-hour power reserve on a sector
• 24-second Tourbillon rotation indicator at 8 o’clock
Case
• Platinum with asymmetrical convex sapphire crystal
• Transparent back with asymmetrical convex sapphire crystal
• Lateral window with shaped sapphire crystal
• Raised engraving of the name of the Invention on a hand-punched background
• Gold security screws
• Polished bezel and centre band with hand-finished straight graining
• Hand-engraved individual number
Case dimensions
• Diameter: 43.5 mm
• Thickness: 16.11 mm
Water resistance of the case 3 atm – 30 m – 100 ft
Crown Platinum with engraved and black lacquered GF logo
Dial
• Gold dials
• Gold appliques
• Gold display sectors
• Applied gold logo
Hands
• Hours and minutes with Superluminova, small seconds and power-reserve in gold
• 24-second double-tipped hand, black anodised aluminium
Strap Hand-sewn black, brown and dark blue, alligator leather with gold folding clasp, hand-embossed with the Greubel Forsey initials
Interview With Eric Giroud, Watch Designer Extraordinaire!
Chances are that unless you are hardcore luxury watch enthusiast you are probably not familiar with the name Eric Giroud, but let me tell you, you should be! This man has been the creative genius behind some of the world’s most breathtaking and mindblowing timpieces, including the highly lauded Opus 9 and Glissiere Tourbillon pieces from Harry Winston, the Sequential One by MCT Watches (along with Denis Giguet) and HM No.1 from our good friend Maximilian Büsser and his team at MB&F.
Recently Eric was kind enough to free up some time in his very busy schedule to talk to us about his passion for design, his amazing career and quite simply what inspires him to do what he does best, design!
For those of you who would like (and are able to!) read the original interview, it has been published here…in French!
TWL: What are the top three most challenging watch designs you have worked on during your career and why?
EG: With each new project there always comes new challenges, however, historically speaking the first real challenge for me was working on the design of the Harry Winston Glissiere Tourbillon automatic watch, as this was the first time I had ever worked with a Master Watch Maker, in this case Christophe Claret. Although this experience proved to be a very steep learning curve for me, Christophe Claret was extraordinary to work with and Harry Winston was very confident in my abilities.
The design of HM No. 1 for MB&F was also a huge challenge for me because this required the creation of this new brand’s first ever watch! This was the first time I had attempted something like and whilst I learnt a lot during this very exciting adventure I also had to deal with all the fears and doubts that come with the creation of anything new and different.
Simply amazing – the Harry Winston Glissiere Tourbillon Automatic
Finally, I think Opus 9 has been a great challenge in the sense that I had to manage the enormous amount of freedom I was given as effectively Harry Winston and Jean-Marc Wiederecht left me in control of the conceptual approach of this project. This complete level of freedom is not necessarily easy to manage, but in the case of this project there has been a magnificent support of the other partners and well, the result speaks for itself…
TWL: Of all your watch creations which are you most proud of? Why does this particular piece hold such significance for you?
EG: Undoubtedly Opus 9 for Harry Winston, as I feel a very personal attachment to this project. Not only did it give me the opportunity to take a ‘vacation’ away from my usual work environment but also I had the unique opportunity to experience the richness of collaborating with the team from Harry Winston and the watchmaker Jean-Marc Wiederecht. This adventure taught me a lot and was especially rewarding on a personal level.
Managing the freedom to create a prestigious piece is undeniably a difficult thing, but I must confess that I was enormously pleased with the result. If I am completely honest then I must say that when I saw the first prototype I was very much moved by the result.
The legendary Opus 9
TWL: What are your sources of inspiration for the incredible designs you create? How do these influences impact on the overall finished product?
EG: Inspiration…..a magic word! Just kidding, but in fact one must be very inspired to create watches that stand out and are noticed. For me, there are two sources of inspiration. The first comes from external sources such as other brands, images, signs and other data that you feed your brain. The second follows on from this and comes from within, influenced by research and personal culture.
In my case, I am interested in various art forms. I love to listen and discover music, possibly while lying on a sofa. I am a lover of contemporary art and so I spend my time walking through the exhibits and going to meet the artists. In this way I live surrounded by works of art and I buy whenever I can. I also feed my brain with films, stories, and in doing so the imagination of filmmakers. Not to mention the many magazines I look through that help me get a feel for the various trends.
For me music and horology meet within the rhythm and harmony. One minute of music can provoke such profound feelings within me. When I create a watch I’m trying to close myself off so that I can search within to touch the deepest senses.
Besides I like this outlook on the world. Contemporary art helps me to push myself to break out of my habits and routines. The questions posed by these artists stimulate my creativity. Artists have no limits or taboo, they even dare to denounce what is not so common nowadays. I find that confront and embrace this way of thinking is a real breath of fresh air. It helps to create tension and consequently to provide ideas or developments in watchmaking
Still, I think that the impact of inspiration on the final piece does not necessarily play a significant role in the sense of the emotion that each watch evokes. I think that the sources of inspiration are often undisclosed and remain a deeply hidden to the public. What they mean are apparent sometimes only to those who participated in the project development.
TWL: What is the first thing you consider when designing a new timepiece? Why?
EG: The first thing is to understand the requirements of the project in question. Once this is achieved then the creative process can commence through sketches or drawings by hand, allowing me to best understand the various difficulties related to the dimensions and integration of the movement. This forms the core of how to build the watch which is the conceptual phase of the project.
From there I can meet with other people within the brand in question to share my various insights or concepts so that we can define together in what direction we’ll go. It is very important to me to involve the various stakeholders of the project very early in the process of creation to be as fair as possible.
HM No.1 in White Gold by MB&F
TWL: What do you think is the single most difficult aspect when commencing a new design project?
EG: The most difficult aspect is understanding the reason why and the merits of the new project. It is important to reflect on these questions so that the design process can be as fair as possible whilst still meeting the requirements and thus allowing us to then create the object.
I always say this sentence: A good project is a compendium of good questions, and a good product is a good response.
TWL: You have had the opportunity to work with many amazing watchmakers during the course of your stunning career, who really stands out in your memory and why?
EG: Unfortunately, I cannot choose just one, because at each stage of my career and for many different projects I have worked with extraordinary watchmakers who have each taught me a lot. Historically the first that opened the door of his workshop to me was Peter Speake-Marin who made me realize the importance of the movement, of its various components, operation and diverse finishes.
It was then with Christophe Claret and the Glissiere Tourbillon automatic for Harry Winston, where I experienced for the first time the opportunity to work on a project that contained a highly complicated movement as well as incredibly unique design. This experience was made even more extraordinary for me by the fact I was working on the entire project – including the movement.
I must also mention Laurent Besse and his inventiveness and openness as part of HM No. 1 and Jean-Marc Wiederecht for the richness of collaboration and his incredible ingenuity in the context of the Opus 9…
TWL: What are you working on at the moment? Can you give us any sneak peeks of what we can expect from the master designer in 2010?
EG: Right now, unfortunately I can not reveal the projects on which I am working, but what I can say is that I am working on projects for 2011 and 2012. Confidentiality is the watchword of my profession, so until the formal presentation of each new product on which I participate, I unfortunately can not reveal anything!
TWL: Finally, what advice can you give to aspiring product designers who wish to follow in your footsteps?
EG: I have no specific advice to give young designers, however I would simply say that this is a wonderful occupation with a lot of rules. Do not think that freedom is born of the rules though. It takes a lot of patience, humility and belief in different stakeholders and always being very curious and occasionally luck…
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Stay tuned ! - Jack: Looks like a really nice watch for the price!