That’s right Australian aficionados and collectors, you did not misread the title, we have just received official confirmation today that the highly prized Chapter Two by Maitres du Temps is available right now in Australia. However, you will have to be quick, as there is only one!

Why Does This Matter To You?

It’s simple really.

One of the most common complaints we hear from our Australian readers is that a disproportionate number of the exceptional timepieces we feature here on The Watch Lounge never quite make it to their distant shores. As a result many are forced to venture overseas, when possible, to satisfy their cravings for high quality craftsmanship and unparalleled expertise.

However, all that is about to change, thanks in large part to the incredible vision of one man who will be opening a brand new luxury boutique in Sydney later this year (and no, that man is not me.)

Whilst we can’t divulge too many details, what we can tell you is that this man has a superb eye for quality and a strong desire to give sophisticated Australian consumers the opportunity to buy timepieces that have never before been seen in this country let alone been available for purchase.

Which brings us back to Maitres du Temps and the Chapter Two. For those of you not familiar with the brand we strongly recommend that you read the in-depth two-part special feature we published on the brand earlier this year in conjunction with their Founder Steven Holtzman (read Part.1 here and Part.2 here.)

Some of our Melbourne and Sydney-based readers may recognize the name Peter Speake-Marin (another famed independent watch-maker) who visited Australia recently and was also one of the watch-makers behind the Chapter 2.

Now on to the piece itself.

Images are for illustration purposes only and are not of the actual piece for sale.

The Chapter Two
The Chapter Two is the result of the collaboration of two master watch-makers; Daniel Roth, a veteran of the Swiss watch industry renowned for his incredibly complicated timepieces and Peter Speake-Marin, one of the industry’s best up-and-coming independent watch-makers.

The goal was to produce the most readable triple calendar wristwatch on the market through the use of two specially made (and deceptively complex) rollers which display the month and the date. The rollers and big date are instantaneous, so the custom built automatic movement was designed to store enough energy during the day to move all of the date functions at the same time, which by all accounts took a great deal of expertise and ingenuity to perfect.

Presented in a very attractive tonneau case, the Chapter Two features bright, diamond cut, solid gold hands, small seconds and a two-disc big date indicator at the 12 o’clock position, which finishes off the watch very nicely.

As with many high-end watches, it is the little touches that really set it apart. For example, the 22K solid-gold winding rotor has a beautiful basket weave pattern (panier guilloche) engraved upon it. What many people don’t know though is this exceptional finishing is thanks to the skills of a retired master engraver known to Daniel Roth, who was persuaded to help them out only three days before he was due to dispose of all his tools. What a way to finish a career!

Images are for illustration purposes only and are not of the actual piece for sale.

What You Need To Know
As the piece has arrived early it is being offered by the seller as a pre-sale piece ahead of the opening of their brand new, Sydney-based boutique later this year. The Australian retail price of the Chapter Two is $95,000 AUD (inc GST) and as we mentioned before there is only one available for sale in Australia, so if you are interested you must act quickly.

Please submit all expressions of interest to us via email and we will put you in immediate contact with the Sydney based seller.

Please feel free to email us also if you would like any further information and stay tuned for further updates on the pending announcement of Sydney’s newest luxury boutique.

The Final Word
This is a very unique opportunity to purchase an outstanding timepiece conceived and realized by two of the world’s greatest living watch-makers. For collectors and admirers alike this timepiece is an absolute must and will undoubtedly take your breath away every time you marvel at its mechanical complexity and superior craftsmanship.

If you are interested in acquiring this piece please email us now and we will gladly connect you with the seller.

It was with somewhat mixed emotions earlier this month that we learnt of the decision by master craftsmen Greubel Forsey to end the production of their breathtaking Double Tourbillon 30° Contemporaine models (which includes Vision and Secret models.) We say mixed emotions because on the one hand it is always a little sad to farewell such an iconic timepiece, however, at the same time one can’t help but be excited by the prospect of what amazing new invention will be unveiled to fill its place.

A Momentous Occasion
If you’re not familiar with the brand then you may not fully appreciate the significance of this decision to the company and its founders, Robert Greubel and Stephen Forsey. The fact is though that this particular line forms a major cornerstone of the brand’s history as it is the timepiece which catapulted Greubel Forsey into the spotlight when it was first launched back in 2004. The complexity, and ensuing success of this timepiece, formed the basis for the legitimacy of the inventions that followed.

However, Greubel Forsey is an inventor and an innovator first and foremost and as such the focus of their energy and investment dollars must always be on the future. Hence, whilst the decision has not been made lightly, it has most certainly been made for the right reasons and aficionados of the brand will most certainly reap the benefits of this shift in direction.

Before the brand boldly sets off to explore uncharted new territory, however, it is only fitting that this iconic collection is given a suitable send off. And so, to celebrate the end of the fairytale story of the Double Tourbillon 30° Contemporaine, the company has created two unique series, the “Edition Historique”:

• 11 pieces in 5N red gold, and

• 11 pieces in platinum.

The Edition Historique
The beauty of every Greubel Forsey timepiece is that the complexity is not just limited to the mechanics, although the inner-workings of the double tourbillon system are in themselves mindblowing. Still, it is the absolute, uncompromising attention paid to every intricate detail that makes these pieces truly special. For example, the Edition Historique features  an exclusive new gold dial that integrates three sapphire-crystal plates. Providing the finishing touch these complex insertions are engraved and enhanced by 3D structured text.

Similarly the bezel with beveled relief ensures the final edition of this iconic series has its own subtle yet original look. It is undeniably a new interpretation of the style of the earlier models while still retaining the intrinsic design features of a Greubel Forsey timepiece.

Like the other Greubel Forsey timepieces, the Double Tourbillon 30° expresses the inventive thinking of its creators, constantly seeking to challenge convention and create things of true magnificence. Visually, you will also discover the 3D structured text on the dial and engraved hand-decorated curved plates affixed to the sides of the case extolling the philosophy and skill of these master artisans.

The Final Word
You don’t have to search these pages long to discover that we are completely enamored with Greubel Forsey, and with good reason. Whilst the time has come to bid farewell to a legend we believe that a more than fitting tribute has been created to mark this momentous occasion in the short history of this superb Atelier.

We can say with absolute confidence that this special edition, unlike many others, will exponentially increase in value over time and would most certainly make an invaluable addition to your collection, both for its artistic beauty and mechanical complexity, as well as for the historic milestone it represents.

That’s assuming you can get your hands on one. Make no mistake, these will sell out. Fast.

To find out more visit the official Greubel Forsey website: www.greubelforsey.com

Think of one of the most unique, innovative and just down-right cool timepieces you have ever seen and then imagine it dressed in all black. That’s exactly what super exclusive luxury watch-maker Manufacture Contemporaine du Temps (MCT) have done and the result, the all new Sequential One All Black, is nothing short of superb.

In fact, quite frankly, we think this is one of the most sophisticated and seductive timepieces we’ve ever seen. However, don’t take our word for it, read on and judge for yourselves.

MCT Watches
If you’re not familiar with MCT Watches then you have most certainly been missing out. Comprised of an extremely talented team of watch-makers led by their pioneering founder Denis Giguet, MCT’s first creation, the highly acclaimed Sequential One, became an instant hit with collector’s and connoisseurs the world over.

And it’s not hard to see why.

The Sequential One is a complex masterpiece where each function is based on a combination of elements rotating on three dimensional axes, at different speeds and moments. It is more complicated than a tourbillion and each timepiece takes many days to assemble in MCT’s Geneva Atelier.

Conceived by Giguet and then designed in conjunction with another very famous player in the industry, watch designer extraordinaire Eric Giroud (read our exclusive interview with him here) the Sequential One represented the culmination of everything Giguet had learned during his time as the Head of Production at Harry Winston, overseeing the production of the famous Opus series (1 – 6).

A self-confessed passionate student of the last 200 years of Swiss high horology Giguet says he has a great respect for the watches made by his peers but at the same time acknowledges his ever present desire to create his own vision.

“I aim to ‘change the face of time’ by using new and quite unique movements and visual displays, always featuring a large and distinctive Hour indicator” he explains. “Many expensive watches have appeared with weird and wonderful designs but they often have very little functionality. Our customers tell us that they now want to buy “real” watches, not pure objects of fantasy.”

Even still, we can’t help but think there is something distinctively magical about this latest offering. Perhaps even…Black Magic?

The All Black Treatment
Available from June this year as a very special limited production model of just 20 pieces a year worldwide, we predict the Sequential One All Black will be an even bigger success with collectors than the original model.

Don’t believe us?

Well, the first 10 pieces for 2010 have already been pre-sold, so if you are considering adding one of these exceptional timepieces to your collection our advice would be not to wait too long. If you’re not yet convinced, read on and we think you might change your mind.

As you can see the distinctive case has received a carbon black DLC treatment using Gold as the base metal, resulting in an elegantly sculpted, sophisticated timepiece without compare. The black alligator leather strap, complete with dynamic red stitching, ensures that the Sequential One All Black fits snugly to your wrist, held in place by the unique MCT gold deployment buckle which is presented in a mix of gold and gold with black DLC treatment.

Just like the original model the stunning dial display comprises over-sized Hour numerals on 12 prism faces and a jumping, sapphire crystal dial, which combines with a single gold hand to indicate the Minutes. However, in this limited edition the prism faces have received a special dark coating which may seem like a minor detail but it really makes the large numerals stand out in contrast.

On the rear of the watch a sapphire exhibition case-back allows for unobstructed views of the breathtaking in-house designed and assembled movement which has been coated with Black DLC and contrasts superbly with the gold highlights.

It’s important to take a moment here to fully appreciate the significance of an in-house designed and assembled movement as it is rare these days that companies design such complex masterpieces themselves, preferring instead to outsource this task. However, for Giguet, this was never an option;

“The starting point for me in designing Sequential One was to develop and build an exclusive in-house MCT movement which we have called the ‘Jumping Sequential Hour’. It is rare for Swiss watch brands to have their own movement but for me it is a pre-requisite for any authentic, high horology company.”

As such, whilst some external suppliers were utilized to machine some of the parts required, the design and assembly process as well as quality-control testing was performed in-house by Denis and MCT’s own team of watchmakers, comprising head watch-maker Jérome Marcu, Baptiste Guye and Alexandre Bonnet. Therefore, for those fortunate enough to own one of these outstanding machines, they will have the peace of mind knowing that all servicing will also be conducted in-house by Jerôme and his highly trained team.

The Final Word
It is not often that we see limited edition re-imaginings of original models that really capture our imagination and cause us to re-examine everything we thought about their original incarnations. The MB&F HM 3 ‘The Frog’ is such a timepiece, as is the Urwerk UR-CC1 Black Cobra. Now, we have a third watch to add to this extremely exclusive list, the Sequential One All Black.

Never could we have imagined that MCT could do anything to this masterful timepiece to make us desire it any more than we already did (which was a lot for the record!) and yet they have. Not by making it more complicated or fancy, but instead by refining it and allowing its ever present elegance and sophistication to truly shine through.

What ever form of magic is at play here, black or otherwise, we have most certainly fallen under its enchanting spell.

To learn more visit MCT’s official website – www.mctwatches.com

As if you needed another reason to be completely enthralled by Swiss watch-maker Urwerk. Be careful though, this one bites! Officially announced yesterday the mind-blowing UR-CC1 has shed its grey gold skin to unveil a lethal black cobra beneath. As dark as it is mesmerizing, the UR-CC1 in black AlTiN will entrance you with its aggressive style and baffling mechanical complexity. Not for the faint hearted, this is one timepiece that must be approached with respect and caution.

Superbly Complex
The stealth-like styling and relatively simple display of this truly sensational piece from Urwerk mask just how superbly complex the mechanism actually is. Holding the piece face on you confronted with two very unusual but nonetheless simplistic looking indications: jumping hours and retrograde minutes. You see, on the UR-CC1 the hours and minutes count down the time by moving linearly.

To the uninformed that sounds like a rather unremarkable statement. Right now you’re probably looking at the clean, yellow dials and thinking “sure, it looks cool, but should I really be that impressed?” The answer is a resounding yes because the mechanism you see in front of you is so deceptively complex that it took the brilliant team at Urwerk more than three years of research and development and ten prototypes to overcome the technical challenges involved in indicating the hours and minutes in a linear fashion.

Why?
We’re glad you asked!

There were three main engineering challenges standing in the way:

• The movement could develop enough energy to operate the imposing minute cylinder, which is much heavier than a traditional hand, but where to find the additional energy to function the jumping hour cylinder?

• A toothed rack moves vertically to rotate the minutes, but how to ensure that it operates smoothly in all positions, despite the varying effects of the immutable laws of gravity?

• Having solved the power issues related to operating the jumping hours, how to ensure that there is enough energy available for the world-premiere digital seconds?

Still, these seemingly insurmountable challenges were not enough to deter the team from achieving their goal, and here’s how they did it.

Let’s Get Technical
A toothed rack/lever, visible through a display panel on the side of the “Black Cobra” transfers energy from the movement to the minute cylinder. The honeycomb structure of the lever offers the two seemingly contradictory properties of lightness and rigidity. Rigidity to accurately convey the profile of the triple cam to the minute cylinder, and extremely light/low mass so as to consume as little energy as possible and so that position, gravity and shocks have minimal effect.

The mechanism used is reminiscent of those seen in automata. A toothed segment at the end of a rack exactly moves up and down following the path drawn by the triple cam – a path that has been plotted from 104 reference points. Each of the three cams drives the rack for exactly 60 minutes. At precisely 60 minutes the rack drops on the cam provoking the opposite tooth-end of the rack to fall, which triggers the retrograde mechanism and rotates the minute cylinder. And all of this happens in just 1/10th of a second!

The energy released by the retrograde mechanism is recovered and used to power the rotation of the jumping hour cylinder. Visible through a display panel in the side of the case, a 12 pointed star and positioning spring are the only distinguishable components of this innovative mechanism for recycling energy.

Two essential elements, the disk for the digital seconds and the honeycombed rack, anchor the “Black Cobra” in cutting-edge technology. Photolithography was the only method able to provide the degree of accuracy and low mass required by these two critical components – the seconds’ disk weighs just 0.09 of a gram!

The Final Word
Felix Baumgartner, Urwerk’s ingenious Master watch-maker sums it up by saying; “We have created a monster that is hungry (for energy) so we have ensured that all forces can be recycled and reused. It is a very delicate balance as we work within fixed constraints, i.e. available force, mass, and current production technology, and then we go beyond our capabilities.”

…wow.

A special thanks to Urwerk for making all this excellent technical information available to us so that we could share it with you. Make sure you jump on their Facebook Page to get all the latest updates from this truly amazing company!

This article is also available in French. Please click here.

If you’re anything like us than at on at least one occasion you’ve looked at the exceptional timepiece on your wrist and wondered where it all began. We think you’ll agree that watch-making is as much about practical application as it is about aesthetical beauty, with the best examples achieving a stunning blend of both. And so it is then that the design of a fine timepiece is almost, if not as important as the tiny engine that beats within it.

As we sometimes find ourselves fortunate enough to share the precious time of the world’s great watchmakers through the year, we had the tremendous opportunity on several occasions to see some of the very first sketches of their creations.

Some confessed they are very bad draftsmen while others told us that they were always innately skilled in the design of beautiful watches. Some never draw without proper pens and a clear space, while some express their creative mind on the corner of tablecloths, or even on post-its, with the very first pen they find sketching as fast as they can, before The Big Idea flies away (Editor’s note: For anyone who has been fortunate enough to dine with the exceptionally talented Roland Iten you will know all to well that he falls into the latter category, drawing the most amazing sketches all over any surface, including the table!)

Still, we recognize that there is only so much that can be said with words and so we are not going to write long paragraphs about all these beautiful sketches which, in the end, speak for themselves.

We won’t tell you that Ludovic Ballouard always has a notebook by his side, where he scribbles down ideas that only he can decipher; or that Jean-Claude Biver, as he draws, already has a rough idea of what the final product will look like; that Christophe Claret elucidated in just a few minutes the core essence of the amazing Dual Tow; that Jaeger Le Coultre draws sketches that are so perfect that they almost compete with automated software design.

Instead, we will just let you enjoy these beautiful pieces over the coming week. Make sure you check each day to discover where it all began and to learn just a little more about the timepieces you know and love (and maybe even some you’re meeting for the first time!)

Montblanc Metamorphosis

©Montblanc

©Montblanc

©Montblanc

©Montblanc

©Montblanc

Ludovic Ballouard – Upside Down Watch

©Ludovic Ballouard

©Ludovic Ballouard

©Ludovic Ballouard

©Ludovic Ballouard

©Wai Shan Lam

©Wai Shan Lam

Linde Werdelin – The One

©Linde Werdelin

©Linde Werdelin

Be sure to check back tomorrow as we bring you Part.2 of the Sketch Book Series!

Puzzling. Ludovic Ballouard is a puzzling man. Everything that this young and brilliant watchmaker does systematically goes against conventional wisdom. While most talented entrepreneurs dream about the development and expansion of their business, he just wants to work alone and not create more than 100 pieces per year. When they buy a new Porsche, he prefers… model aircraft. When others organize prestigious exhibitions to show-case their creations, Ludovic takes his clients out…for a beer at the local bar in his village.

And despite the allure of state-of-the-art Ateliers and luxury houses, Ludovic maintains that he wouldn’t leave his village and his dozen or so dogs and cats for anything.

Welcoming, authentic and modest, Ludovic’s unassuming attitude belies the exceptional career he has carved out in the luxury watch industry, masking the truly outstanding wealth of knowledge and expertise he possesses.

As a former employee of Franck Muller and then F.P. Journe, he admits, albeit with a hint of embarrassment, that he has almost “done it all”. Realizing the depth and breadth of his exceptional talent, clients of these two prestigious companies urged him to develop his own range of pieces.

And so, in 2009, Ludovic launched his business. His first idea took just 15 minutes to crystallize. He took a few more to scribble it down on a post-it note and so the soon-to-be legendary Upside Down watch was born.

©Wai Shan Lam

We recently had the great pleasure to spend a few moments speaking with Ludovic, an experience that stays with you long after you have left this charming, thoughtful man.

Even still, charismatic as he is, conducting a traditional style interview with him is quite a challenge. A business plan? He never gave it a second thought. Future projects planned? Sure, about thirty. Examples of specific sources of inspiration? Not really; it can be a tree, a road, or a dream had in the night.

Still, at least we can tell you what motivates Ludovic Ballouard. Passion and instinct. Nothing more, and nothing less.

So, let us meet with an ordinary man who makes extraordinary things.

TWL: Hello Ludovic. So, how was the experience of your very first creation, the Upside-Down?

LB: Very good, thanks! I am very happy to say that in the last few weeks, all 12 units have been delivered. Each of them is unique, as every model from 1 to 12 is identified with its figure in red directly on the dial of the watch.

TWL: How was the watch received by the very first, specially selected, 12 new owners?

It was a very warm welcome. And even an anticipated welcome you might say, as the Number 1 was acquired even before his owner saw any plans or sketches!

Now they have all been delivered to the right hands. This is very important to me. My watches are the extension of my own personality, and so my clients want to know who is really behind the brand Ludovic Ballouard. It’s important to them, and it’s important to me.

©Ian Skellern

TWL: Why did not you create a brand? Today, Ludovic Ballouard is simultaneously a man, a brand, and a product. It must be hard to manage…

LB: For the same reasons as before. For me, there always has to be a link between the watchmaker and his creation. A brand created from scratch has something very impersonal that does not reflect me as a person. Today, my business associate and I know personally each of the 12 owners. It’s like a club, there is a connection that unite us.

TWL: Talking about this, what’s the typical profile of a Ludovic Ballouard watch owner?

LB: It’s hard to define a unique profile. The amateur of something very unique indeed. Someone looking for authenticity, also, as well as a watch proposed at its real value.

TWL: What do you mean?

LB: I create high end watches, yes, but I don’t add a zero to their price to have them figure artificially on the list of super exclusive brands. I don’t understand these brands that create watches with a steel bezel and a movement produced in the millions and then they sell them for over 100.000 CHF. It’s stupefying, it exasperates me.

TWL: Is the same then for high mass events such as BaselWorld?

LB: Not quite but let’s just say simply that I’m not interested in them. Moreover, I’m always afraid to see other watchmaker’s creations, I’m afraid it has an unconscious influence on me! Other people’s ideas might slow down my creativity.

Sometimes I participate in professional trade shows, but I only work with independent artisans, who are all friends of mine, and it works perfectly like this. As for the opportunity to meet new clients? Well, let’s just say it’s not a great necessity for me at the moment! As I had the privilege to work on the Grande Sonnerie for FP Journe, I acquired a kind of a legitimacy in the industry as well as somewhat of a profile that gave me access to contacts and orders from Paris, London, Sydney or Singapore.

TWL: Consequently, you can remain independent?

LB: Yes, and it’s essential for me. I like total independence, I don’t owe anything to anyone, and I’m financially self-sufficient.

©Wai Shan Lam

TWL: What are your projects for the future?

LB: My plans are to deliver one new model every two years. Thus, in 2012, the Upside-Down will be joined by a new watch, for which I already have about thirty ideas! I have to refine the project, but so it is going well. In principle, I’ll stay quite close to the Upside-Down, but key evolutions are not defined yet. Each new model will have a pre-production of 12 units, which will be first and foremost proposed to the 12 owners of the Upside-Down.

To introduce this model to them, I’d like to organize a weekend get-together somewhere in the world, although I don’t know where yet at this stage. I don’t like traveling though, so I’ll have to make a great effort as I don’t feel comfortable with long distances!

TWL: What can we expect from this new model?

LB: I don’t know yet, but, however, nothing to do with a tourbillon or a chronograph!

TWL: Why?

LB: I don’t know, I’m just not interested in them, it’s not in the spirit of my creations. It doesn’t match with the way I see things. To be honest though, I don’t have any creative plans or even a business plan, I work purely on instinct…

Taking the reins during the early part of this year, Manuel Emch, the new CEO of Romain Jérôme, did not have much time to add to the company’s watch collection before Baselworld 2010 in March. He was, however, able to design and finish one watch to unveil at the fair. Aggressively titled the “Moon Invader”, the form and function of the piece has been inspired by actual Moon landings, resulting in a very unique looking timepiece.

New CEO, New Approach (Well, Sort Of)
It’s fair to say that this latest release departs considerably from the look of previous DNA of Legends timepieces, which have become quite visible in the media during the past couple of years, but still remains true to the RJ ideals. The most obvious difference occurs on the 46mm case. It is not exactly round, has a less pronounced bezel, and is actually a cushion shape, like a square with rounded sides.

In fact, at first glance it almost appears square like a Bell & Ross Instrument.

One thing that remains the same as prior RJ models is the use of extremely rare materials. Spare parts from the Apollo 11 mission are integrated into the case components and represent just one of the numerous aspects that link the Moon Invader to lunar landing missions.

The case itself is actually modeled after a lunar landing pod with the specialized corners depicting the landing gear and work somewhat in the same way by pivoting to adjust to the terrain. In this case the terrain is the wearer’s wrist. This feature is meant to have the function of increasing comfort by automatically adjusting the shape of the case-back to your wrist.

It was hard to tell from the prototype how effective this function will actually be as the pivoting feet were not fully operational, but I can imagine how it could prevent the considerable size of the watch from rolling or bouncing around too much on the wrist.

The back of the case displays more lunar landing symbolism. The most obvious element is a silver medallion that is embedded into the steel. This object is made of pure silver that is infused with authentic moon dust. It is sculpted to resemble the moon’s surface and purposely left untreated and prone to oxidization. Oxidization is a concept that RJ is very fond of thanks largely to the influence of former CEO Yvan Arpa.

The dial of the Moon Invader displays the distinctive RJ “X.” It is applied on a metal mesh that is inspired by the material used to make the tires of the lunar roving vehicles. The subsidiary dials, RJ logo, X structure, and graduated outer ring of the dial are applied to the mesh and offer a cool, robust-looking relief.

The quality of the construction and finish of all the dial’s elements are recognizable as high-grade. Although the mesh background ties in well with the overall concept and has a peculiar charm, I would love to see what the face would look like with a more exotic-looking material like carbon fiber as its background.

It’s All In The Design
There is a specific category of luxury watches where plenty of attention is paid to the manufacturing of the case. Romain Jerome fits in this league with the likes of Graham and Hublot watches. RJ goes a step further by sprinkling extremely rare substances into the mix. It is obvious from the finishing and the complexity of the case that a lot of ingenuity and work is packed into the body of the Moon Invader.

Also in accordance with other brands making this style of watch, the mechanical movements inside the watches are comparably mundane, albeit reliable and of high quality. Like all RJ calibres, the ones that power the Moon Invader models are modified third-party movements, provided by ETA in this case.

The Romain Jerome Moon Invader series is composed of several different variations combining black PVD coated stainless and 18 karat gold. Each model will be produced in limited numbers as is usual with the company’s creations.

The Final Word
Whether it was intended or not, the Moon Invader also represents a formal introduction of Romain Jerome’s new CEO to the market and gives some insight as to what we might be able to expect going forward.  Obviously he remains supportive of the use of extremely rare materials in the construction of their timepieces, such as moon dust and spare parts from the Apollo 11 mission in this instance.

At the same time, this watch very much distinguishes itself from previous “DNA of Legends” models, allowing Emch to step out from the shadow of his predecessor and squarely make his mark on the brand. Based on this latest model perhaps the future will hold a shift to a more eclectic design approach for this young company?

We will certainly be watching.

Matt Baily – Watches Canada

Being late for an appointment is never a good start, but being late when you were only 5 minutes away to begin with is just embarrassing. Regrettably this was how I started my time with Max Büsser, of MB&F, luckily for me he is a forgiving man.

I am at MB&F headquarters to have a look for myself at the newest variation in their rather exotic stable, the (almost) all new HM3 known simply as “The Frog”.

This variation of the standard HM3 has been garnering considerable media attention both on-line and in print, especially in the Far East, so they very least I could do was go and try it on.

So it’s based on the HM3 and so that means it’s just an evolution of the existing model, right? Sounds feasible, however the best laid plans sometimes go astray. The initial design for The Frog was penned very quickly, however, that of course is where things start to become complicated.

The time indicators of the HM3 are displayed via two separate globes, and so the same was required for The Frog. However, the hour indicator was changed from 24 to 12 hours and the method of indication changed from stationary spheres with moving hands to stationary hands with moving spheres.

No problem right? Ah, no.

Actually these “small” changes required significant changes to the drive chain and some ingenious solutions.

On the HM3, moving the indicator around the stationary hour and minute markers is relatively simple. With little mass, the force required to move the indicators is very small; however moving an entire dial requires considerable power which must be delivered evenly.

The solution?

A strong light material is needed, such as aluminum, which greatly reduces the mass of each sphere. However, rather than pressing the dial they decided to carve it from a block. This is much more difficult and considerably more expensive, but results in a much more consistent product.

In the original design these indicators were set under a frame that allowed you tell the time. To aid clarity the frame has been dispensed with and the numbers have been directly applied to the domes, also known as the “eyes” of The Frog.

The outer cases were ground from a block of sapphire, and presented all manner of challenges; you see unless you make the radius of the curves even between the outside and the inside surfaces you end up with a lens which will look very odd indeed.

Perhaps the biggest difference between the two HM3 models is the weight, the new titanium case is considerably lighter than the previous steel one. As today’s trend is towards thinner and lighter this is very much on the mark.

There are two models available; the “Black”, limited to 12 examples, but if you don’t have yours confirmed you are too late they are already spoken for. The other has a mirrored case and is available in unlimited quantities. The other main difference between the models is the color of the rotor, powder coated blue for the standard model and green for the “Black” model.

The green version was apparently much more difficult to produce and in the right light really stands out, with the color changing between a strong green to one with a blue halo.

While some may find the design of the HM3 challenging, I prefer to see it as a strong statement. For some the price may be in the specialist collector range, it is undoubtedly a fantastic development of an already fantastic watch.

So what’s next for MB&F? Why the HM4 of course. Roll on July

Robert-Jan Broer, 33 years old and long time collector and admirer of fine timepieces. Although not professionally occupied in the watch industry, I know my way around pretty well and get things done for my dedicated blog (FratelloWatches) about fine watches.

My all time favorite watches are those designed by Gérald Genta in the 1970s. Why? Not because every self respected playboy was wearing one of these time pieces when relaxing in St Tropez or Monaco in those days, but because they reflected something new… something unheard of… a luxury stainless steel wrist watch for the price of a gold Patek Philippe Calatrava. Although only made in a limited number at first, demand soon outstripped supply.

I am, of course talking about the Audemars Piguet Royal Oak ‘Jumbo’, introduced in 1972.

Later on, Gérald Genta repeated the same with his design for the stainless steel Patek Philippe Nautilus timepiece and the IWC Ingenieur SL. Hysek followed with his ’222′ (now Overseas) model for Vacheron Constantin.

You either hate or love these watches at first sight (and start to learn loving them later on in your watch collecting career). I belong to the first category and ever since I learned about the Royal Oak, I promised myself to get one whenever possible.

Although the Royal Oak Off-Shore (introduced in 1993) and the Royal Oak Date which got a facelift in 2005 are timepieces that will fit the current standards for tough looking stainless steel sports watches a bit better than the original 1972 based model, I still decided to pursue the mother of all Royal Oak watches.

The Royal Oak ‘Jumbo’ by the reference of 15202ST is the one I bought last year December, the crown jewel of my modest collection. The Jaeger-LeCoultre caliber 920 based movement, the AP 2121, has a height of just barely over 3 millimeters thanks to the clever rail-system for its rotor and the Gyromax balance wheel which makes my heart tick faster.

The hour and minute hand seems to float between the tapisserie dial and the flat sapphire crystal, the stainless steel octagonal bezel with eight bolts made out of white gold clearly demonstrating their difference in color when playing with (sun)light and the hand crafted bracelet with its amazingly razor-sharp satinized finish are proof of a well thought through design by its creators, Gérald Genta and Audemars Piguet.

Unless you are an astute observer of the luxury watch industry it is very likely that you have never even heard the name Christophe Claret, or at the very least don’t fully appreciate its significance. You are, of course, not to blame for this as many of his customers in the past have chosen to downplay his involvement in the development of their projects (although it is generally common knowledge in the industry.) You see Claret, along with his state-of-the-art manufacturing facilities, has been behind some of the most mind-blowing, exceptionally complicated watches ever made.

Don’t believe us?

Well, there was the groundbreaking Chapter One for Maîtres du Temps, the Opus 4 and Tourbillon Glissiere for Harry Winston and let’s not forget that his company has produced every single eye-popping piece for the Jean Dunand collection so far. Keep in mind though that these are just a few recent examples of the high-end brands that actually acknowledge the integral role he has played in the creation and realization of their timepieces.

There are many more, including larger mainstream brands, who also seek out his expertise with high end complications although they’ll never say it publicly.

Last year Christophe Claret SA celebrated 20 years of existence and took the first real steps towards creating their own identity in the market with the release of the highly anticipated Dual Tow. Last week Mr. Claret took some time to sit down with us and reflect on how far his business has come, how they’ve weathered the financial storm and what the future may hold for this extraordinary company.

TWL: A belated Happy Birthday, Mr. Claret!

CC: Thanks! We reached 20 years last year, and to celebrate we created the Dual Tow. However, we did not achieve this in a single day. After the first decade, when we were still relatively small, we spent 5 years from 2000 to 2005 building the brand, and saving money so that we could have financial reserves at our disposal. Following this we invested a further 5 years in development and expansion, focusing especially on our production tools.

We were just 35 staff back in 2005. Now we are 105!

The sublime Jean Dunand Shabaka, made a reality by Christophe Claret © Christope Claret SA

TWL: Wow, your company is growing very fast! Some observers say that universities can deliver around 50 very high level watchmakers per year, while in reality the industry requires around 10 times more. How do you face this challenge?

CC: We have built relationships with many universities around the world and are very active in this area. We send our own experts around the world to find the best students and hire them as trainees. And sometimes they come back with one or two as employees!

TWL: Remaining independent is key to you, isn’t it ?

CC: Yes. We produce 80% of the final product in house.  I’m the only shareholder of Christophe Claret SA. I don’t rely on any bank, and don’t contribute any additional funds. I run the company purely on the cash flows it generates. I am using the company’s cash reserves to ride out the uncertainty of the crisis.

TWL: Which represents…?

CC: Approximately another 2 years of funding requirements. But I do hope that the crisis won’t last until then!

TWL: Do you think it will, though?

CC: I’ve learnt a lot from the past 1998 crisis. For now, I think things will improve within two years. By 2015, we should see a return to strong market of 2006-2007.

TWL: So, how does the company look today?

CC: We have 18 customers for which we produce movements all year long. We lost a very limited number of them during the crisis, but I’m quite confident that new ones will arrive pretty soon.

For our clients, we work simultaneously on 40 different movements. At the same time, we create 5 new movements per year. Our maximum was recently reached when we created, in one single year, 8 new movements! Currently we produce around 400 units per year, for a revenue of 20 million CHF in 2009.

TWL: How many new movements have you produced so far?

CC: Around 64 since inception.

Highly complicated movements are manufactured and put together by the best watch-makers in the industry. © Christope Claret SA

TWL: What process is required for these movements to go from concept to reality?

CC: We have a strong Design / R&D department, of around 10 people (the industry average is around 3! – Ed.).As I am first a watchmaker, and then a manager, I am actively involved in the entire creative process.

Up until 2009, we only produced movements to order, based on the specific requests of our clients. Since this year, we have started creating our own movements, which our clients then discover once they are finalized. Now we have currently 5 movements under creation. 2 to 3 will be presented to our clients, the remaining will be for our own production.

TWL: This could be a bit risky! Are you sure your clients will buy these new movements without having seen their plans before?

CC: No I’m not. But I have more than 20 years experience in this field working simultaneously with the clients of Christophe Claret; consequently, I feel I have quite a good overview of the market trends…!

TWL: Talking about market overview, what are your thoughts on this crisis, is it really over?

CC: We’re not through yet, but we’re heading in the right direction. To get through it, some companies bet on their iconic models. Some reduced their production. For my company, I put the emphasis on our manufacturing equipment. This will be key to our success when the crisis is truly behind us. Certainly though some suppliers of movements will fail under bankruptcy proceedings and there will certainly be (and already have been) market adjustments to reflect these difficult times.

In the end though, when demand rises again, there will be a strong need for companies that are able to react very quickly and produce movements in a very short timeframe. Companies such as Claret, that already have all the required equipment in house and ready. In addition, having our own in-house equipment allows us to remain completely independent.

TWL: Do you think the rise of Asia will impact the traditional economic model?

CC: Asia has two different faces for us. First, as a client; Chinese millionaires continue to grow more numerous year after year, that’s a fact – even if the Chinese market is quite hard to enter for a small company like us.

Second; as competitors. Yes, China presented its very first tourbillon recently but, you know, I’m not too worried about it. The tourbillon is currently their most prestigious complication. At Christophe Claret, it’s the basis of all our models….

On top of that, we must not forget that once the US emerges from the crisis, they will be back with their strong appetite for high end luxury goods, fulfilling the potential we all know exists there. And both Christophe Claret SA and the Dual Tow are already there in the market ready for this and we have invested heavily in our equipment to meet this demand.

The company has invested heavily in developing state of the art equipment. © Christope Claret SA

TWL: You seem to be very involved with the production equipment?

CC: Definitely. It is the key to the success of our business. We spent months in the R&D of our own industrial machines, for instance developing the technology to laser cut gold, titanium, etc. It’s a co-development in partnership with companies like BC Technologies or Biwi.

TWL: Are these machines then patented by Christophe Claret?

CC: No, or only in the case of key innovations specifically developed for our own needs. But it’s not in the interest of industry to patent innovation.

TWL: But doesn’t allowing your competitors to buy the machines you’ve spent months developing give them the opportunity to achieve the same level of execution as you?

CC: You know, when competitors buy these machines, it’s good for the company that builds them, and consequently it’s good for the whole market. That’s our philosophy.

Moreover, you know, when they buy the machines we co-developed, it means we already have them in house for months or even years! I know that companies like Rolex, Patek Philippe, and Greubel Forsey have bought some units. Patek bought 3O units of one of them, for instance. Greubel Forsey also bought one but they sold it.

Having a high end machine is one thing, knowing how to use it properly is something else entirely…

TWL: Do you plan to bring the whole process of creating and realizing a watch 100% in house?

CC: No, 80-85% is good. It lets some key suppliers live. It’s important for the market that they remain alive and well, it’s not in our own interest to be fully independent. It’s a question of ethics to provide good, faithful suppliers, with long term orders.

Read Part.2 of this special interview where Mr. Claret talks to us about this week’s Wow Watch – the Dual Tow!