Few brands approach marine chronometer-style wristwatches with the intensity of Ferdinand Berthoud (FB). Fewer still have the capacity to produce a watch that is truly hand made. The brand has leaned into these strengths to good effect with the Naissance d’une Montre 3, which is perhaps the most labour-intensive wristwatch ever created.

Marking the third official chapter of the Time Æon Foundation’s Naissance d’une Montre project, the Montre 3 is the byproduct of a six year quest to thoroughly document the steps required to make a chain and fusee wristwatch using only hand-operated tools.

While the production of the Montre 3 involves more than 80 individuals from both FB and its parent Chopard, the labour involved equates to roughly a full year’s work for five people to produce each of the 11 pieces that will be made in the coming years.

Initial thoughts

It’s easy to feel jaded about the smoke and mirrors of luxury watch marketing, with terms like ‘hand made’ and ‘in-house’ used all too freely, making it difficult to separate the signal from the noise.

Make no mistake, the Montre 3 is, in some ways, what all traditional haute horlogerie watches aspire to be, and takes the concept of hand craftsmanship to its absolute limit. The Montre 3 is neither inventive nor complicated, but the intrinsic quality of its construction is immediately obvious and breathtaking in its own right.

To some extent, the simplicity of the 44.3 mm white gold case demonstrates the limitations of hand craft. When the Ferdinand Berthoud brand was reborn a decade ago, it introduced an octagonal case design inspired by French and English marine chronometers from the 18th century, but this shape is impractical to produce by hand and requires modern milling methods.

As a consequence, the round case of the Montre 3 is comparatively simple, having been produced using a hand-operated lathe. The lugs are likewise produced by hand and screwed and soldered to the case band. At just 13 mm thick, the Montre 3 is well-balanced on the wrist and fairly sleek as such things go. Despite these antiquated production methods, the case is water resistant to modern standards, rated 30 m, to shield the movement from any aquatic mishaps.

Ferdinand Berthoud, both the man himself and the current brand, was well known for quirky regulator-style time displays. Given this reputation, reading the time on the Montre 3 is refreshingly simple, with hours and minutes read against an offset sub-dial. As befitting a chronometer-style watch, the slender seconds hand gets top billing, read against the dial flange.

Both dials are free-hand engraved, and while it’s difficult to point to any single imperfection, the markings exhibit the unmistakable signature of a human touch, which lends a charming warmth to the design.

The minimal dial being what it is, the visual impression of the Montre 3 is dominated by its movement. With a layout inspired by that of a historical Ferdinand Berthoud pocket watch, the caliber FB-BTC.FC features a prominent chain and fusée mechanism that supplies 50 hours of consistent energy to the escapement.

The latter is arguably the star of the show, featuring a hand made split bi-metallic Guillaume-style balance that self-adjusts for temperature changes the old fashioned way, by expanding and contracting. Against all odds, the Montre 3 is a COSC-certified chronometer, making it almost certainly the first wristwatch with a bi-metallic balance to pass this test under current standards.

For a watch with a nearly seven figure price tag, the value proposition is fairly straightforward. To the roughly 11,000 hours of high-cost Swiss labour required to make each Montre 3, one can factor in a typical luxury margin due an object with this kind of built-in exclusivity. One could argue there’s additional value derived from being associated with the quasi-charitable endeavour that is the Naissance d’une Montre project, which is admirable in its objectives.

The white gold pieces are priced at CHF850,000, but the market will get to set the price for a pièce unique in stainless steel that will go under the hammer at Phillips’ Geneva Watch Auction XXII in November, with part of the proceeds going to a charity dedicated to the preservation of horological know-how (presumably the Time Æon Foundation).

The hour and minute hands during polishing. Image – Ferdinand Berthoud

The birth of a watch

The Naissance d’une Montre project (which translates to English as ‘birth of a watch’) got going in 2009 as a community project to document and transmit endangered watchmaking skills to future generations of artisanal watchmakers. The overarching idea was to create a small series of watches entirely by hand without any computerised assistance, meaning no CNC, wire erosion, LIGA, or any other semi-automated production methods.

The Montre 1 “Montre École” prototype, sold at Christies for close to 1.5 million USD.

The project is overseen by the Time Æon Foundation, and doesn’t belong to any single brand. The first project, Montre 1, debuted in 2012 and was a series of 10 watches made by Michel Boulanger under the guidance of Greubel Forsey and Philippe Dufour.

The second project, Montre 2, commenced in 2015. These watches were made by Dominique Buser and Cyrano Devanthey, again with the help of Greubel Forsey, but with additional guidance from Urwerk, which explains the futuristic design.

Alongside the 2019 launch of the Montre 2, it was announced that FB would take the lead on the third chapter and the watch would apply the Naissance d’une Montre approach to a watch with a chain and fusée mechanism.

Six years later, coinciding with the brand’s 10th anniversary, Ferdinand Berthoud has delivered. Unlike the Montre 1 and Montre 2 that were the result of collaborations, the Montre 3 is a wholly FB creation.

The meaning of ‘hand made’

There are few phrases I try to avoid as much as ‘hand made’ because things rarely are. But the Montre 3’s raison d’être is the fact that it is hand made, so it’s worth defining what that means. In short, each of the Montre 3’s 747 individual components were made with hand-operated tools, many of which, like the Schaublin 102 lathe used for the circular components and the SIP jig boring machine used to drill and tap the plates, are more than 60 years old.

This means everything takes a really long time. The hour hand, for example, requires 54 different operations and takes about two days for a watchmaker to cut, polish, and flame-blue its surfaces. In total, the first example of the Montre 3 required close to 11,000 labour hours to produce from start to finish.

Polishing pinion leaves. Image – Ferdinand Berthoud

Polishing the hands. Image – Ferdinand Berthoud

To put this in perspective, George Daniels produced pocket watches at a rate of about 3,000 hours per watch, and Greubel Forsey’s million-dollar Hand Made 1 is known to require about 6,000 hours of work. While the Montre 3 plays it safe with a traditional lever escapement and lacks a tourbillon, the movement is otherwise more elaborate and demanding in its construction than even these vaunted peers.

Subsequent pieces will no doubt benefit from the know-how acquired making the first one, but fact remains the Montre 3 is about as hand made as an object can be. Even the strap and watch box are made with this limitation in mind.

The production of the Montre 3 relies on hand-operated machines. Image – Ferdinand Berthoud

A view through the looking glass at the pinion leaves. Image – Ferdinand Berthoud

The Montre 3 also serves as a useful example of the limits of what can be achieved by hand. The geometries are fairly simple, and the components are are quite bulky; the same is true for other hand made watches.

This takes away nothing from the watch, but serves as a guidepost for enthusiasts to help distinguish the difference between watches made with a lot of CNC and those like the Montre 3 that use only hand-operated tools.

Hand-operated lathes are used to produce all circular components. Image – Ferdinand Berthoud

Even the notches on the crown are cut manually, one by one. Image – Ferdinand Berthoud

Perfectly balanced

Oscillating at a frequency of 21,600 beats per hour, the split bi-metallic Guillaume balance is arguably the stand out feature of the Montre 3, being entirely unique in contemporary watchmaking. Modern watches account for temperature in a very straightforward way, using alloys that are thermally stable.

But it wasn’t always so easy; before the development of Glucydur balance wheels and Nivarox hairsprings in the 1930s, watchmakers would fuse metals with different thermal expansion coefficients, like brass and steel, to create a balance wheel that would expand and contract to compensate for the effects of temperature on the hairspring.

The first bi-metallic compensation balances were developed in France and England around the same time in the late 1700s; Berthoud was quick to see the advantages of this approach and contributed to its later development. The next significant breakthrough occurred in 1899 when Charles-Edouard Guillaume developed Anibal, an alloy with non-linear temperature expansion, that eliminated a thorny problem called middle temperature error.

Middle temperature error was the final frontier of temperature compensation, and tests at the Neuchâtel Observatory confirmed that an Anibal-equipped bi-metallic balance reduced middle temperature error from 1.9 seconds to 0.3 seconds per day; a huge jump in precision. Guillaume later won the Nobel Prize in physics for these developments.

The know-how for making Guillaume balances was lost to time once more advanced alloys made them obsolete, and FB invested a great deal of effort into rediscovering these methods. Given the aims of the Naissance d’une Montre project, I would not have expected the Montre 3 to be chronometer certified and would not have noticed the absence of COSC certification. But the brand’s full name is actually Chronométrie Ferdinand Berthoud; submitting its watches for certification is a matter of principle.

Even so, it’s surprising because the current testing process favours mass-produced high-frequency movements; haute horlogerie calibers tend to fail at higher rates. Making a bi-metallic Guillaume-style balance at this size using manual methods is already impressive; managing to do so with enough precision to rival contemporary chronometers is a major demonstration of skill.

The escapement contains another surprise, which is a set of natural diamond end-stones held in place by hand-made shock absorber springs. This contrasts with the approach taken by watches like the Greubel Forsey Hand Made 2 that use contemporary Kif shock absorbers, and is another way in which the Montre 3 stands apart.

The inverted form and functionality also departs from traditional usage of diamond end-stones; brands like A. Lange & Söhne often use them to embellish their tourbillon watches, but only on the pivot for the tourbillon cage, not the balance staff itself.

With craftsmanship like this, one element stands out as underwhelming: the escape lever itself. While undoubtedly hand made like the rest of the movement, it nonetheless looks like it could be from any other high end watch.

A. Lange & Söhne Datograph Perpetual Tourbillon features diamond end-stones, not for the balance staff, but for the tourbillon pivot.

Links to the past

The other significant feature of the Montre 3 is its chain and fusée, which benefits from FB’s decade of experience making watches equipped with this primitive device.

The chain and fusée divides the power source into two components, a mainspring barrel and spiral-cut cone, linked by a miniature chain. At full power, the mainspring pulls on the narrow end of the fusée cone, but as the spring unwinds, the chain slowly coils around progressively wider sections of the cone, increasing mechanical leverage as the tension in the spring decreases.

One of the complicated things about this setup is that, unlike ordinary mainspring barrels that are wound in the same direction that they unwind, the chain and fusée must rotate backward during winding, requiring additional complexity to keep the movement ticking while the watch is wound. In the case of the Montre 3, this takes the form of an auxiliary spring with about 30 minutes of power reserve that sits compactly within the fusée cone.

The black polished steel stop work mechanism atop the fusée cone, which contains an auxiliary spring to power the escapement during winding.

We now think of the chain and fusée as a type of constant force mechanism, which it is, but it was developed nearly 500 years ago as an alternative to the hairspring, which had not yet been invented. With the invention of the hairspring and subsequent development of detached escapements, the chain and fusée fell out of favour, and for good reason. The chains were fragile and tedious to make, and due to the incredibly small size of the links, children were often ’employed’ to assemble them.

The first wristwatch to employ a chain and fusée was the groundbreaking A. Lange & Söhne Tourbillon Pour le Mérite that debuted in 1994. A few other brands, namely Breguet, Zenith, Romain Gauthier, and Christoph Claret have dabbled with this gadget, but it hasn’t been taken up more widely for obvious reasons. It’s a bulky, complicated mechanism that, thanks to modern escapements, is largely irrelevant to actual timekeeping.

But why go to all this trouble? In short, it’s sexy and cool and a show of technical prowess. The chain in the Montre 3 is 172 mm in length. Though shorter than the FB1’s epic 285 mm chain, it compares well to the chains employed by Lange and Zenith, which measure about 150 mm and 180 mm, respectively. But unlike these predecessors, each of the Montre 3’s 285 links are made entirely by hand, including 191 pins that are just 0.3 mm in diameter.

The 8.8 mm crown provides a good grip to experience the delightful winding feel.

There’s also another benefit, which is the winding feel. Chain and fusée watches tend to have a very distinctive and satisfying feel to the crown operation, and that’s true with the Montre 3. It’s difficult to describe, but the sensation is characterised by detents that feel especially smooth and robust.

Finishing

Given the theme of this watch, it probably goes without saying that the finishing is done by hand. But it’s worth a quick examination because the details are handled so well.

Consistent with the style of Berthoud’s era, the German silver plates and bridges are given a gilded, sandblasted finish with gleaming anglage. The black polished steelwork is peerless, with distortion-free reflections of adjacent components.

Note the perfect inner angles on the steel winding click, and the reflection of the square-cut post in the surface of the click wheel.

Even though sharp inner angles were not part of the French tradition in the time of Berthoud, and were popularised by nineteenth century Swiss watchmakers in the Vallée de Joux, the Montre 3 lives up to contemporary expectations for a watch of this stature. The openings around the lower pivots of the chain and fusée are a joy to behold, and even the steel winding click is extravagantly finished.

Both the main dial and the flange for the seconds are made of solid white gold and free-hand engraved and lacquered. The movement is also engraved with flowing script that translates as, “Dedicated to time, the great teacher.” This is said to be a maxim of Louis Berthoud, Ferdinand’s nephew who took over the business after his death and who was a renowned watchmaker in his own right. For a watch that takes so much time to make, this inscription is fitting.

Free-hand engraving of the solid white gold dial. Image – Ferdinand Berthoud

Accessories

I rarely feel the need to mention the accessories that accompany a watch, but in this case it’s worth looking at how far FB has gone in its commitment to the aims of the Naissance d’une Montre project. As you may have now guessed, the watch box is entirely hand made with antique equipment.

There are actually two boxes, each designed to look like an old book, inspired by the volumes published by Berthoud in his time. The boxes are made of wood, covered in leather, and embossed. The first houses the watch, and the second contains the supporting documentation including a USB stick with the full details of production.

The hand made presentation box. Image – Ferdinand Berthoud

Both presentation boxes are made using antique binding equipment. Image – Ferdinand Berthoud

Closing thoughts

The most refined and impressive Naissance d’une Montre project to-date, the Montre 3 is a testament to the vision of brand president Karl-Friedrich Scheufele. When initially announced in 2019, the stated aim of Montre 3 was to apply the hand made concept to a watch with a chain and fusée mechanism, which was already a big undertaking. The addition of a cut bi-metallic balance suggests to me that this project came from the heart, not just the mind.

There’s a remarkable coherence to the Montre 3 that expresses itself in improbable ways. Take the Guillaume balance, for example. Not only was Berthoud himself one of the early pioneers of bi-metallic temperature compensation, but both he and Charles-Edouard Guillaume were born in the same small Swiss town of Val-de-Travers, 134 years apart. If Val-de-Travers sounds familiar, that’s because it’s where the Montre 3 and all other Ferdinand Berthoud watches are produced today.

The movement engraving translates as “Dedicated to time, the great teacher.”

Key Facts and Price

Ferdinand Berthoud Naissance d’une Montre 3
Ref. FB 4BTC.1

Diameter: 44.3 mm
Thickness: 13 mm
Material: 18k white gold (piece unique in steel)
Crystal: Sapphire
Water resistance: 30 m

Movement: FB-BTC.FC
Functions: Hours, minutes, seconds, power reserve indicator, with chain and fusée
Winding: Hand-wind
Frequency: 21,600 beats per hour (3 Hz)
Power reserve: 50 hours

Strap: Alligator with matching pin buckle

Limited edition: 10 pieces in 18k white gold; 1 in stainless steel
Availability: At boutiques and retailers
Price:
White gold – CHF850,000 excluding taxes
Steel – to be auctioned for charity at Phillips’ The Geneva Watch Auction: XXII on November 8-9, 2025 at the Hotel President Wilson

For more, visit Ferdinandberthoud.ch.

With a swivelling case and unadorned back, the Jaeger-LeCoultre Reverso has long served as a canvas for miniature enamelling (or double-faced complications). The Reverso Tribute Enamel “Shahnameh” is a fine example of the art, which is almost synonymous with Jaeger-LeCoultre (JLC), one of the first brands to set up an in-house enamel workshop.

Originally invented as a watch for polo players – the reversible case is meant to protect the crystal – the Reverso goes back to the historical origins of the game with this set. The quartet is inspired by scenes from Shahnameh, an epic poem written one thousand years ago that recounts the origins of the Persian Empire, and also depicts the ancient game invented by Persians that is today known as polo.

Specifically, the four watches reproduce illustrations from the Shahnameh commissioned by Shah Tahmasp, the second ruler of the Safavid dynasty, in the early 16th century.

The four piece set comprised of (from left) ‘Siyavush Plays Polo before Afrasiyab’; ‘Faridun Tests His Sons’; ‘Saam Comes to Mount Alburz’; and ‘Rustam Pursues Akvan’. Image – Jaeger-LeCoultre

Initial thoughts

JLC has long reproduced historical art on the Reverso – including Monet’s Venice series of paintings last year – but the artwork was often Western or East Asian, perhaps reflecting the watchmaker’s biggest markets. The “Shahnameh” set, on the other hand, reproduces scenes from a piece of art that might be less well known internationally but is no less important.

As is often the case with such Reversos, the “Shahnameh” watches are beautiful. They are fairly simple on the front with champleve enamel dials, but resplendent on the back.

The scenes on the back are reproduced in fine detail, with an overall quality that is outstanding. There are perhaps a handful of watches or artisans that boast higher quality miniature enamelling, but these certainly rank near the top.

At just over US$142,000 each, the Reverso “Shahnameh” is priced to market; métiers d’art watches of this type usually cost this much, if not more. That said, JLC doesn’t have cachet, at least right now, to compete strongly at this price point, though that has nothing to do with the intrinsic quality of the watches.

A Persian epic

The four watches retain the classic format for enamelled Reversos. The white gold case is Grande Taille size and measures 45.6 mm by 27.4 mm, standing 9.73 mm high, which is just nice.

Inside the cal. 822, the venerable movement designed expressly for the Reverso. Launched in 1991, the cal. 822 is a solid workhorse with an oval outline, making it an ideal fit for the rectangular case. It has a relatively short 42-hour power reserve by modern standards, but it is still impressively reliable and refined in terms of construction.

Each of the four watches has a different dial, ranging from wave guilloche in sea green to lozenge-chequerboard guilloche in forest green, but all dials are in champleve enamel – translucent enamel over an engine turned base. According to JLC, the guilloche is done the old fashioned way, on an hand-operated engine, as it should be.

The quality of the champleve dials, at least on the prototypes I examined, were not up to the standards of the miniature enamelling on the back. That could have simply been a symptom of the watches being prototypes.

The enamelling on the back, however, lives up to expectations. Each of the four watches depict scenes the Shahnameh of Shah Tahmasp. So lavish it took 20 years to complete, the original copy included 258 illustrations, but the book was dispersed in the 20th century. We take a close look two of the watches here.

The first is “Saam Comes to Mount Alburz” that reproduces a page that’s today in the Museum of Islamic Art in Berlin. The scene shows Prince Sam returning to Mount Alburz to retrieve his son, Zal, who was born with white hair (or albinism), an ill omen that led the prince to abandon the infant on Mount Alburz. The child was then brought up by the Simurgh, a mythical bird possessing great wisdom.

The mythical bird is on the top left, perched on the mountain

While Prince Sam has arrived at the mountain with his riders

The second watch is titled “Rustam Pursues Akvan”. The scene on the back reproduces a page of the Shah Tahmasp Shahnameh that is now in the Aga Khan Museum, which has 10 pages of the book.

Here the legendary hero Prince Rustam battling Akvan Div, a horned demon that has disguised itself as an onager, a type of donkey. The prince later pretends to be tired and rests, but the demon seizes the large stone that the prince is sleeping on. The demon gives the prince a choice, be thrown onto the mountain or into the sea.

The prince tricks the demon with reverse psychology, telling the demon into hurl him against the mountain. The demon then throws the prince into the sea, but the prince, being a strong swimmer, returns to land and defeats the demon.

One of them is a demon

The prince and his tricks

The remaining two watches similarly depict pages from the Shahnameh. The watch titled “Siyavush Plays Polo before Afrasiyab”, however, stands out for its explicit polo theme. It depicts two ancient kings, Siyavush and Afrasiyab, challenging each other to a game.

From left: ‘Faridun Tests His Sons’ and ‘Siyavush Plays Polo before Afrasiyab’. Image – Jaeger-LeCoultre

Key facts and price

Jaeger-LeCoultre Reverso Tribute Enamel “Shahnameh”
Ref. Q39334S1 (Siyavush Plays Polo before Afrasiyab)
Ref. Q39334S2 (Faridun Tests His Sons)
Ref. Q39334S3 (Saam Comes to Mount Alburz)
Ref. Q39334S4 (Rustam Pursues Akvan)

Diameter: 45.6 mm by 27.4 mm
Height: 9.73 mm
Material: 18k white gold
Crystal: Sapphire
Water resistance: 30 m

Movement: Cal. 822
Functions: Hours and minutes
Winding: Self-winding
Frequency: 21,600 beats per hour (3 Hz)
Power reserve: 42 hours

Strap: Alligator leather strap with folding clasp

Limited edition: 10 pieces of each
Availability: At Jaeger-LeCoultre boutiques only
Price: US$142,000 before taxes

For more information, visit Jaeger-lecoultre.com.

‘Micro-brand’ watches are rarely about finishing or movement design. The business model employed by this segment of the industry typically involves off-the-shelf movements combined with made-to-order cases and dials; this is how Christopher Ward (CW) got started. But having merged with its movement supplier a decade ago, the brand has become more ambitious, first with the striking Bel Canto and again with the C12 Loco, which reimagines the Valjoux cal. 7750 as a budget-priced mechanical sculpture inside a sporty steel case.

Architectural watchmaking is not new, but it is new at the price point targeted by CW, which recently moved into larger premises in Maidenhead about 30 minutes west of London. Having spent a month with the Loco, it’s worth looking at what they did, and how.

Initial thoughts

I find architectural watchmaking inherently appealing, and appreciate it when watchmakers and designers work in tandem to elevate mechanical components into miniature works of art. It can come across as gimmicky, but when done well it results in an enthralling and educational wearing experience.

Given the steep development costs, this type watchmaking has long been the exclusive domain of high end brands like MB&F and Ulysse Nardin. But CW has been moving in this direction since the launch of the Bel Canto, and the Loco, despite its relative simplicity, is a worthy follow-up to its striking sibling.

Sitting within the Twelve collection, CW’s take on the integrated bracelet sport watch, the Loco’s case is similar to that of the Girard-Perregaux Laureato, with a flat-sided bezel and wrist-hugging case.

Offered exclusively in steel, the Loco’s dimensions are typical of the genre, 41 mm in diameter and 13.7 mm high. The latter might raise a few eyebrows, but the thickness is used to great effect to show off the movement. In other words, I don’t think it would benefit from being thinner.

The Loco is powered by the manually wound CW-003 movement, which offers 144 hours of power reserve from two large mainspring barrels. More interesting than this headline figure is the movement’s original design, which includes the brand’s first free-sprung balance floating below the dial.

The view through the case back shows off more three-dimensionality with individual steel bridges for each barrel. You’ll find the DNA of a Valjoux cal. 7750 if you peel the onion, and it’s a competent and visually engaging movement.

The dial itself is a small doughnut-shaped piece of sapphire crystal that reveals a hint of the motion works beneath the dial. The hour markers are affixed with adhesive, as is typical for applying indexes to sapphire, and like the hands they are deeply straight-grained and faceted to catch the light. Overall the dial looks expensive from all angles and even under magnification it’s hard to fault.

One thing absent from the dial is the Christopher Ward name and logo, a practice we first saw with the Bel Canto. I appreciate the confidence to let the design do the talking, and it shows how far CW has come from its early days making mostly homage-style watches. In fact, the company’s new logo, which is appealing and depicts England’s Saint George’s Cross next to the white cross of the Swiss flag, is found only on the crown.

Priced under US$5,000 with or without a bracelet, the Loco is a good value from almost any perspective. Not only is it comfortable and enjoyable to wear, the brand has made calculated trade-offs to offer a high-spec movement that looks like something many times its price.

A stadium on the wrist

The Loco is a highly sculptural watch, inside and out, with contrasting finishes that make the most of its geometric forms; it would be a tedious process to inventory the numerous straight-grained, beveled, polished, and frosted surfaces found throughout the case, dial, and movement.

Most of the external components such as the case, strap, and dial are sourced from suppliers in Asia, which helps explain why the pricing is as low as it is. Similar in this regard to the Anoma A1, the Loco is a testament to the quality of components coming out of China.

While most brands would struggle to manage such far-flung suppliers, CW maintains direct relationships with its manufacturing partners in the region and ensures that no further subcontracting is involved, which helps with quality control.

Though the sample pictured is a fiery burnt orange colour, the Loco can also be had in white, black, and blue. The relatively plain colours are perhaps the only thing I’d change, and I imagine we’ll be treated to more nuanced colours as time passes.

Regardless of colour, the mix of vertical brushing and frosting creates a pleasing backdrop for the offset sapphire crystal dial and the escapement, which is fully exposed in three dimensions, sitting up above the dial like an escapement model.

And a model escapement it is, with a large free-sprung balance, nicely finished bridges, and colour-matched Incabloc shock absorber.

The case profile wears slimmer than its headline thickness of 13.7 mm would suggest, thanks to the diminishing diameter of the faceted domed sapphire crystal and the design of the case. Visually, the case resembles something like the Bremont Trip-Tick, with a thin case band atop an exposed barrel.

In the case of the Loco, these components are built as a single piece, and at arm’s length the twelve-sided case gives the impression of a miniature domed stadium or arena, which is oddly appealing. The edges of the case are embellished with bevels that feature reasonably clean transitions between straight-grained and polished surfaces.

The Loco is well-balanced on the wrist and stays planted thanks in part to the tapered rubber strap and stable folding clasp.

The Loco is also available with a stainless steel bracelet, which can be swapped on and off without tools, but this configuration increases the weight and makes it look like it’s trying too hard to look like every other integrated bracelet sport watch.

I opted for the strap while wearing the Loco on vacation in Tuscany and it was very comfortable throughout the trip, despite the summer humidity. And the strap itself is worth checking out; I encountered several collectors while wearing the Loco and all of them remarked on the softness of the strap.

The Loco’s stated water resistance is only 30 m, but I’d be confident taking it underwater thanks to the screw-down crown, which is the same design used on similar models with superior depth ratings. The reason for the relatively paltry rating has to do with the domed sapphire crystal, which forced the designers to compromise crush resistance for a more wearable thickness; it was the right decision. For day-to-day exposure to moisture and casual immersion, it offers plenty of security.

An architectural caliber

We covered the origins of the CW-003 movement at launch, but it’s worth reviewing the basics. The movement is basically a dressed up SH21, which debuted in 2014 as the brand’s first in-house movement. The ‘SH’ prefix refers to Synergies Horlogères, the Biel-based movement manufacturer that merged with CW that same year.

The SH21 was a manually wound, double-barreled movement derived from the tried-and-true Valjoux cal. 7750 gear train. The CW-003’s humble roots are hard to find, though the ghost position in the keyless works, likely capable of setting the date on a watch so equipped, speaks to the economies of scale required to keep costs low. But this is a sensible concession to cost that in no way impairs the wearing experience.

You’d be forgiven for thinking the CW-003 is a novel construction, due to its imaginative architecture and the addition of an inverted free-sprung balance. This emphasis on visual movement design is something we’re seeing more of, and I believe we’re still at the beginning of this trend.

This idea is not new; it goes back at least as far as the pocket watch-style three-quarter plate design brought back by A. Lange & Söhne in 1994, but as a design trend it never really trickled down beyond the lower reaches of haute horlogerie.

What Christopher Ward has achieved with the CW-003 is truly impressive; it manages to look innovative while benefiting from a highly mature and cost-effective Valjoux cal. 7750 technical foundation.

Visually, the CW-003 is dominated by five steel bridges, two on the front, supporting the balance and escape wheels, respectively, and three on the back, supporting the barrels and their intermediate wheel.

These bridges are extravagantly faceted with complex geometries that show off shiny edges and wide countersinks around the jewels. The polished surfaces are remarkably well done; in some images the photographer can be seen reflected in the bowl-shaped countersinks. The eight screw heads visible on the dial show equal attention to detail.

Photographer’s note: some dust is visible on the outside of the crystal

As discussed, the Loco’s external components are mostly sourced from Asian suppliers, but the movement is thoroughly Swiss. The bridges, for example, are CNC milled by Paoluzzo in Biel, before they are transported about an hour north to Atelier de Polissage Jurassien (APJ) where they are finished.

The components are then taken back to CW’s facility in Biel for assembly. In total, each CW-003 movement benefits from about five hours of hand finishing, primarily with rotary tools, and all of it is done in Switzerland.

Given the Loco’s value-oriented positioning, it’s reasonable to wonder how this is possible. The answer is probably found in the slight waviness of the mirrored surfaces, which is suggestive of electrochemical polishing. This process uses a mild electrolytic acid and an electrical current to eat away at any coarseness left over after machining and tumble polishing, and results in a bright, shiny finish that can almost pass for black polish at arm’s length.

While real black polishing can produce a true mirror finish, and actually changes the material’s molecular surface structure to improve hardness and corrosion resistance, it’s a labour intensive process that’s only practical at higher price points. The finishing on the CW-003 is a fairly convincing imitation of the real thing, and looks better than most peers that aren’t putting in the effort.

Mechanically, the CW-003 is no slouch, providing 144 hours of power reserve despite a consumptive 4 Hz rate. The movement is adjusted to an internal benchmark of -0 to +7 seconds per day, but lacks a seconds hand, making pinpoint observations impossible without a timing machine.

During the month or so that I wore the Loco, the movement seemed to run dead-on for the first 48 hours before drifting a little fast for the remainder of the power reserve. There’s no power reserve display per se, but the state of wind can be roughly guessed from the visible amplitude of the balance; when it gets close to the end, the balance oscillation is less lively.

Closing thoughts

It’s rare to pick up a watch in this price segment and marvel at the finishing, but I found myself doing just that during my time with the Loco. Close examination reveals the cost-effective techniques used, but there’s little to complain about when the savings are passed on to the buyer.

Thanks to its thoughtful design and intelligent trade-offs, the Loco looks and feels far more expensive than it is, and attracted a lot of comments during my time with it. But more than that, the Loco feels like a harbinger of things to come in terms of architectural movement design.

Key facts and price

Christopher Ward C12 Loco

Diameter: 41 mm
Height: 13.7 mm
Material: Stainless steel
Crystal: Sapphire
Water resistance: 30 m

Movement: CW-003
Functions: Hours and minutes
Frequency: 28,800 beats per hour (4 Hz)
Winding: Manual
Power reserve: 144 hours

Strap: Stainless steel bracelet or rubber strap

Limited edition: No
Availability: Direct from Christopher Ward
Price: US$4,595 on the rubber strap; US$4,825 on the bracelet

For more, visit christopherward.com.

De Bethune once again has a single-button chronograph to its line-up with the compact DB25 Monopusher Chronograph. Styled after the DB8 from the brand’s early years, the DB25 chronograph has a smaller case but a larger, more refined movement. Importantly, it is most accessible chronographs from the brand in recent memory, both in size and price.

Initial Thoughts

I hold De Bethune in high regard for its technical ambition and an idiosyncratic design language that blends aesthetic codes from the 18th and 23rd centuries. The distinctive aesthetics were largely the brainchild of cofounder Davide Zanetta, who unfortunately departed the brand several years ago. Fortunately, however, both traits are alive and well in the DB25 Monopusher Chronograph.

For several years the brand lacked a conventional chronograph, and I see the new DB25 as the brand’s long-term solution to that problem. Likely shaped by feedback on the recent DB Eight, the DB25 Monopusher has everything it needs to be a staple of the brand’s line-up – moderate sizing, good looks, and complementary calibre.

Though based on the brand’s prior chronograph movements, the DB3000 inside the DB25 is interesting in several respects. For one, it retains the oscillating pinion found in the long-ago DB1. The oscillating pinion isn’t well regarded by collectors, seen as less advanced than a vertical clutch and without the theatre of a horizontal coupling. It is possible to make a handsome chronograph with an oscillating pinion, such as those Victorin Piguet supplied to the best English watchmakers in the late 18th century, but it isn’t easy. De Bethune has arguably one it well here.

An example of Piguet chronograph mechanism in the Charles Frodsham no. 08867

The DB25’s movement also boasts an instantaneous minutes totaliser, which I have a penchant for. However, I’d prefer if De Bethune left the chronograph works “flying” as is convention in manually wound movements, instead of covered by a plate, even a very well polished plate.

Still, the DB25 chronograph compares well against the competition, both mainstream and independent. Established brands like A. Lange & Söhne and Patek Philippe make for tough competition in the high-end, manually wound chronograph space, but offerings from other independents are either less sophisticated or much more expensive than the DB25.

How we got here

Davide Zanetta and Denis Flageollet launched De Bethune in 2002, with its debut watch being a single-button, oscillating pinion chronograph powered by a movement conceived during the latter’s time at Techniques Horlogères Appliquées (THA), a movement specialist in Sainte-Croix. The brand quickly followed up with the DB8 that had a 45-minute counter at six o’clock.

The DB8 of 2003, not to be confused with the DB Eight launched in 2023. Image – De Bethune

As charismatic as the DB1 and DB8 were, a 25.6 mm movement swimming in a 42 mm case wasn’t ideal. Furthermore, single-button chronographs are less sophisticated (and even less useful) than two-button designs, though I see that as part the quaint appeal.

Both the DB1 and DB8 were powered by outsourced movements, but De Bethune rapidly went entirely in-house with a large stable of movements. Instead of doubling down on simplicity, De Bethune followed up with the extremely elaborate, and slightly temperamental, Maxichrono that swung the pendulum far in the other direction, with an exotic movement developed and made in-house.

The Maxichrono

Case

Today’s DB25 monopusher is, of course, staid compared to the Maxichrono (which was probably the most elaborate single-button chronograph on the market, then and now) and is even more minimalist than most single-button chronographs as it omits a running seconds hand.

The D25 Monopusher Chronograph comes on the heels of a very similar 2023 release, the DB Eight, itself an homage to the original DB8. While the two are almost identical at first glance, the D25 Monopusher Chronograph is 1.8 mm smaller and uses the DB25 case style, with open-worked lugs and baroque crown.

While the DB1 and DB8 used movements obviously designed for smaller watches, the DB25 has the opposite problem, causing the minutes sub dial to bite into the seconds track.

The DB25 Monopusher is very slim for a chronograph, at only 9.15 mm tall and a hair slimmer than the DB Eight. Modern watches are almost always burlier than their neo-vintage inspiration, but the DB25 makes an effort, being within a millimetre of the DB8 despite the addition of a sapphire case back and slightly thicker calibre.

The engine-turned silver dial has a dodecagonal-sectioned radiating pattern from the center, while fine barleycorn guilloché fills the minutes mono-counter. Facing outboard are numerals printed in blue to match the blued titanium hands, and beyond that the combined minutes and seconds track.

In a plus for legibility and utility, De Bethune properly calibrated the intra-second hash marks for the 4 Hz beat rate of the DB3000, which is something brands often get wrong.

However, the chronograph seconds scale is partially obscured by the bezel, or the bezel’s shadow at most angles. Typically this is avoided with a larger gap between the rehaut and scale, a tachymeter buffer zone, or a modest draft on the rehaut. Here none of those are employed, compromising readability at certain times.

Movement

Flipping the watch over reveals DB3000, a 30 mm diameter which handily fills the 40.6 mm case, unlike the THA movements in the DB1 and DB8.

Interestingly, the black polished bridges and plates are steel but plated with chromium – presumably for greater lustre than raw steel. This is more similar to the Maxichrono movement, and is another deviation from the DB Eight, which carried a straight grained finish.

Vast black-polished surfaces on the movement have long been a signature of the brand, accomplished by holding the part against the flat side of a wood polishing wheel, with a healthy amount of diamond paste. While movement decoration is ultimately subjective, extra effort is always notable. For comparison, a few passes with an abrasive wheel can apply Côtes de Genève in a matter of seconds.

That said, the plating arguably makes the polishing surfaces more lustrous than they otherwise would be with traditional black polishing. In other words, the plating could potentially compensate for less-than-perfect black polishing.

While somewhat vestigial in two-button designs chronograph, the column wheel is apt for single-button designs, which follow a three step sequence of start, stop, reset.

The bridges make it difficult to observe this interaction, but also avoid the overly sparse look of similar movements from F.P. Journe.

While nicely polished, the bridge forms aren’t exactly graceful, and the large corner radii result in an industrial look. The decoration is clearly finished off by hand, but likely applied by machine to begin with. This industrial-haute horlogerie is honest and works for the De Bethune’s overall aesthetic, but isn’t in vogue right now, especially amongst independents, which now ironically favour machine finishing carefully curated to appear hand made.

Building on that are a number of high-tech flourishes: a silicon escape wheel, titanium balance with white gold weights, and proprietary flat hairspring that breathes like an overcoil – all fruits of the brand’s substantial, but historical, investment in research and development.

Note the hairspring is clamped in place by the regulator, like a free-sprung balance, rather than being allowed to bounce between curb pins – an indicator of a high-end construction.

The movement’s most interesting feature is an instantaneous jumping minutes totaliser: a snail cam on the chronograph seconds hand stores energy over 60-seconds in order to jump the hand forward in a fraction of a second with each passing minute. It’s a relative rarity, but used by both Patek Philippe and A. Lange &  Söhne, which is good company to be in.

Key facts and price

Diameter: 40.6 mm
Height: 9.15 mm
Material: Titanium
Crystal: Sapphire
Water resistance: 30 m

Movement: DB3000
Functions: Hours, minutes, mono-pusher chronograph with instantaneous 60-minute counter
Winding: Hand-wound
Frequency: 28,800 beats per hour (4 Hz)
Power reserve: 60 hours

Strap: Alligator with pin buckle

Availability: From De Bethune and its authorised retailers 
Price: CHF80,000 (about US$98,000)

For more, visit Debethune.ch.

Now into the second half of its second century, Piaget unveiled the Polo Flying Tourbillon Moonphase, an eccentric entrant in the crowded field of luxury sport watches. The charm of the watch lies in its unusual feature set: an extravagant dial and easy wearing format, which includes interchangeable rubber and leather straps.

Housed in a sleek, 44 mm titanium case, the Polo Flying Tourbillon is the most complicated watch in the Polo collection since the underrated Polo Tourbillon Relatif introduced two decades ago.

Initial thoughts

I have a soft spot for watches like the Polo Flying Tourbillon that don’t fit neatly into any pre-conceived category. It’s risky to make watches like this; watches that look a bit odd on the spec sheet but feel good on the wrist. On one hand, it’s overtly sporty with a titanium case, a rubber strap, and a robust 100 m water resistance rating thanks to dual gaskets in the crown.

Looked at from another perspective, it’s a piece of true industrial-haute horlogerie with a flying tourbillon and a thoughtfully executed pointer-style moonphase indicator, sans date. This last detail stands out to me, because the date and moonphase complications usually go hand-in-hand. To be clear, I don’t miss the date; its absence contributes to the care-free nature of the watch.

The 44 mm titanium case looks large on paper, and indeed, the diameter is accentuated by its 9.8 mm case height, which is on the thinner side as such things go. But the Polo wears well; its short lugs and curved rubber strap ensure a smaller footprint than you’d expect from the dimensions alone.

As slim as it is, the case flanks are unexpectedly ornate featuring PVD-treated blue titanium inlays. The look is something of a contemporary twist on the vintage Polo’s ornate gadroons, and it’s one of the best-looking aspects of the design.

The Polo Flying Tourbillon is powered by the cal. 642P, the latest movement built on the tried-and-tested cal. 600P platform, which is nearing its 25th birthday. The 3 Hz rate and 40-hour power reserve won’t stand out on paper, but it’s reasonably slim and robust enough for everyday wear. Its most important characteristic, however, is the flying tourbillon nicely presented at twelve.

Though concealed behind a solid back, the cal. 642P is actually a form movement – albeit one conceived for a rectangular case. The cal. 642P is a fine movement with many qualities that certainly deserves to be revived, though it’s arguable Piaget should have reworked the base plate to fit the Polo case.

The straps are interchangeable with the push of a button.

As with the case, there’s more to the dial than meets the eye. Eagle-eyed readers will also note the Piaget logo appears to be floating, suspended over the keyless works at three o’clock; it’s actually printed on an otherwise invisible sapphire crystal panel in the center of the dial.

The standard Polo features a horizontally embossed dial similar to that of the Patek Philippe Nautilus, but the Polo Flying Tourbillon puts a new spin on this familiar formula with a cushion-shaped opening in the center of the dial and a large pointer-style moonphase indicator at six.

The latter is striking enough to steal some of the attention from the tourbillon located at twelve, and features heavily textured inlays to indicate each phase of the lunar cycle. The prominent moonphase symbols are undeniably beautiful and give the dial a somewhat mystical flair.

The Polo Flying Tourbillon currently retails for US$113,000; not cheap, but its unusual feature set and relaxed aesthetic differentiate it from peers like the Parmigiani Tonda PF Flying Tourbillon and Girard-Perregaux Laureato Tourbillon.

The easy-to-wear tourbillon

Luxuriously finished without being overly flashy, the Polo Flying Tourbillon manages to be a “go anywhere, do anything” type of watch despite its upmarket positioning. Its lightweight titanium case feels especially robust thanks to the mostly solid case back, and the sturdy rubber strap provides all-season wearability.

As for the strap, it’s a push-button quick change affair, and the watch comes standard with interchangeable rubber and leather straps, both in navy blue.

At this price, an interchangeable titanium bracelet would have been icing on the cake, especially since Piaget has a long history of nice bracelets, but I’d probably wear it on the rubber strap most of the time regardless.

Squaring the circle

The best view of the cal. 642P movement is actually from the front, as seen through a large sapphire crystal window in the center of the dial. The view showcases attractive perlage and a clean, workmanlike finish for the wheels and the setting lever for the moonphase, which is engaged with a recessed pusher at nine o’clock.

Most of the rest of the movement is hidden behind a solid case back, save for a porthole that reveals the business end of the flying tourbillon.

Though not visible to the owner, the concealed portion of the movement is decorated with concentric Côtes de Genève that radiate outward from the center of the tourbillon, like ripples in a pond. The movement is further dressed up front and back with blued screws for the bridges.

The cal. 642P is equally well decorated on both sides. Image – Piaget

Despite the Polo’s mostly round case, the cal. 642P is rectangular. We often find round movements in rectangular cases, but a rectangular movement in a round watch is unusual; only the original A. Lange & Söhne Saxonia and Corum Golden Bridge come to mind.

The explanation is simple: the cal. 642P is derived from the cal. 600P, which was developed for the rectangular Emperador case in 2003. All else being equal, a movement fit to the case would be more satisfying, but I find shaped movements interesting enough that I don’t mind seeing one here. That said, given the top-of-the-line positioning of this, Piaget should have reconstructed the movement for a larger footprint to fit the round case, maybe increasing the power reserve with a larger or additional barrel.

The text around the porthole in the case back translates as “Always do better than necessary.”

This lineage explains the short 40-hour power reserve, but what the cal. 642P lacks in autonomy it makes up for in longevity.

One of the oldest flying tourbillon movements still in active service, the cal. 600P and its derivatives benefit from having had all the kinks worked out. Another factor that makes the short power reserve livable is the crown, which does not screw down; this makes it easy to wind the watch without worrying about cross-threading the crown tube on-the-go.

And despite its age it still looks good, with the regulator poised at twelve and the brand’s stylised “P” logo integrated into the tourbillon cage. The cage houses a smooth Glucydur balance which oscillates at 3 Hz, and because the cage is flying, the Incabloc shock absorber is visible; you don’t usually get to see this with a tourbillon.

Concluding thoughts

Ultimately, the Polo Flying Tourbillon Moonphase feels like a watch Piaget made for itself. It’s not the most technically ambitious tourbillon on the market, but its mix of unconventional details and sleek format give it an easy going charm that feels refreshing next to the brashness of some rivals.

We’ve praised Piaget in the past for their handling of subtle details like typography, and we see that same attention to detail here. It’s one of the ways that Piaget embodies its motto, engraved on the case back encircling the tourbillon, “always do better than necessary.”

Key facts and price

Piaget Polo Flying Tourbillon Moonphase
Ref. G0A49080

Diameter: 44 mm
Height: 9.8 mm
Material: Titanium
Crystal: Sapphire
Water resistance: 100 m

Movement: Cal. 642P
Functions: Hours, minutes, flying tourbillon and moonphase
Winding: Manual-wind
Frequency: 21,600 beats per hour (3 Hz)
Power reserve: 40 hours

Strap: Blue rubber strap with quick release and folding clasp; blue alligator leather strap included

Limited edition: No
Availability: Now at Piaget boutiques and retailers
Price: US$113,000

For more, visit Piaget.com.

Long a pillar of Vacheron Constantin’s line-up, Métiers d’Art has usually been about figurative, decorative, and classical watches, with traditional motifs and techniques being a recurring theme. The Métiers d’Art “Tribute to the Celestial” is, however, different in style from the usual Métiers d’Art offers, although its distinctive look is inspired by a one-off grand complication from 2021.

The Tribute to the Celestial is a combination of familiar elements, but executed in a surprising way. It’s centred on traditional techniques, namely the hand guilloche dial and gem-set case, but modern in approach and aesthetics. The palette is largely blue and almost monochromatic, while the guilloche forms a geometric, polygonal motif.

Initial thoughts

At a distance, the Tribute to the Celestial is not what you expect. Across a room, it looks like a shiny, all-blue watch that could be ceramic or another contemporary material. It also doesn’t reveal much detail. But up close the Tribute to the Celestial shows off lots of refined detailing; it’s a double dose of metiers d’art, engine turning and gem setting.

The primary metiers d’art on the Tribute to the Celestial is the guilloche on the dial that is done by hand in-house at Vacheron Constantin’s engine turning workshop. Instead of the common guilloche found on many watches, this employs straight lines at different angles to create a polygonal motif that forms a zodiac symbol, illustrating the versatility of an old-school straight-line engine.

The guilloche is subtle at arm’s length, and surprisingly, even the sapphires are. The case is set with 96 baguette-cut sapphires – a substantial number and weight of gemstones that exemplify another kind of artisanal craft. But surprisingly the watch is far from “bling”, it is relatively discreet and also very blue. The case sides are not set with sapphires, and look a little naked.

The design is actually derived from a one-off creation from 2021, the Les Cabinotiers Minute Repeater Tourbillon Sky Chart Leo Constellation Jewellery Watch. The earlier watch was similar in style, but much larger, more complicated, and way, way more expensive.

Movement wise, the Tribute to the Celestial is equipped with the familiar cal. 2160 that’s also found in several other Vacheron Constantin tourbillon models.

The cal. 2160 is mostly found in entry-level tourbillon models, like the FiftySix Tourbillon and Overseas Tourbillon, bualso in a handful of highly complicated watches. It’s a still a high-end, industrial-haute horlogerie calibre that lives up to the brand name. The peripheral rotor is a nice touch, and the tourbillon assembly is impressively hand finished.

The Tribute to The Celestial does well in terms of quality and execution. I have to think hard to find something amiss in terms of its tangible attributes.

That is, except for the dial. Although the quality of guilloche is excellent regardless of version, the design of each zodiac is uneven, at least in my eye. Some of the zodiac emblems are more attractive than others. Aries, Scorpio, and Pisces, for example, are beautifully executed.

Many of Vacheron Constantin’s watches are appealing for various reasons, but rarely are they priced well. The Tribute to The Celestial is priced well, almost to the point of being a value buy, at least in its category.

The retail price of about US$260,000 brings a tourbillon movement of solid quality, a good carat-weight of baguette-cut sapphires, and the guilloche dial that’s engine turned by hand. It’s still a big number, but relative to the overall price index of the luxury watch market, it is reasonable. And that is especially the case when compared with its 2021 inspiration.

Fine crafts

The design and theme of the Celestial were first employed on the Les Cabinotiers Minute Repeater Tourbillon Sky Chart Leo Constellation Jewellery Watch, a unique creation for an Asian client that premiered in 2021.

In the vein of past Vacheron Constantin grand complications, the Leo Constellation was double faced with a star chart on the back, and a minute repeater inside. The large, 45 mm case – it measured over 15 mm thick – was set with blue sapphires.

The Leo Constellation was large and expensive, with a price tag well into seven figures, while the new Celestial is wearable and affordable, relatively speaking.

The Les Cabinotiers Minute Repeater Tourbillon Sky Chart Leo Constellation Jewellery Watch of 2021. Image – Vacheron Constantin

While the Leo Constellation was a single watch depicting the client’s zodiac sign, the Tribute to the Celestial is made up of 12 variants, each depicting one zodiac symbol. All dials are finished in the same way – traditional guilloche for the zodiac symbol, plus radial brushing and a metallic blue treatment. But not all of the zodiac symbols are equally appealing.

Aside from those mentioned above, Sagittarius and Libra are amongst the best looking. On the other hand, Leo looks like a bit like a large dog. In fact, it reminds me of a Tibetan mastiff, a breed of dog that is often groomed to look like a lion.

The guilloche is performed in the traditional way: a hand-operated straight-line engine that engraves lines on the dial while the guillocheur controls motion and pressure manually. Engraved one at a time, the lines then form the zodiac motif.

In other words, the position, angle, and depth of each line is the result of manual skill, making the polygonal motif all the more impressive. The zodiac symbols might seem simple from a distance, but they are anything but.

Guilloche by hand on an antique straight line engine. Image – Vacheron Constantin

Examining the zodiac symbol up close reveals the mastery of guilloche. The engraved lines, for instance, differ in depth and width in order to create shading and depth. Here, the lion’s face is made up of thicker, deeper lines than its mane.

Notably, each zodiac symbol also contains its corresponding constellation formed by an silvered line (that’s the result of a plating treatment) and accented with brilliant cut diamonds.

The case of the same style employed for other Metiers d’Art models, except here it’s been dressed up with baguette-cut sapphires. It’s a good size at 39 mm wide and almost 11 mm high, not too big and not too small, essentially just right.

The gemstones cover the bezel and top of the lugs, but also on the crown and buckle. The flanks of the case, however, are unadorned, which is a shame. Setting the case sides would have presumably raised the price significantly, so that is an acceptable compromise all things considered.

The cal. 2160 inside is a straightforward tourbillon movement, except for its winding mechanism. It features a peripheral winding mechanism that employs an arc-shaped weight in 22k to wind the barrel.

The automatic mechanism is also notable for having “Magic Lever” winding, a simple method of winding that is both efficient and flat. Originally invented by Seiko but now widely used by Swiss watchmakers, the Magic Lever occupies a fair amount of lateral space, but that’s not a constraint in a movement like this.

The automatic mechanism means a conventional rotor is done away with, leaving almost of the movement visible. The movement’s designers used this opportunity to give the cal. 2160 more interesting bridge shapes that have the flowing lines and angles more common on historical movements.

The 22k gold peripheral rotor is engine turned with a Maltese cross-inspired motif

The classical aspect of the movement is underlined by the Poinçon de Genève, a historical benchmark that was originally only concerned about aesthetics and decoration but now expanded to include useful, practical aspects like timekeeping and water resistance.

The Geneva Seal means that the finishing on the movement is excellent and thorough, with all of the details attended to. The quality of decoration is typical for this segment of industrial-haute horlogerie, and comparable to Patek Philippe, Audemars Piguet and the like.

The Poincon de Geneve on the bridge for the Magic Lever

That said, the cal. 2160 a little of a missed opportunity in terms of decoration, especially since the movement styling can easily accommodate more decorative elements. This is all the more relevant since the Tribute to the Celestial is a higher-priced watch; the entry-level FiftySix Tourbillon, on the other hand, is perfectly acceptable with good-enough decoration. The inward angles along the bevelling, for example, could be sharper, while some of the flat steel parts could be black polished.

In fairness, however, the decoration on the front makes up for some of that. The detailing on the tourbillon assembly is outstanding. Take the Maltese cross-shaped tourbillon cage, which is about as good as it gets. The arms of the cage are black polished, with polished bevels containing inward angles, while the tourbillon bridge is rounded and mirrored.

Concluding thoughts

The Tribute to the Celestial is not for everyone, but for the enthusiast who appreciates such things, it is done extremely well. The intrinsic attractiveness lies not only in the materials and decoration, but also the unusual aesthetics. The fact that the price is sensible – if a six-figure watch can be sensible – adds to the appeal.

Key facts and price

Vacheron Constantin Métiers d’Art “Tribute to The Celestial”
Ref. 96007A/000G-H042 to -H053 (12 references)

Diameter: 39 mm
Height: 10.7 mm
Material: 18k white gold, set with baguette-cut blue sapphires on bezel, lugs, and crown
Crystal: Sapphire
Water resistance: Not water resistant

Movement: Cal. 2160 
Functions: Hours and minutes, tourbillon with seconds indicator
Winding: Automatic
Frequency: 18,000 beats per hour (2.5 Hz)
Power reserve: 80 hours

Strap: Alligator with folding clasp set with sapphires

Limited edition: No, but limited production
Availability: Only at Vacheron Constantin boutiques
Price: Approximately US$265,000

For more information, visit vacheron-constantin.com.

Having re-emerged in 2021 with the debut of his new brand and the launch of the FVF1 C2 Tourbillon Superligero, Franc Vila is back with the FVF1 Tourbillon Superligero “Today”, a watch that challenges conventional notions of timekeeping with a good-humoured twist on the traditional day of the week display.

Leveraging its predecessor’s ultralight 42.5 mm titanium case and integrated flying tourbillon movement, the Today questions the difference between the days of the week, with a day roller that displays the word ‘today’ in a different font for each day. While over time the wearer might learn to associate particular fonts with particular days, the otherwise functional day roller is intended to be a reminder to not take things too seriously – today is all we have.

Initial thoughts

I didn’t really know what to expect the first time I stepped off the elevator into Mr Vila’s brightly lit, attic workshop in Geneva’s Saint Gervais neighbourhood. The workshop itself is part of the story, housed in what was once very likely home to a cabinotier, a term that refers to a watchmaker operating from a rooftop workshop once favoured by Genevan watchmakers of old, who preferred to work where they could get plenty of natural light.

Beyond the typical watchmaking equipment, and even some atypical equipment like a perlage machine with a mysterious past, the workshop is packed with contemporary art from Mr Vila’s personal collection. Talking with him about these sources of inspiration gave me a new perspective on his work. In many ways he is the living embodiment of what makes independent watchmaking so appealing: the passionate visionary behind the product.

Mr Vila personally decorates the boxes in which his watches are delivered.

That vision translates into a distinctive product. Beyond its design, one of the most compelling things about the Today is its extraordinary feel on the wrist, thanks to its lightweight, grade 5 titanium construction, which involves a one-piece case and movement.

While 55 g is not a record-breaking figure, it feels lighter than it is on account of its fairly large 42.5 mm diameter and its thickness of nearly 14 mm. This creates a pleasing tension between the visual and tactile experience of wearing the watch; it has a great deal of presence but feels almost weightless.

There’s not much to the dial beyond a chapter ring, and the visual focus is very much on the FVF1 movement first seen in the C2 Superligero. Mr Vila contracts out the fabrication of the components, but he and his small team do the finishing and assembly in his central Geneva workshop.

The movement features a 2.5 Hz flying tourbillon and runs for up to 100 hours. Functionally, the FVF1 features a day/night indicator and a heptagonal roller that displays the day of the week, but in the Today edition the movement has been given a blued finish and the roller has been repurposed into a tiny work of contemporary art.

The Today is priced at CHF165,000, which feels about right for what it is. The elaborate design, in particular the monocoque case and movement, gives it a look and feel all its own. And considering how few will be made, it could hardly cost much less and be viable to make.

Living for today

The “Today” roller is a whimsical complication that reminds me of watches like the Rolex Day-Date 36 “Puzzle,” the Haldimann H8, and the Romain Jerome Titanic DNA Day & Night Tourbillon; watches that could have easily displayed the time or date, but made a statement by not doing so. This way of thinking won’t appeal to everyone, but it’s not meant to.

There will always be collectors that view watchmaking exclusively through the lens of function; this Landesian thinking holds that the quality of a watch is a function of its precision. Indeed, the quest for precision is one of the most romantic aspects of watchmaking and remains a key pillar of marketing for the industry.

In contrast, the Today questions the need to know the time at all. But unlike the Haldimann and Romain Jerome efforts that came before it, the Today does, in fact, display the time, which I think is a reasonable concession to convenience.

Instead, the heptagonal day-of-the-week roller at twelve o’clock has been modified so that each of its seven sides indicates the same day: today. To spice things up, the lettering is given a different font for each day, as if in acknowledgement that even though it’s always today, every day is different.

A watch like this could easily come across as a gimmick, but it feels authentic coming from Franc Vila. More than just a device for keeping time, the Today is a personal statement, which pushes it firmly into the realm of art.

And like any highly personal piece of art, it will appeal most to those who resonate with the ideas shared in the work and who, in this case, want a wearable reminder to live in the moment.

A monocoque movement

Regardless of how one feels about the metaphysical statement the Today is making, the watchmaking on display is expressive and well done. But it’s impossible to talk about the movement without also talking about the case since they are one and the same.

Similar in concept to the Richard Mille RM 27-02 and RM 27-03, the mid-case and baseplate of the Today are made as a single piece. Machined from a single block of grade 5 titanium, the one-piece case and movement reduces weight while improving structural integrity.

The blue-treated titanium mainplate is visible at the mid-case.

This construction also contributes to the Today’s striking design, which features a blued finish visible inside and out. The exterior surface is protected by a polished titanium outer case with skeletonised lugs.

The entire construction is satisfyingly transparent; the case back itself is a single piece of sapphire crystal. It’s unusual to see a comparatively brittle material like sapphire screwed directly to the case, and the edge-to-edge crystal provides a striking effect that complements the light, airy design. Just leave the tightening of the screws to the professionals.

And it is really light, just under 55 grams, putting the Today firmly in ultralight territory. It doesn’t set any records, but it doesn’t need to; that’s not what the watchmaking of FVF is all about. Rather, the idea was to create a piece of mechanical contemporary art that is also effortless to wear. In this dimension, at least, Mr Vila has succeeded, because it feels like it could hardly be any lighter.

Functionally and aesthetically, the Today packs a punch with a 100-hour power reserve, a flying tourbillon, and a fascinating piston-style pusher with a coilover return spring for adjusting the day roller.

The latter is a pure expression of Mr Vila’s taste, and turns what would otherwise be a forgettable piece of metal into a key part of the design and the wearer’s interaction with the watch. Advancing the day roller with one’s thumb is a tactile treat; the multimodal feedback of seeing and feeling the large coil spring compress gives the watch a feeling of industrial sturdiness.

A view of the coiled return spring for setting the day display

The rest of the movement is open-worked and airy under a large domed sapphire crystal, and the train wheels are secured by a large V-shaped bridge visible through the case back. Though given a blue coating to match the rest of the movement, the bridge is made of German silver, which is a nice nod to tradition.

As if the flying tourbillon, day roller, and pusher piston were not enough, the movement contains a three-dimensional enamelled day/night indicator in the shape of a globe. Though the purpose of this feature is mainly to prevent the day from switching at noon rather than midnight, it stands out as a beautiful detail.

A highly conceptual watch like the Today is not purely an expression of hand finishing, but that said the FVF1 movement is finished to a very high standard, especially the downward sweeping arms of the tourbillon cage. The steelwork is uniformly straight-grained and the bridges feature polished bevels.

One area that could be improved is the application of inner angles; some are present, and done well, while other similar corners are rounded. The focal point, however, is the day roller, which is executed with aplomb; the straight graining is flawless and the screw heads gleam.

Closing thoughts

Let’s not pretend that everyone can get onboard with the idea of a watch, especially a watch that is finely made and priced accordingly, that intentionally obscures the passage of time. Few watchmakers have been daring enough to tread these waters.

But the Today makes a compelling case for itself. Looking at the Today on the wrist, I can almost hear Mr Vila’s voice, imploring me to live in, and for, the present moment. Those who appreciate this philosophy are rewarded with an extraordinarily comfortable piece of wrist-worn mechanical art.

Key facts and price

FVF Genève FVF1 Tourbillon Superligero “Today”

Diameter: 42.5 mm
Height: 13.9 mm
Material: Titanium
Crystal: Sapphire
Water resistance: 30 m

Movement: FVF1
Functions: Hours, minutes, day-night indicator, modified day of the week display, and 60-second tourbillon regulator
Winding: Hand wind
Frequency: 18,000 vibrations per hour (2.5 Hz)
Power reserve: 100 hours

Strap: Leather with pin buckle

Limited edition: No
Availability: Direct from Franc Vila
Price: CHF165,000 excluding taxes

For more, visit fvfgeneve.com.

Roger Dubuis is celebrating 30 years by looking back on its days as a trend-setting independent. The Excalibur Biretrograde Calendar deftly balances the spirit of Genevan watchmaking from the brand’s early years in the 1990s with the boisterous designs of the 2000s in a manageable size, but less manageable price.

While the style is reminiscent of the oversized Excalibur models that were far from ergonomic, the Biretrograde Calendar has been redesigned for wearability. The retrograde calendar mechanism on the front is an in-house construction, built on top of the brand’s own automatic movement that is unexpectedly sophisticated and classical.

Initial Thoughts

Roger Dubuis is a marque built on calendars, so the new Excalibur has historical resonance. The late Roger Dubuis was a Patek Philippe alumni who caught his big break working with Jean-Marc Wiederrecht, who would go on to found Agenhor, on a double retrograde perpetual calendar developed for New York jeweller Harry Winston. It was during the project that Dubuis met his future business partner, Carlos Dias, an entrepreneur who would help establish the Roger Dubuis brand and transform it into a hit maker in the 2000s.

The same double retrograde perpetual calendar mechanism would accompany the first Roger Dubuis model the brand’s debut in 1995. And the retrograde calendar also has a historical connection to Geneva, as a local watchmaker named Marius LeCoultre created the most prolific retrograde perpetual design of the 19th century. The complication, in other words, is right at home for a watch brand rooted in Geneva.

The return of the brand’s signature complication in a moderately-sized case would be a poetic way to celebrate 30 years, but this is not a perpetual calendar. It is a simple calendar, making the price tag CHF56,500 (equivalent to US$70,000), somewhat steep.

The calendar mechanism is executed in a refined manner and showcased on the dial. That, and the high quality of execution, including the Poinçon de Genève and a high-end base calibre, are in its favour, but this is still priced above a simple calendar from Vacheron Constantin for instance.

The lack of a perpetual function is disappointing, though the original models were also available as simple calendars. It is also likely that Roger Dubuis has a perpetual calendar in the pipeline.

Biretro

The Biretrograde Calendar retains the exact same layout as Roger Dubuis’ historical double retrograde, which was available in both perpetual and simple calendar formats. A calendar emblem in a circle at 12 o’clock echoes the same logo on the historical models.

Unlike the original version that was developed by Agenhor, the new double retrograde display was developed in house. It is also almost certainly much more reliable than the original, which was finicky and delicate, often prone to getting stuck.

The dial exposes the retrograde calendar works, which are elegantly shaped but robustly formed. Notably, the calendar mechanism is also symmetrical on both sides.

A 31-tooth wheel at three o’clock controls the date, advancing clockwise by one step each day at midnight, carrying a snail-shaped cam.

A spring pushes a lever (which is connected to the date hand) against the snail. The snail acts like a ramp, pushing the date lever further and further away from the centre, advancing the date each time.

Then, on the final day the lever falls off the end of the ramp, back to where it started, causing the date hand to jump backwards from the 31st to the first in an instant. The second lever jumps wheel forward one step when you press the correction pusher. This is mirrored at nine 0’clock for the day, but the wheel only has seven steps for the days of the week.

Excalibur

In terms of design, the Excalibur case has changed surprisingly little since Carlos Dias pulled it from a stone in 2005, just two years after Mr Dubuis retired. Back then, the brand was growing rapidly, helmed by the flamboyant Mr Dias until he sold the brand to Richemont in the aftermath of the 2008 financial crisis.

But the new case has been scaled down and almost surprisingly wearable. The original Excalibur was 45 mm in diameter, as was the fashion in 2005, but the Biretrograde Calendar is a modest 40 mm, more in line with today’s taste.

It still has the chunky tripe lugs and notched bezel that characterise the design, resulting in a watch that appears larger than it is. But on the wrist the downsized Excalibur wears well, though the integrated leather strap is stiff as such straps always are.

The new case is also quite svelte for a complicated Excalibur, at only 11.25 mm tall, though still reassuringly 100 m water resistant.

For comparison, the only other bi-retrograde model in Roger Dubuis’ current collection, the Excalibur Grande Complication that was also launched this year, is an ungainly 45 mm in diameter and 17.5 mm thick.

That said, the 40 mm Excalibur still much larger than the first-generation Sympathie models designed by the late Dubuis, which were 35 mm and then 37 mm.

Size comparizon with the Sympathie S37 similar to that worn by the late Dubuis himself

The case finishing has also been refined. The detailing is sophisticated compared to early Excalibur models, which were almost entirely mirror polished. Here most surfaces are finely bushed with mirror polishing only used for accents like the bevels on the lugs, and on the notched bezel.

The calfskin strap is so impressively bolstered as to resemble moulded elastomer strap, and nearly blends into the case. This was a trademark feature of the Excalibur since its inception, but never helped wearability. Even now the scaled-down case would be more wearable with a conventional strap.

As with other Richemont brands, Roger Dubuis uses a quick release system for the strap, allowing for easy removal of the strap without tools. Pressing the spring loaded tabs on the back of the strap frees the strap from the case, while the butterfly clasp is secured to the strap with a twist lock mechanism for seamless swapping.

Calibre and Cadrature

Inside dwells the RD480, an automatic distinguished with the Poinçon de Genève, a 60-hour autonomy, and directly-driven small seconds.

Visually, the movement is classical, which is surprising for a modern-day automatic. I suspect, as with many things, Roger Dubius took inspiration from vintage Patek Philippe, specifically the 27-460 AT and the earlier cal. 12-600 AT found in the Calatrava ref. 2526 – which some regard as most beautiful automatic of the 20th century.

The movement also bears the Poinçon de Genève, a hallmark that was a big deal in the 20th century. Historically, the “Geneva Seal” was stylistic and set standards for construction and decoration. Today it also includes (somewhat lenient) functional requirements for accuracy, timekeeping, and water resistance.

Most importantly, the hallmark guarantees the movement is fully finished in all respect, not only on the parts that can be seen, which isn’t always a guarantee, even at this price point. The obvious points of comparison are Vacheron Constantin’s cal. 5100 and Patek Philippe’s cal. 26-330, against which the RD480 holds up well.

The RD480 isn’t quite a best-in-decades calibre – the finger bridges could be less lumpy and a free-sprung balance would be appreciated – but it’s still better than most contemporary automatics.

Several details stand out, including the seconds. Though seemingly trivial, the directly-driven seconds is a detail that reflects the high-end construction of the movement, which is an in-house calibre that traces its origins back to the 2000s. Self-winding movements with indigenous small seconds displays are sparse, as most place the fourth wheel, which carries the seconds hand, in the centre of the watch, and instead add another train on the dial side for the seconds.

The RD480 is, however, slightly small for the 40 mm case, leaving the small seconds looking cramped on the front, though the bright, iridescent nacre inlay around the dial helps maintain balance. Though not obvious at first, the panels across six and 12 o’clock are mother of pearl, which helps the dial look less aggressively mechanical.

The small size is better disguised from the back thanks to a rotor that is significantly larger than the movement. The calibre is encircled by a spacer ring engraved, “C’est une montre actuelle, inspirée mais pas soumise au passé, qui se projette dans un futur qui nous appartient”.

That translates roughly as “This is a watch of today, inspired by but not bound to the past, which looks ahead to a future that belongs to us”, which is apt, though the use of recessed-pusher correctors in the case band to isn’t very forward thinking.

Concluding thoughts

The moderate size of the Biretrogade Calendar is appreciated, sitting nicely between the 36 mm and 42 mm models (not to mention the enormous 45 mm and 48 mm), and captures the spirit of Roger Dubius’ early days surprisingly well despite the contemporary design language.

While a perpetual calendar would be welcome, it’s reassuring to see the brand tackle a more manageable complication first, rather than repeat past mistakes in terms of size. The robustness of the in-house calendar, compared to the originals, can’t be overstated.

Key facts and price

Roger Dubuis Excalibur Biretrograde Calendar
Ref. DBEX1179

Diameter: 40 mm
Height: 11.25 mm
Material: 18k pink gold
Crystal: Sapphire
Water resistance: 100 m

Movement: Cal. RD480
Functions: Hours, minutes, seconds, retrograde day and date.
Winding: Automatic
Frequency: 28,800 beats per hour (4 Hz)
Power reserve: 60 hours

Strap: Calf leather strap with matching 18K pink gold clasp

Limited edition: No
Availability: Exclusively at Roger Dubuis boutiques
Price: CHF56,500

For more, visit Rogerdubuis.com

Vanguart is surprisingly under the radar, despite having been eight years old. The brand was founded in 2017 by a quartet that includes alumni of Audemars Piguet Renaud & Papi (APRP), and last year introduced its most notable product yet, the Orb. The watch arguably goes against the grain of independent watchmaking today. Instead of being traditional, simple, and brightly finished, it is appears intricately mechanical and distinctly modern in style.

A flying tourbillon wristwatch with an inventive, thoughtful technical approach, the Orb is powered by a layered, skeleton movement with a novel winding-function selector that allows for switching between manual and automatic winding. And it’s been trending recently after having been spotted on the wrist of singer Ed Sheeran during a concert in Germany.

Initial thoughts

I first encountered Vanguart when it launched the Black Hole Tourbillon in 2021. The brand caught my interest because it was set up by an all-star team that included two technical experts from APRP. Though the Black Hole was technically impressive, the oversized, space-ship shape felt overdone and way too much on the wrist (and also twice as expensive). The Orb, on the other hand, is (almost) just right.

When I first saw the Orb, I thought it might be yet another basic tourbillon movement in fancy dress but priced exorbitantly. I was wrong. The movement is impressive in many respects.

The Black Hole Tourbillon. Image – Vanguart

The Orb is both minimalist and maximalist. At a distance, the Orb appears to be relatively simple thanks to its clean outline. The case is very round and without lugs, while all of the dial detail is concentrated in the centre due to the unique winding mechanism.

The shape of the case makes gives it a pleasing tactile feel since there are no edges or corners, and the form allows it to sit well on the wrist, which is not always a given with integrated rubber straps.

In contrast to the case, the movement is maximalist – dense and highly mechanical – but symmetrical. The attention to detail is noteworthy. The movement layout is almost perfectly symmetrical on both the front and back. It also incorporates a novel peripheral winding mechanism that has the rotor on the front, around the dial.

The winding mechanism is part of a winding-function selector mechanism that allows the wearer to toggle between manual and automatic winding modes. Though this mechanism offers technical interest, I am not a fan of the idea as it feels a little gimmicky. The movement would do well as automatic-only; the function selector doesn’t really add value in function or design. Its creators, however, deserve compliments for the construction, which is impressive.

The back is almost entirely the automatic winding mechanise, illustrating its complexity

The decoration of the movement is high quality and certainly adds value, though ironically the quality of finishing is not especially obvious due to the monochromatic, dark finish on the calibre. Steel parts are grained and chamfered, screws are bevelled on their edges and chamfered along the slot, and so on. The finishing is comparable to haute horlogerie decoration found on complicated movements from AP for instance, which isn’t surprising.

Interestingly, the dark grey bridges are not coated brass, but instead titanium. The titanium bridges are still finished with frosted top surfaces and prominent anglage, which is more of a challenge than on brass.

The Orb starts at about CHF150,000 in titanium, which is a lot of money any way you look at it – except when compared to the state of independent watchmaking at the moment. With time-only watches with decorated movements now often priced in the CHF70,000-100,000 range, the Orb is priced fairly. The weakness of the Orb’s offering is the fact that its modern style and execution are not really in fashion at the moment.

Sleek and architectural

Vanguart is unusual in being an independent brand founded by a relatively large team of four: Axel Leuenberger and Jérémy Freléchox, both constructors and formerly from APRP; Thierry Fischer is a designer whose past clients include AP; and Mehmet Koruturk, a financier who brings business knowhow.

Not long ago, I managed to speak at length with Mr Leuenberger, who’s now the chief executive of Vanguart. He is definitely an expert technical mind, which is reflected in Vanguart’s watches. Elements of the Orb movement bring to mind Audemars Piguet (AP) or Richard Mille movements because of its creators’ past works.

Despite the diffuse nature of its founding, the brand managed to create a cohesive aesthetic with the Orb. The stylistic success wasn’t immediate though. The brand’s opening act, the Black Hole, felt over designed.

The Black Hole Yas Edition, a unique iteration of Vanguart’s first model. Image – Vanguart

The Orb, on the other hand, is sleek and easily wearable. And importantly, it doesn’t look like either a Richard Mille or Royal Oak Concept, though it clearly fits in the same category.

The Orb looks big but is actually smaller than usual for this class of watch. The case is 41 mm wide, with no lugs, while the height is 10.5 mm. Wearability can be iffy for integrated rubber straps (Hublot is a case in point), but the Orb has an ergonomic profile. At the same time, Vanguart offers a range of rubber straps with varied angles for an ideal fit.

Though fairly simple on its face, the case is made up of multiple parts that allow for different textures and colours, essentially a mix and match for customisation. The version pictured here is entirely titanium, but the recessed section is coated black for contrast.

Such multi-part cases often employ carbon composites or polymers for both visual and material contrast. The Orb case, in contrast, is entirely titanium, which is a nice thing to have since carbon and polymer can sometimes feel out of place on an expensive watch. The case finishing is excellent, underlined by the polished bevels along the inner surfaces of the case front and back.

An all-new calibre

The fluid, almost organic lines of the case stand in contrast with the stylised, mechanical aesthetic of the movement. They contrast, but are complementary, with the case serving to frame the movement.

It goes without saying that the calibre is in-house and conceived specifically for the Orb. The movement construction is elaborate but essentially in two parts. The going train and tourbillon are on the front, organised in a three-dimensional manner, while the (surprisingly complicated) automatic winding mechanism is on the back.

On the front, the moving parts are concentrated in the centre. Around them is a wide, bowl-shaped ring that is actually the rotor for the automatic winding – more on the winding function mechanism later.

The Orb movement elevates the key components, namely the barrel and tourbillon, resulting in architectural layout.

At 12 o’clock is the barrel, which also doubles as a function indicator for the winding function mechanism – integrating the indicator into the barrel is a feat of construction. The barrel is in turn supported by a skeletonised bridge that gives it the look of a spaceship launchpad.

The Vanguart logo printed on the underside of the crystal adds to the sci-fi aesthetic

And at six o’clock is the flying tourbillon, the most logical type for the architecture since it does away with an upper bridge.

The tourbillon cage has a simple outline, but is complex in form. The arm of the cage echo the shape of the hands, and conform to the rounded form of the case.

More importantly, the tourbillon ticks all the boxes in terms of traditional chronometry with a free-sprung balance and Breguet overcoil. Neither is truly necessary for timekeeping in a modern movement, but they are details that reflect a brand’s ethos, which in this case passes the test.

Winding innovation

The winding mode can be selected by pressing the crown. The function is similar to that developed by APRP, most famously for Richard Mille but also for AP, which toggles between setting, winding, and neutral (the concept was taken to the extreme in the ultra-thin Richard Mille RM UP-01).

Here the mechanism is substantially more complex. The crown toggles between manual and automatic modes, as well as time setting, all of which are indicated by a discreet red pointer in apertures on the barrel ratchet wheel. As a result, the barrel isn’t just a drum containing the mainspring, but incorporates the underlying mechanism for the function indicator, a clever approach that demonstrates the skills of the constructors.

In automatic mode, the movement is wound by the bowl-shaped ring on the front. Labelled “Orbital Mass” by Vanguart, the ring is titanium, but below it is a solid gold insert that functions as the winding weight.

A brilliant cut diamond is set on the Orbital Mass to indicate the rotor is freely spinning and winding the movement. When automatic winding is disengaged, the Orbital Mass locks in place with the diamond at 12 o’clock.

The diamond indicator on the rotor

Unsurprisingly, the automatic winding mechanism is surprisingly complicated despite its straightforward function. While the tourbillon and most of the going train are on the front, the back of the movement is mostly occupied by the peripheral winding mechanism.

The rotor on the front sits on a large gear that encircles the movement. This gear meshes with two sets of winding wheels, each mounted on a ruby bearing. This contrasts with most peripheral winding mechanisms that make do with a single winding wheel, which is typically not efficient enough given physics of peripheral winding.

The two-point winding here will do a better job, although that comes at the expense of a more complex system with many more moving parts – which is arguably the point in a watch like this.

Despite the modern styling, Vanguart notes the finishing of the movement is done by hand. Examining the movement reveals this to be true, though it is not obvious due to the tone-on-tone surface treatment.

Amongst the standout details are the barrel ratchet wheel. It is a functional part since it serves as the winding indicator, but it is finished the traditional manner with a concave, mirror finished ring and circular graining on the upper surfaces.

Each of the winding modes are labelled, while the aperture at the bottom indicates setting

The many bridges and the base plate are also dealt with correctly, with frosted tops and polished, bevelled edges. The open-worked nature of the bridges means the bevelling is extensive, illustrating the degree of work needed.

One of the most intriguing details is the stepped construction of several bridges, including the automatic winding bridge on the back. The steps mean that there are two levels of bevelling, which are especially tedious to do.

Making it even more impressive is the fact that the bridges are titanium, which is harder to polished to a mirrored finish than steel. The bevelling on the bridges will no doubt be more laborious than the same on brass equivalents.

The decoration is top-level industrial-artisanal haute horlogerie, equivalent to that found in AP movements naturally, and also Patek Philippe and Vacheron Constantin. Some of it is accomplished by mechanical tools wielded by hand, and much of it is finished off by hand.

Granted, the movement doesn’t have the flourishes that are now common in classical, time-only watches by independent watchmakers, but I don’t see that as a shortcoming. Such flourishes sometimes feel like an affectation, done in response to a fad, so the result seems stilted. Here the finishing is clearly top quality and also coherent with the rest of the watch.

Concluding thoughts

The Orb proves that team behind Vanguart is capable of impressive work. The Orb demonstrates high quality of ideas and execution, while also surprising with its wearability. The stylised, sci-fi aesthetic might not be for everyone, but it’s certainly not within the current fashion for classical time-only watches, but at least that reflects an aesthetic vision. I’m looking forward to Vanguart’s future creations.

Key facts and price

Vanguart Orb
Ref.

Diameter: 41 mm
Height: 10.5 mm
Material: Titanium, also available in rose gold
Crystal: Sapphire
Water resistance: 30 m

Movement: Orb
Functions: Hours, minutes, winding selector, and flying tourbillon
Winding: Automatic or manual wind
Frequency: 21,600 beats per hour (3 Hz)
Power reserve: 60 hours

Strap: Integrated rubber strap

Limited edition: No
Availability: From Vanguart and retailers
Price: CHF150,000 in titanium

For more, visit Vanguart.com.

One of the year’s best summer watches, the Hublot Big Bang Unico Mint Green Ceramic is a fresh interpretation of the brand’s signature collection. Housed in a 42 mm case clad in candy-like, mint green ceramic, the Big Bang Unico features Hublot’s top-of-the-line HUB1280 flyback chronograph movement with an unusual, dial-side integrated construction.

While technically identical to other ceramic Big Bang watches, the new mint green colour is unusually fun and approachable. This new edition of the Big Bang joins the permanent collection, and extends the brand’s industry-leading range of coloured ceramic watches.

Initial thoughts

Hublot is a brand that tends to elicit visceral polarisation among collectors, and it’s easy to see why. The bold designs are seen as outrageous by some, and the pricing puts them out of reach for those focused on maximising their horological dollar.

But Hublot has outgrown its early reputation as a Royal Oak imitator and found its own identity, in part through its leadership in ceramics and willingness to experiment with design and colour. In this case, the mint green colour looks great, and considering the glossy finish, it looks almost like candy. This gives the watch a friendly countenance that results in an amusing tension with the overtly masculine, technical structure of the case and design of the dial, with its stencil-like hour markers.

The Big Bang collection is all about its signature architectural case, and the mint green edition is no exception. As such things go it’s a reasonable size at 42 mm in diameter and 14.5 mm thick; it’s a watch for short sleeves and isn’t intended to slip easily under a shirt cuff. That said, the Big Bang wears well for its size thanks to its lug-less design and supple rubber strap. It’s worth noting, however, that the type of single-fold clasp used by Hublot doesn’t fit all wrists well.

The multi-part case construction features a central core of mint green polymer, to which the glossy ceramic bezel, case back, and lug cladding are attached. The use of injection-moulded plastic for the mid-case is disappointing at this price point, but it’s likely functional since it probably absorbs tension that would otherwise threaten the brittle ceramic components.

The Big Bang is powered by Hublot’s second-generation Unico flyback chronograph platform, the HUB1280, which is integrated, but with the chronograph works on the dial side. Introduced in 2018, the HUB1280 is uniquely suited to the open-worked design of the Big Bang, featuring a column wheel and horizontal clutch positioned on the dial-side of the movement.

Aesthetically and technically coherent with the overall design of the watch, the HUB1280 is noteworthy for the exceptional feel of the chronograph pushers, which manage to feel both secure and effortless during operation. Otherwise, the specifications are pretty similar to those of other leading automatic chronograph movements with a sporty 4 Hz rate and convenient 72-hour power reserve.

Hublot does not have a great reputation when it comes to value-for-money, but this is mainly because the comparative set often includes brands with more traditional styling like Panerai and IWC that offer a similar level of watchmaking at a lower price point. For example, the Big Bang mint green ceramic retails for US$24,100, which is about US$10,000 more than the IWC “Top Gun” Miramar chronograph in pale blue ceramic, which is a very similar watch on paper.

But the wearing experience is vastly different, and Big Bang buyers are more likely to be cross-shopping with far more expensive and expressive designs; next to an RM011, the Big Bang is a bargain summer watch.

Mint cladding

The new Big Bang in mint green ceramic is a testament to the power of colour. Light, delicate colours like mint green are difficult to render in ceramic, due to the way the coloured pigments behave at the high temperatures required to manufacture the components.

Hublot has managed to overcome these challenges in the past and produced ceramic watches in pale blue, bright orange, and fire engine red. In this case, the pleasing pastel green colour and deep, glossy finish help tone down the intensity inherent to the design of the Big Bang.

It’s worth dwelling for a moment on the rich glossy texture of the ceramic, which looks like a high-end automotive coating. At arm’s length, this texture gives the Big Bang a look quite unlike anything else.

The case is built up from several components, but features a mid-case made from injection-moulded plastic. The tell-tale signs of this technique are the flash lines visible near the ‘wings’ on either side of the case.

It’s not ideal, but I’d speculate the slight elasticity of the plastic is what enables the bezel and case back to be made from ceramic, since most ceramic watches have metal case backs screwed to a metal case core to avoid cracking. If that’s indeed the case, no pun intended, it’s a worthwhile trade-off given the overall effect.

The plastic mid-case reveals flash lines from the injection-moulding process, but the titanium crown and pushers are spectacular.

In addition to the bezel and case back, the Big Bang features ceramic cladding on its lugs, which are angled to flow over the curve of the wrist and feature a spring-loaded button to release the strap for quick changes.

This is one of my favourite stylistic elements of the Big Bang design, and it works well – the quick release button has to be depressed quite far to release the strap making it unlikely to happen unintentionally.

And while the Big Bang doesn’t have much of a dial, the 60-minute counter for the chronograph and other dial elements are rendered in a matching hue, with the open-worked hands given a highly textural painted finish that contrasts with the glossy texture of the case.

The logo is printed in the underside of the crystal, which accentuates the three-dimensional feel of the dial. Visual tricks like this can come off as gimmicky when applied to more traditional designs, but are well-suited to a watch like the Big Bang.

The unique Unico

Spend any time with a Hublot Big Bang, and you’ll likely come away impressed by the feel of the chronograph pushers. This has always been a strength of the Unico platform, both in the original HUB1242 which entered service in 2010, and the second generation HUB1280 which debuted in 2018.

The pushers themselves are substantial and lavishly sculpted, grooved like piston heads and faceted at the ends. A gentle push is enough to trip the chronograph levers, which break crisply.

Built in-house at the brand’s manufacture in suburban Geneva, the HUB1280 relies on an integrated, dual horizontal clutch design, which has been organised to reveal the column wheel and chronograph wheels under the transparent dial. This departs from conventional where the chronograph mechanism is usually integrated on the back, perhaps reflecting the modular approach taken by the first-generation HUB1242.

One of the notable features visible near seven o’clock is a wheel comprised of spring-loaded teeth, which is the chronograph coupling wheel. This design reduces backlash and helps mitigate the momentary jitter of the seconds hand that often occurs when starting a chronograph with a horizontal clutch design. Hublot hasn’t shared many details about this, but it is almost certainly fabricated via LIGA; Rolex uses a similar design in the cal. 4131 that powers the Daytona.

The primary component groups for the chronograph, including the spring-loaded chronograph coupling wheel and branded column wheel, are visible on the dial side.

The Unico platform evolved pretty substantially between first and second generations. Not only does the HUB1280 now offer flyback functionality, but the entire movement was slimmed down from about 8 mm to just 6.75 mm; it’s now just a hair thicker than the segment-leading Rolex cal. 4131.

Watches like the Big Bang are not really intended to be showcases for hand finishing, so the HUB1280 is finished in an appropriately minimalist, industrial manner. That said, the style and degree of finishing are a fit for the overall design and it looks good. The plates are bridges are treated with a matte grey texture that contrasts with the polished steelwork of the column wheel and screw heads.

The movement also features an escape wheel and pallet in silicon, reducing friction and prolonging the power reserve. This also makes the movement less susceptible to the deterioration of lubricant over time, which in theory should help extend service intervals.

All else being equal, I tend to prefer the romance of traditional materials for mechanical watches, but I think the use of silicon is the right choice for the HUB1280 since it’s coherent with the brand’s philosophy of material experimentation and is objectively superior in terms of function.

If I could change one thing about the movement, it would be the method of regulation. Equipped with an Etachron curb-pin regulator and a micrometric screw for fine adjustment, the HUB1280 could be improved with a free-sprung balance.

I know I complain about regulators a lot, but when the Unico prototype was first unveiled in 2009, the renderings clearly showed a free-sprung variable inertia balance with a full balance bridge. This feature never made it to production, which is unfortunate because it’s the only thing missing from an otherwise excellent industrial chronograph movement.

Closing thoughts

I appreciate the direction Hublot is taking with its coloured ceramics and this new mint green livery transforms the aggressive Big Bang design into something fun and easy going. All of the elements of the design are cohesive, and there’s an undeniable consistency in approach to the construction of both the case and the movement. It’s not for every budget and it’s a little rough around the edges, quite literally, but the tactile feel of the watch, from the feel of the ceramic to the break of the pushers, is seductive.

Key facts and price

Hublot Big Bang Unico Mint Green Ceramic
Ref. 441.GS.5221.RX

Diameter: 42 mm
Height: 14.5 mm
Material: Ceramic and polymer
Crystal: Sapphire Crystal
Water resistance: 100 m

Movement: Cal. HUB1280
Functions: Hours, minutes, seconds, date and flyback chronograph
Winding: Automatic
Frequency: 28,800 beats per second (4 Hz)
Power reserve: 72 hours

Strap: Mint green rubber strap with titanium folding clasp

Limited edition: No
Availability: Now at Hublot boutiques and retailers
Price: US$24,100 excluding taxes

For more, visit hublot.com