Cartier was a maker of fine jewelry long before it became a significant watchmaker in the 20th century when it unveiled the Santos-Dumont in 1904, which was the first wristwatch designed specifically for men. Today it continues to straddle both horology and watchmaking, having just unveiled the latest generation of the Santos-Dumont, and now, the Maillon de Cartier.
French for “link”, maillon, is already used for a line of Panthère de Cartier jewelry that is characterized by, well, links. It is an apt description – the rings, bracelets, and necklaces are characterized by the use of tightly interlocking links as a central design motif.
This very design language is carried over – with a twist, literally – to the new line of wristwatches, Maillon de Cartier. The new line is defined by a juxtaposition of curves and angular faces – essentially twisted links. The seamlessly integrated bracelet is composed of offset links that echo the shape of the bezel.
The case, measuring 16 mm by 17 mm and standing 6.8 mm, is entirely mirror polished and framed by a hexagonal bezel that is integrated into the bracelet, accentuating the slimness of the watch while also emphasizing its sculptural quality.
The dial is typical Cartier style: a silvered finish, blued steel sword hands, and stylized Roman numerals. Because of the small size of the dial, the Cartier “secret signature” is not incorporated in “VII” as is tradition.
Maillon de Cartier is made up of six references in yellow, pink, and white gold. In addition to the base model in yellow gold with a sapphire cabochon in the crown, the other variants are available with a variety of diamond settings as well as a brilliant-cut diamond in the crown.
The top of the line, diamond-set ref. WJBJ0006 is the most striking of the collection. A limited edition of 50 pieces, the watch has a glossy, black lacquered dial and the only one with yellow gold hands. More striking are the black lacquer panels on the flanks of the bracelet links, which alternate between diamond-set and black lacquer, a look reminiscent of Cartier’s famous, black-spotted Panthere creations.
The Maillon de Cartier variants, with the 50-piece limited edition featuring an onyx dial at extreme right
Key Facts and Price
Maillon de Cartier Ref. WGBJ0002 (18K yellow gold)
Ref. WJBJ0002 (18K pink gold with diamond-set bezel)
Ref. WJBJ0003 (18K white gold with diamond-set bezel)
Ref. WJBJ0004 (18K pink gold with diamond-set bezel and bracelet)
Ref. WJBJ0005 (18K white gold with diamond-set dial, bezel, and bracelet)
Ref. WJBJ0006 (18K yellow gold with black lacquer and diamonds)
Diameter: 16 mm by 17 mm Height: 6.8 mm Material: 18k gold Water resistance: Splash-resistant
Movement: Quartz Functions: Hours and minutes
Strap: Interlocking link bracelet
Limited edition: Ref. WJBJ0006 limited to 50 pieces; other models part of regular collection
Availability: At Cartier boutiques and retailers starting May 2020 (except for WJBJ0006 in September 2020)
Price: Starting from €21,000 for WGBJ0002, €26,000 for WJBJ0002, and rising to €100,000 for WJBJ0005
Having postponed its traditional April and May watch auctions till June and July respectively – no doubt with fingers crossed and a quiet prayer – as a result of the COVID-19 coronavirus, Sotheby’s has just announced Watches Weekly, an ongoing series of online-only watch auctions starting April 1, 2020. The auctions will take place on a rolling basis, with each sale lasting a week, then followed by the next sale, and so on.
Each auction be centred around a theme while being relatively compact – the first sale is made up of 19 watches by Rolex and Audemars Piguet. The subsequent auctions will be Patek Philippe Design and Horology from April 8-15, then something for bargain hunters, Swiss Wristwatches with no reserve on April 15-22.
Sam Hines, Sotheby’s global head of watches, explained the move in the announcement: “[Clients] are also increasingly confident [of buying] important pieces online. This was demonstrated last week, when we set a new record for a watch sold online at Sotheby’s [162,500 Swiss francs for a Rolex Daytona “Paul Newman” ref. 6262].”
According to Mr Hines, the newly-announced online auctions will “complement the calendar of live sales and other online auctions already planned for the rest of the year”, implying that the rest of the auction calendar will proceed as planned.
Watches Weekly makes Sotheby’s the first mainstream watch auctioneer – its peers are Christie’s, Phillips, and to a lesser degree, Antiquorum – to stage frequent online-only auctions as a result of the disruption caused by the coronavirus pandemic.
French watchmaker Cyril Brivet-Naudot made his debut two years ago with the Eccentricity, a time-only watch that’s fascinating and impressive on many fronts. Not only is it almost entirely made by hand, the Eccentricity is intriguing in design and mechanics – from the overall architecture to details like the key-winding mechanism and regulator-style time display with a twist, and above all, the proprietary escapement.
Just 29 years old, Mr Brivet-Naudot began working on the Eccentricity after graduating from the École Polytechnique Fédérale de Lausanne (EPFL), one of Switzerland’s best technical universities. Prior to that, he earned a diploma in watchmaking from the Lycée Edgar Faure in Morteau, a small town in eastern France that borders Switzerland. The school has gained a reputation for producing imaginative watchmakers, many pursuing a similar style that’s inspired by 19th century pocket watch movements, including Theo Auffret, a peer of Mr Brivet-Naudot.
The result of three years of development, the Eccentricity is very much in the same vein as the watches produced by Mr Brivet-Naudot’s fellow graduates. It artfully combines a 19th century aesthetic sensibility with exotic features, including a novel, free-eccentric escapement, for which the watch was named. And it is built by hand: with the exception of the mainspring, hairspring, jewels and crystals, every component of the watch was made from scratch by Mr Brivet-Naudot, without the aid of CNC machines.
Case and dial
Made entirely by hand, the case is simple in form and execution – essentially a container for the movement. It’s stainless steel and a compact 39 mm across, with brushed flanks and a polished bezel, which contrasts nicely against the gold frosted dial. The simplicity of the case directs attention to the dial and movement, but also reveals the limitations in case making for independent watchmakers.
Though it seems slightly smaller due to the absence of a crown, the case has a distinctive presence as a result of its perfectly round shape that is accentuated by the rounded bezel. The lugs are narrow but tall, and look fairly stiff at a distance, but they are slightly angled for a marginally closer fit on the wrist.
No crown, just key
Even though the case is simple, it reveals Mr Brivet-Naudot’s attention to detail: the case back is secured to the case middle by six hand-made screws with eccentric heads – featuring two circular slots of unequal size – that echo the wheels of the going train visible through the back. The “eccentric” motif of a large and small circle side by side is something that recurs subtly throughout the watch.
The back with its six eccentric-head screws
The dial – which is actually the base plate of the movement – is notably well-executed and visually engaging. Continuing the theme of the watch, time is displayed in a sub-dial with a “eccentric”, regulator-style time display. It is made up of a rotating minute ring that surrounds the hour indicator.
The minute ring is attached to a clear sapphire disc that is mounted on the second wheel, making one revolution every hour, with the current minute indicated by a fixed, blued-steel pointer.
Fixed to the revolving sapphire disc is the tiny hour sub-dial and its even tinier blued-steel hand that relies on a darkened dot to indicate 12 o’clock. Because the hour sub-dial is nestled within the minutes, it also makes one revolution every hour.
But it is important to note the hour sub-dial is not a planetary display; it sits in a fixed position relative to the minute ring, rather than maintaining a vertical alignment throughout its motion. That makes reading the hours a little confusing, especially given the tiny hour sub-dial.
The time above is 12:05
The gold plaque that bears the watchmaker’s name is finished with a brushed surface and polished, bevelled edges – and secured with “eccentric” screws
But the time display is not the only animation on the face – positioned next to it is the massive balance wheel that beats at a slow and attractive pace of 2.5 Hz, creating near-perfect symmetry.
Free-sprung and fitted to an overcoil hairspring, the balance is held in place by a frosted, gilded balance cock that makes it even more striking, and emphasises the absence of the escapement.
Free eccentric escapement
Due to the elaborate construction of the escapement – it comprises a total of 19 components – it is located at the back of the watch. The escapement was developed with the help of Luc Monnet, a watchmaker who spent his career as a builder of prototypes at Greubel Forsey and Audemars Piguet before setting up his own workshop specialising in restoration and of course, prototypes.
Mr Brivet-Naudot named the invention the free eccentric escapement, or échappement libre excentrique, after the eccentric roller on the balance staff. It is an updated version of the eccentric escapement invented by the great, 19th century chronometer-maker Louis Richard (1812-1875), who was one of the first Swiss producers of marine chronometers on a large scale, along with Ulysse Nardin and Henri Grandjean.
The original escapement invented by Louis Richard. Photo – Brivet-Naudot
Put simply, an escapement regulates the “escaping” of energy from the mainspring. It usually is made up of two key elements: a controlled locking and unlocking system for the escape wheel, which makes the watch tick; and second, a method of providing an impulse to the balance wheel to keep it oscillating.
The ubiquitous Swiss lever escapement does both of this via the pallet fork, a Y-shaped component with pallet jewels in each arm of the “Y”. While it is the de facto standard for mechanical movements worldwide, the Swiss lever escapement is not perfect.
One major drawback of the Swiss lever escapement is that the impulse from escape wheel to balance wheel is indirect – force is not transmitted directly from one to the other, but instead via the pallet fork. And the pallet fork jewels create sliding friction when they forcefully mesh with the teeth of the escape wheel. Also, there is some “draw”, or recoil, in the escapement – the escape wheel springs backward ever so slightly on every beat, due to the unlocking action of the pallet fork.
Brivet-Naudot’s escapement, as with other alternatives to the Swiss lever escapement (including the spring-detent, the co-axial, natural, as well as the Robin escapements), is designed to minimise these issues by combining elements of different past constructions. It combines the Swiss lever escapement’s locking and unlocking motion of the escape wheel, with the direct impulse of a detent escapement.
In the free eccentric escapement, the escape wheel tangentially impulses the balance wheel via an impulse pallet, resulting in negligible sliding friction since the contact between the two is tangential. And unlike a Swiss lever escapement that has two impulses per oscillation, this escapement only has one – much like a detent escapement, improving the isochronism of the balance wheel (which refers to a constant period for the oscillation of the balance wheel, regardless of the angle through which it travels – stable timekeeping, in other words).
Diagram – Brivet-Naudot
The escape wheel is locked and unlocked by a pallet lever with two pallet jewels, and the pallet lever itself relies on the long gold spring
However, the unlocking of the escape wheel is managed via the familiar pallet lever, with a twist. The pallet lever incorporates a long, stiff gold spring that extends towards the balance wheel, which has a tiny, eccentric roller at its base. With every swing of the balance wheel, the roller pushes against the gold spring, pivoting the pallet lever and causing the escapement to unlock.
If that sounds complicated, it is. As a result, the pallet lever assembly is collectively is made up of an impressive 12 components that form a single part.
The 12-part pallet lever. Photo – Brivet-Naudot
The pallet lever partially dissembled. Photo – Brivet-Naudot
Retaining a fairly conventional pallet lever in the free eccentric escapement was a measured decision made to avoid most of the drawbacks of the detent escapement that was historically found in marine chronometers.
Firstly, the free eccentric escapement is less prone to accidentally unlocking upon shocks; detent escapements can stop dead with shock, explaining why they have only been installed in a handful of wristwatches.
Also, with excessively high amplitude (where the balance wheel travels in an arc far wider than it should), a detent escapement may unlock twice when the balance wheel swings a full 360°, which doesn’t happen in the free eccentric escapement.
The only drawback is of the free eccentric escapement is it appears to not be self-starting, since the escapement impulses the balance only in a single direction. In other words, it would probably require a gentle shake to start, even after the mainspring’s been wound.
But that is arguably a worthwhile compromise to achieve the more robust overall construction, while maintaining precision timekeeping.
It’s important to note that Messrs Brivet-Naudot and Monnet paid attention to the robustness of the escapement, a quality that is usually absent in exotic, detent-inspired constructions. Even the shape of the small balance roller that engages the long gold spring was designed with less eccentricity compared to the equivalent part in 19th century detent escapements, so the entire balance wheel assembly is less susceptible to shocks.
The small eccentric roller that releases the gold spring. Photo – Brivet-Naudot
The escapement is impressive not only in conception, but also in execution, especially since escapement parts must be manufactured to tolerances within a micron, or a thousandth of a millimetre – 0.001 mm.
Despite the accessibility of modern production methods such as photolithography, Mr Brivet-Naudot opted to produce the parts himself and by hand as far as possible. All 19 escapement components were made using traditional methods and materials – from the cold-working of the gold spring to the cutting of the escape wheel.
Everything else eccentric
As it is with the dial-side of the movement, the parts on the back are finely decorated in an artisanal style. The finishing is finely done and obviously done by hand, but without the elaborate accents found in movements best known for finishing by the likes of Voutilainen or Akrivia. But the watch pictured is also a prototype, and there is no doubt Mr Brivet-Naudot will elevate his finishing with time, given that he has already demonstrated his skill and desire.
Stylistically, the movement is perfectly suited to the philosophy and inspiration of the watch. The layout is reminiscent of pocket watches, while still being unusual and distinct.
Each component of the wheel train is held in place by an old-fashioned finger bridge that has been scaled in proportion to the size of the accompanying component, resulting in a strong visual equilibrium amongst the parts. The pallet fork, for instance, is held in place by the tiniest finger bridge, while the mainspring is secured by a huge bridge.
While the second wheel is visible on the dial side, the third and fourth wheel are located at the back. All of these components, as well as the escape wheel and screw heads, feature the recurring “eccentric” motif of a large and small circle – a testament to the fact that they were made in-house, from scratch. Besides a proof of origin, the unusual detailing also gives the movement a subtle, quirky character that is not often present in the early work of young watchmakers.
An unusual technical detail is the ratchet wheel, which is strikingly small, much smaller than usual. For comparison, the ratchet wheel visible on the back of the Greubel Forsey Signature 1 is two-thirds the circumference of the barrel.
And the reason for that is key winding. Instead of being wound by a crown, the watch is wound with a two-sided key – one just as “eccentric” in style – that inserts into a square slot on the barrel ratchet. Time setting is done with the other end of the key, by inserting it into an “eccentric” slot below the barrel bridge.
While a charming detail in theory – key winding replicates a feature of pocket watches from 200 years ago – winding and setting with a key is inconvenient since it requires, well, a key, essentially something tiny, easy to lose, and difficult to replace.
The Eccentricity with its key in the winding slot. Photo – Brivet-Naudot
Concluding thoughts
The Eccentricity is a remarkable accomplishment both inside and out. The only rub is the price tag of 75,000 Swiss francs, a hefty sum for a time-only watch from a watchmaker new to the scene. But given the tremendous amount of handwork as well as the uniqueness of its design and technical qualities, including a novel, 19-part escapement, the Eccentricity can perhaps be forgiven for its ambition.
Key facts and price
Brivet-Naudot Eccentricity
Diameter: 39 mm Material: Stainless steel Water resistance: 30 m
Functions: Hours and minutes Winding: Key-wound Frequency: 18,000 beats per hour (2.5 Hz) Power reserve: 40 hours
Strap: Brown alligator
Availability: Direct from Brivet-Naudot Price: 75,000 Swiss francs
Rumours were percolating for some time that Audemars Piguet was going to unveil a vintage-inspired watch to mark the opening of its recently-finished, hairspring-shaped museum. But when the Audemars Piguet [Re]master01 Selfwinding Chronograph 40 mm was revealed, it was still surprising.
In the metal, the “remastered” watch is appealing; it looks good and the execution is impressively high quality in all aspects. The dial in particularly is sharply done, with even the tiniest details done right. And the movement inside is modern – and looks modern – but is impeccably constructed. But at the same time, the watch is a bit thick, and also expensive.
The [Re]master01 in steel and 18k pink gold
The ref. 1533
As with many reissued or “remastered” timepieces, the inspiration for the [Re]master01 is a well-known and well-documented watch: the ref. 1533, a chronograph wristwatch produced in the 1940s.
It was 36.5 mm in diameter, extra-large for the period, and a three-counter chronograph, instead of the two registers typical then. Only nine of them were made, three with two-tone, steel-and-gold cases.
The archive photograph of the ref. 1533. Photo – Audemars Piguet
Two examples of the steel-and-gold ref. 1533 were sold in recent years at Phillips auctioneers, both setting price records for the most expensive vintage AP chronograph sold at auction. The first sold for 305,000 Swiss francs in 2015 – going to the Audemars Piguet Museum – and the second, 384,500 francs in 2018.
The ref. 1533 that sold for 305,000 francs in 2015. Photo – Audemars Piguet
In terms of rarity and value, the ref. 1533 is one of the most significant vintage AP chronographs, which are a rare breed in themselves. In the three decades from 1930, AP only made 307 chronograph wristwatches, many of them unique. All of that explains why the ref. 1533 was the choice for the inaugural museum watch.
Remastered
Audemars Piguet is insistent that the [Re]master01 is not a remake, reissue, or replica of a vintage watch, rather it is a “remastering” of a historical timepiece. Semantics aside, the “remastering” was done well.
The watch isn’t novel or creative, but it accomplishes exactly what it sets out to do, convey the look of the vintage original while having all of the quality and finesse of a modern watch. AP got nearly all of the vintage-inspired details just right, but the quality is distinctly 21st century, with every component exhibiting the precision and robustness only possible with modern production techniques.
The design and proportions of the watch, especially on the face, are done perfectly. Even though the movement inside is a modern calibre, the layout of the dial is almost identical to the vintage original. The chronograph registers just touch the minute track, and are far enough from the central axis, giving the dial a pleasing balance.
The same can be said for the case, which is 40 mm and larger than the ref. 1533, but again the proportions of the original have been maintained. Because of the excellent proportions, the watch does not look like a large watch, something that is usually the case with vintage remakes.
It is, however, a thick watch, measuring 14.6 mm high. The Rolex Daytona, in comparison, is only 12.2 mm high. And the Code 11.59 chronograph that’s equipped with a nearly identical movement, is only 12.6 mm high.
The construction of the [Re]master01 case also emphasises its thickness. Like the original, the case sides are convex, but on a thicker watch the shape accentuates the height. Add to that the bezel in a contrasting colour, and the result is a thick watch that looks the part.
A comparison with the unfairly-maligned Code 11.59 illustrates the size of the [Re]master01. The Code 11.59 chronograph is 41 mm wide and 12.6 mm high, which means it’s wider but thinner than the [Re]Master01.
Though it’s only 1 mm larger than the [Re]master01, the Code 11.59 looks a lot larger from the front, in part due to the widely spaced lugs and narrow bezel.
[Re]master01 at 40 mm (left), and Code 11.59 at 41 mm
From the side, the thickness of the [Re]master01 is evident, with its high, rounded bezel and low-set lugs enhancing the perception of height.
14.6 mm (left) and 12.6 mm
The upside of the thickness of the case, which equals volume, is that the [Re]master01 has the reassuring weight of a modern watch. It feels solid, well constructed, and good on the wrist. This is most apparent after having handled the vintage original at the Phillips auction preview; like all vintage watches of that era, the ref. 1533 is lightweight and definitely not robust.
The quality is not just in the feel; the case is high quality. The surface finishing, tolerances, and tactile feel is all excellent. Though the surface is uniformly finished, the mirror polishing is perfectly done. At the same time, the bezel, case, back, and pushers all fit tightly together. The crown, for instance, has the same shape as on the vintage original, but is sturdier and more finely executed.
That doesn’t come as a surprise as Audemars Piguet owns a case-making factory in Geneva, Centror, which produces watches cases for both its parent – which means the complex Royal Oak case – as well as other noted, high-end watch brands.
Interestingly, the case has a press-on back, rather than one secured by screws. As far as I can tell, this is the only mechanical men’s watch in the AP catalogue with a press-on back.
In terms of function and water-resistance, there is no practical difference between this and a screwed back, though press-on backs are favoured for their thinness and streamlined aesthetics. The small size of the [Re]master01 watch case relative to the movement inside is most likely the reason behind the case back construction.
Rosy gilt
The dial is particularly well done, both in terms of quality and details. In fact, it is well done enough it brings to mind a perfectly-executed redial – a massive no-no for a vintage original but high praise here.
Though the dial appeared champagne in the stock images, it is more like a rosé champagne in the metal, and works well with the pink gold bits of the case. Like the vintage originals, it is finished with a fine vertical brushing and then covered with a clear protective lacquer, which has been lost with time on the vintage examples but is obvious here, giving the dial a slight gloss.
All of the key details of the original have been sharply reproduced on the remake, ranging from the retro AP logo that includes “Genève”, because the firm had a workshop in the city until the 1970s.
Another is the “45” on the minute counter, a feature to mark half-time in football matches. It was found on most vintage AP chronographs because its chairman until 1975, Jacques-Louis Audemars, was a football fan.
Although the arrangement of the chronograph counters reflect the modern movement inside, the hands are true to the original in purpose. Chronograph hands are blued steel, while hands that tell the time are in pink gold gilt.
But more important than transferring the vintage elements onto the new watch is how it was done. AP passes the test; everything was done with unwavering attention to detail.
Especially noteworthy is the typography used for all the markings on the dial. There tiny serifs are there, and the sixes are “open”. Even the hour markers have tiny serifs, exactly as they were on all watch dials back in the day.
At the same time, the dial is obviously different from the vintage original – besides being larger, the colour is brighter, glossier, and well, newer. But it is also changed more subtly, including being quite a lot thicker.
The thickness of the dial is evident in the recessed sub-dials that have noticeably high walls, whereas on the original the sub-dials were lightly stamped into the dial. One reason for the deeper-set registers is the stamped concentric guilloche, or azurage, on the sub-dials. The dial quality is evident on the sub-dials; despite the stamped pattern, all of the markings are neat with no visible fuzzy edges.
The movement
One reason behind the case height is the cal. 4409, an automatic movement with a flyback chronograph function. It’s essentially the same calibre as the cal. 4401 found in the Code 11.59 chronograph, but built without the date display. Because the Code 11.59 was met with unwarranted aversion, the movement was pretty much overlooked – which is a shame because it is a good one.
When viewed from the back, the cal. 4409 clearly fills up the case. It’s a large movement, even by modern standards, at 32 mm wide and 6.82 mm thick, but the size is the result of its solid construction. Importantly, the size reason the dial has good proportions; a smaller movement would mean sub-dials clustered uncomfortably around the centre of the dial.
Naturally, a hand-wound movement would have been more in keeping with the spirit of the original, while also allowing the watch to be slightly thinner. But I can imagine AP has many well-founded reasons – that make sense from a corporate perspective but are less clear to the enthusiast – for using an automatic movement, including consistency in the product line as well as the goal of “remastering” rather than remaking.
But it is what it is, and the cal. 4409 is an excellent movement when assessed in terms of construction, features, and to a lesser extent, finishing.
The cal. 4409
The movement is equipped with the typical characteristics of a modern, high-end chronograph, namely a column wheel and vertical clutch, which are commonplace.
But it is a sophisticated movement that also incorporates less widely seen features, like individual reset hammers for each register (instead of a single, elongated hammer for all three that is widely used today), as well as a free-sprung, adjustable mass balance. Both add a bit of refinement while also improving the long-term serviceability of the movement, while being more complex to assemble.
Visually, several elements of the movement stand out, most obviously the robust construction. Individual parts of the movement have obviously been built for stability and longevity.
The balance wheel, for instance is secured by a large, full bridge with an unusually large, pincer-shaped stud carrier. And all of the chronograph levers and springs are broad, which also helps keep them flat to reduce the vertical space occupied by the chronograph mechanism.
The balance bridge with its unusual stud carrier on the right
The five-toothed column wheel
The aesthetics of the movement are clearly contemporary – so it is incongruous with the style of the watch – but it is still an attractive movement in a modern, mechanical-looking sense.
A good deal of the chronograph mechanism is exposed, with the levers and springs arranged around the automatic winding bridge. The chronograph mechanism is also more visually complex than the average chronograph, with the levers and springs being more numerous and more dense, a result of its construction (like the individual reset hammers), and the fact that it is a flyback.
Note the numerous tension springs for the chronograph
And more springs
The decoration of the movement is extensively and detailed. Every component is carefully finished, even the parts that are barely visible, like the bridge for the pallet lever that sits under the balance wheel. The main bridge, for example, is finished with a variety of treatments, including perlage, anglage, and solarisation.
And wheels that are almost entirely hidden are finished with circular graining on their faces, as well as chamfered inner edges and spokes. The edges and slots of all the screws are similar chamfered.
At the same time, the finishing is typical for AP and other high-end, establishment brands (excepting A. Lange & Söhne), which means it is a mix of machine- and hand-applied finishing. All of the bevelling on the bridges and levers, for instance is done with a milling machine, hence the telltale machining marks on the surfaces of the bevels.
The pallet lever bridge is finished with radial graining, as well as bevelled edges and countersinks
Notice the bevelled edges and slots on all the screws
Every component, even ones hidden underneath, is finished properly
Another example of attention to detail: “Limited Edition” on the case back is in a serif font, a smart choice that matches the typography on the dial
One element of the movement that is clearly old-fashioned in decoration is the clous de Paris pattern on the rotor that is engraved the traditional way, with a hand-operated rose engine.
While it is beautifully decorated – the guilloche is sharp defined and every pyramid has a clearly pointed tip – the rotor looks massive. The rotor is solid 22k gold but there is too much of it, so one can have too much of a good thing.
In comparison, the rotor used on the cal. 4401 in the Code 11.59 is skeletonised, leaving much more of the movement visible.
Concluding thoughts
The [Re]master01 is a beautifully executed watch that is good looking and also high quality, inside and out. Though the case is thick, the other qualities of the watch make up for it.
The attention to detail, especially on the dial, is tremendous. Very few vintage remakes, or remasters, exhibit the same refinement in the smallest of details, like the serifs on the hour markers. And while the movement is more modern the the dial suggest, the construction of the movement is top class, and the finishing is as good as one finds on comparable watches.
But the retail price is high and difficult to stomach. At US$53,100, the [Re]master01 with its steel-and-gold case is more expensive than the Code 11.59 chronograph that’s entirely in 18k pink gold and retails for US$42,400.
Though the watch is a limited edition, it is a 500-piece run, which is a generous number as such things go. That doesn’t help the high price much either.
Surprisingly – and in contrast to the usual long wait between launch and availability – the watch is already at boutiques (that remain open) and will be available starting March 30, 2020.
Key facts and price
Audemars Piguet [Re]master01 Selfwinding Chronograph 40 mm
Ref. 26595SR.OO.A032VE.01
Case diameter: 40 mm Case height: 14.6 mm Material: Steel and 18k pink gold Water resistance: 20 m
Movement: Cal. 4409 Functions: Time, and flyback chronograph Frequency: 28,800 beats per hour (4 Hz) Winding: Automatic Power reserve: 70 hours
Strap: Brown calfskin with pin buckle; additional brown alligator strap
Limited edition: 500 pieces Availability: Only at Audemars Piguet boutiques starting March 30, 2020 Price: US$53,100; or 74,400 Singapore dollars
Last month IWC premiered a limited edition that has all the qualities of a hit: a bestselling classic in an exotic material, made in a very small run – and also incorporating nerdy, collector-oriented details. Instead, the IWC Big Pilot’s Watch Edition Black Carbon was debuted quietly, delivered to clients, and pretty much went unnoticed around the world.
The first ever Big Pilot with a carbon fibre composite case, the Big Pilot Black Carbon has a black dial with grey hands and markings, replicating the colour of the composite case. It’s livened up by red accents on the power reserve indicator and seconds hand (and also the date disc, for a small number of special watches, more on that below).
The famous “fish”
More unusually, the Big Pilot Black Carbon has a “fish” crown – the oversized, onion-shaped winding crown has a stylised fish logo on its top. Despite being a seemingly trivial detail, the “fish” crown is dear to IWC enthusiasts, being a memorable element from IWC’s 20th century history – one many collectors regard as a golden age.
From the 1950s until the mid-2000s, most water-resistant IWC watches featured a “fish” crown. The very first generation of the Big Pilot, the ref. 5002 introduced in 2002, featured a “fish” crown. Not long after, the “fish” crown was dispensed with in favour of a crown featuring the IWC “Probus Scafusia” emblem.
This happened sometime in 2006, first with a “transitional” ref. 5002 that was equipped with the new cal. 51110 and “Probus Scafusia” crown, and soon after with the all-new ref. 5004 with both new movement and crown.
As a result, the “fish” crown also takes pride of place on the case back, which bears large “fish” crown emblem cast in relief.
In the vast library of Big Pilot editions – and there are many – the Big Pilot Black Carbon ranks up there as one of the coolest. So what explains the under-the-radar launch?
In short, coronavirus.
The former “Hong Kong Edition”
Firstly, it has to be noted that IWC itself has absolutely nothing to say officially about the creation and launch of the Big Pilot Black Carbon. But the backstory is well known amongst those who were involved, and some of it has already been detailed on social media.
The genesis of the watch was formed at an IWC “design workshop” that took place in October 2018. It was attended by many of the city’s leading IWC collectors – including a gentleman who is reputedly the biggest collector of Big Pilot’s Watches in the world – who got the ball rolling for limited edition exclusively for Hong Kong.
Over the course of the following year, the group of enthusiasts refined the idea, which was eventually given the go-ahead by IWC. But as that was happening, protests and civil unrest engulfed Hong Kong, followed by the COVID-19 coronavirus outbreak in early 2020.
Launching a luxury wristwatch dedicated to a city that undergoing near-constant turmoil became untenable, so the Hong Kong aspect of the edition was shelved and the 100-piece run was renamed.
Despite the name change, the origins of the limited edition were not forgotten and live on in a small number of watches. Fourteen watches were reserved for the participants of the design workshop that gave birth to the idea. Delivered in a commemorative box with a NATO-style strap only for the 14, these watches are identical to the standard versions save for one special detail: the “10” on the date wheel is in bright red, a reference to the 10th anniversary of the IWC flagship boutique in Hong Kong that opened in 2009.
Key facts and price
IWC Big Pilot’s Watch Edition Black Carbon
Ref. IW506101
Case diameter: 46.5 mm Case height: 14.8 mm Material: Carbon-fibre composite Water resistance: 60 m
Movement: Cal. 52110 Features: Hours, minutes, seconds, date, and power reserve display Frequency: 28,800 beats per hour (4 Hz) Winding: Automatic Power reserve: 168 hours (7 days)
Strap: Calfskin
Limited edition: 100 pieces Availability: Upon request, at IWC boutiques only Price: 136,000 Hong Kong dollars (equivalent to US$17,500)
Following the faithful and well-received Navitimer 806 and AVI Ref. 765 1953 re-editions – both very much instruments for pilots back in the day – Breitling has now recreated a distinctly different watch from the archives – the Top Time “Zorro”. And while the new Top Time takes its cues from the past, it will be sold entirely online via Breitling’s website, at least initially.
Produced from the 1960s to the 1970s, the Top Time was Breitling’s simpler and more affordable line of chronographs designed to appeal to younger buyers – which is also the rationale behind the new remake. Unlike the Chronomat or Navitimer, which were mostly no-nonsense tools equipped with slide-rule bezels for pilots to do in-flight navigation, the Top Time did away with the slide-rule bezel and relied on a more generic style emblematic of the era.
The Top Time limited edition
Despite being an entry-level mode, the original Top Time had a starring appearance on the big screen: a Top Time ref. 2002, with a “reverse panda” dial and a fictional Geiger counter, was worn by Sean Connery in Thunderball. The very watch worn in the movie sold for £103,875 at Christie’s in 2013, not long after surfacing at a car boot sale where it was purchased for £25.
While the “panda” or “reverse panda” variants are arguably the iconic versions of the Top Time, the new remake is modelled on the more unusual Top Time ref. 2003 equipped with a gold-plated case and “Zorro” dial (or the ref. 2001 with the same dial and a solid 18k gold case).
The Top Time ref. 2003 pictured in a 1960s catalogue
Reinterpreted
Unlike the Navitimer 806 and the AVI Ref. 765 re-editions that were straight-up reproductions down to the smallest detail, the new Top Time is a mix-and-match of various vintage Top Time references, combined with a few tweaks.
The most distinctive aspect of the new watch is the unusual “Zorro” dial, which embodies the experimental spirit of watch design in the decade before the Quartz Crisis.
With luminous hands and lume plots
Named after the black bands framing the chronograph registers that bring to mind Zorro’s half-face mask, the dial is found only on the gold-plated or solid-gold versions of the vintage Top Time. In fact, the “Zorro” dial is more commonly found on the Breitling Sprint, another line of entry-level chronographs the brand produced in the 1960s.
The remake adopts the “Zorro” dial, but with a few changes. One is the decimal scale, instead of a tachymeter scale. And the other are the bright red central hands.
Though the dial is derived from the gold-plated vintage model, the case of the remake is in steel. As a result, it reproduces the look of the vintage model in steel and remains true to the original, with the same polished finish, slim bezel, and angular lugs.
And like most remakes, it is larger, being 41 mm instead of the original’s 35 mm.
The vintage Top Time was powered by a hand-wound Valjoux 7733, but the remake naturally relies on a newer calibre, though produced by the same company (or more specifically, its successor). It’s equipped with the COSC-certified automatic Calibre 23, which is actually the cost-effective and robust ETA Valjoux 7753 (basically an Valjoux 7750 sans hour counter and date).
Lastly, the Top Time remake is also distinguished its digital “passport”. It’s the first Breitling wristwatch that utilises blockchain technology (the same thing that underpins cryptocurrencies like Bitcoin) to verify and guarantee its authenticity as well as track ownership and servicing. All of that information is secured in its “passport”, which was built together with Parisian tech start-up Arianee.
Fittingly, the watch will be available only on Breitling’s website for now, and then at its boutiques upon request later in the year.
Key facts and price
Breitling Top Time Ref. A23310121G1X1
Diameter: 41 mm Height: 14.27 mm Material: Steel Water resistance: 30 m
Movement: Caliber 23 Functions: Time and chronograph Winding: Automatic Frequency: 28,800 beats per hour (4 Hz) Power reserve: 48 hours
Strap: Brown nubuck with pin buckle
Limited edition: 2000 pieces Availability: Already available on Breitling.com Price: US$4,990, or 4,950 Swiss francs
Seiko produces a wide – really wide – variety of dive watches. Many are based on historical watches, with several of the high-end models in particular being inspired by the brand’s first 300 m dive watch of 1968. As a result, a good number of Seiko dive watches look pretty similar.
When Seiko unveiled the Prospex LX line at Baselworld last year – the range is made up of six sports watches catered for air, land, and sea – the diver’s watch seemed, well, pretty similar to other Seiko dive watches. But the LX was not a typical range of sports watches, because it was designed in collaboration with Ken Okuyama, one of Japan’s most famous car designers – specifically, Mr Okuyama is best known for his work for Ferrari.
The Prospex LX Spring Drive Diver SNR029 is a typical Seiko dive watch – it’s functional and solidly engineered, with a notably high quality of construction. But Mr Okuyama’s design adds a surprising degree of refinement to the design, which reimagines the retro style of the classical Seiko Hi-Beat diver of 1968 by sharpening the design and refining the details.
Initial thoughts
Seiko dive watches are highly regarded for their strong price-performance ratio at every level of the price spectrum. The Prospex LX Spring Drive Diver SNR029 is a mid-range model, more affordable than a Grand Seiko but more upscale than the base-model Prospex diver.
In terms of functionality, fit and finish, the SNR029 scores highly. Legibility is excellent, Spring Drive timekeeping is essentially perfect, while the case and dial are excellent in quality, and the bracelet is good enough.
On the wrist, the watch is wears large – it is a large watch – but lightweight because it is entirely titanium (save for a few parts of the clasp). That makes it easier to wear than similarly sized Seiko dive watches in steel.
Titanium alloys are fairly prone to scratches, so the titanium case and bracelet have a “super-hard coating”, also know as Diashield, that increases the surface hardness so it scratches less easily. Although Seiko is mum about what exactly the coating is, it is likely a thin layer of ceramic of the sort typically used for industrial applications to increase corrosion resistance and minimise surface wear from friction.
Though I didn’t perform a scratch test on the SNR029, my experience with the coating on other Seiko watches is positive: the “super-hard coating” does reduce scratches and other marks, though it cannot prevent them entirely.
But many of the obvious features of the watch – namely the Spring Drive movement and coated titanium – have long been found in Seiko dive watches. What the SNR029 apart from are small, but useful details, like the increased number of removable links, as well as thoughtful design courtesy of Ken Okuyama.
The design philosophy
A high-profile Japanese designer best known for his work in the automotive industry, Mr Okuyama had stints at General Motors and Porsche, but his most prominent role at Pininfarina, once the go-to designer for Ferrari. As design director at the Italian studio from 1995 to 2006, Mr Okuyama led the design of the Ferrari Enzo and 599, as well as the Maserati Quattroporte, amongst others.
I got to chat with Mr Okuyama at Baselworld last year, and gained a greater understanding of his design philosophy. Specifically, his approach to designing luxury or high-end goods is based on the opinion that such products should timeless and long-lasting.
The Ken Okuyama Kade 57, based on a Ferrari 599. Photo – Ken Okuyama Design
As a result, the design should be evolutionary rather than a radical makeover, so that consumers can grasp the aesthetic lineage from generation to generation. That not only helps build the identity of the brand, but also ensures a product does not look dated, even if it is an older model. In other words, good design is functional but also ensures the perceived value and desirability of a product is preserved.
In his opinion, Western luxury goods firms, notably in fashion and automobiles, are especially good at that. And that was exactly what he set out to do with the LX – refine and sharpen the essence of Seiko’s historical dive watches so that it is instantly recognisable as a Seiko, yet also a modern creation and not a remake. Unsurprisingly, the SNR029 is instantly recognisable as being descended the first “professional” diver.
Historical roots
Though neither the first (which was the “62MAS”) nor the deepest-rated (which was the ref. 6159-7010 “Tuna”) of Seiko’s historical dive watches, the 300 m dive watch of 1968 (though some information points to it being launched in 1966 or 1967) is arguably the most significant. It was the first “professional” diver rated to 300 m while also being equipped with a high-beat movement to boot. The 300 m diver came to market first as the ref. 6215-7000, which was quickly followed by the near-identical ref. 6159-7001.
Seiko has already made approximate and exact remakes of the 1968 originals several times in the past, including a spot-on remake in 2018, and another faithful “re-creation” just this year. In contrast, the SNR029 (and its siblings in the LX range) are distinctly modern, having been redesigned substantially – down to the smallest detail like the crown – yet clearly descended from the 1968 model.
Tellingly, the SNR029 is almost exactly the same size as the 1968 diver: it measures 44.8 mm wide and 15.7 mm high, compared to 44.0 mm by 13.95 mm for the original. Even though the dimensions are near-identical, the case design and construction are entirely different.
Essentially, the SNR029 has a case that is similar to the remakes as well as the earlier generation of Prospex divers, but the lines have been tightened up for a more purposeful design. The SNR029 has a more sculpted, aggressive stance that brings to mind some of Mr Okuyama’s car designs like the Kode 57.
And it also has a screw-down case back, as oppose to the one-piece, monocoque case of the vintage original. The three-part case construction is the key reason for its increase in height compared to the original.
Note how the end-links of the bracelet echo the shape of the lugs
The SNR029 with its alternating brushed and polished surfaces that help break up its verticality
Compared to the recently announced remake of the 1968 original, the SLA039
The one-piece case of the vintage remake
But it is in the littlest of details that the SNR029 reveals the excellent design (and also excellent quality of machining). Thoughtful design can be found on the crown and bezel, which now have a more geometric, industrial look.
Taller and wider, the crown has the resolute look of a diving tool, and is also easier to operate because of its larger size. And the bezel edge has wider, hexagonal notches that articulate a strong, functional beauty.
The movement
The 5R65 movement inside is hidden under a solid, screw-down back but its qualifications to be in a dive watch are clear.
Because the 5R65 is a Spring Drive calibre – a mechanical movement regulated a high speed flywheel controlled by an electronic “brain” – its timekeeping is less susceptible to deviations caused by environmental factors like temperature fluctuations, shock, or magnetism.
A Spring Drive is, in short, more robust than the average mechanical movement, but it is also self-winding, so there’s no need to worry about a flat battery.
And the 5R65 is actually a dressed-down version of the 9R65 movement found in several Grand Seiko watches. Both are functionally identical, with exactly the same specs, namely a 72-hour power reserve and timekeeping of within a second a day, or 15 seconds a month. But the 9R65 has decorative finishing, while the 5R65 only features stripes on the rotor, with the rest of the movement being unadorned.
The dial
The dial is typical Seiko dive watch style, which means terrific legibility and sensible layout (and several lines of text).
Like the case, the dial retains the feel of the vintage original, but has been sharpened – literally. Both the minute and seconds hands are now tapered, though the hour hand is a conventional oblong shape. Likewise, the 12 o’clock hour marker is gently tapered. All that tapering gives the dial a more assertive look.
And the less important elements of the dial has been reduced. The frame for the date window, for instance, is thinner than on other Prospex divers, while the power reserve uses a fuss-free, printed scale instead of an applied metal marker. While an applied power reserve scale is fancier, and looks at home on a Grand Seiko, the basic printed scale works best here.
The date disc is white, which makes it easy to read, but a black disc would blend in better
The one element of the dial that is slightly superfluous are the markings above six o’clock. It’s crowded with the Prospex logo, three lines of text, plus the power reserve to the left. That’s a bit too much for a professional’s tool, but the markings are standard for all Prospex dive watches so they can’t be done away with.
Every element of the dial possesses an strong mechanical quality, precise in sharp and form. The hands have neat edges and surfaces, and even caps over the axes for the seconds and power reserve hands, so that the pinions below are hidden.
And the hour indices boast an unexpected level of detail: they are stamped and then engraved with a narrow, linear pattern that enhances the “tool watch” look.
The bracelet
Like the case, the bracelet is titanium, with the usual features of a Prospex diver bracelet, namely a ratcheting extension incorporated into the clasp. It is a simple, intuitive design: lifting the safety buckle to the extreme releases the mechanism, allowing the extension to slide out from the clasp.
Unlike the other parts of the watch, the clasp is purely functional; it genuinely looks like a tool. Most of the moving parts in the clasp are steel, while the rest are titanium. All the parts are stamped, but substantial and solid.
This is Seiko’s default diver’s extension clasp, with the same mechanism found on all models, from the entry-level to Grand Seiko, but executed with different degrees of finish. Being a mid-range watch, the SNR029 has a modestly-finished clasp that is not as refined as the equivalent on a Grand Seiko, but also not as basic as that on the base model diver.
Design-wise, the bracelet works well with the case. The bracelet links are simpler in style than those of most Prospex bracelets, which usually have polished borders on the middle link. The simplicity suits a dive watch, but the bracelet still has a bit of embellishment, a bevelled lower edge that neatly echoes the shape of the lugs.
Each link is secured by a friction-fit pin and tube, a tried and test method that is foolproof and secure, but it is not terribly user friend as the links are pretty fiddly to adjust.
That being said, every link is held by pin, which means there is no limit to the number of links that can be removed, which helps achieve a good fit. In contrast, most earlier generations of bracelets only featured a limited number of removable links, making it impossible to size just right for certain wrists.
Concluding thoughts
Modern day dive watches often get away from their original purpose by being over-designed or excessively elaborate. The SNR029 is very much fuss-free, with the high-precision Spring Drive movement being particularly well-suited to a “tool” watch.
While the watch is focused on what it’s supposed to be, it is also well made, with excellent fit and finish on the case and dial (and movement, even though that is hidden).
Key facts
Seiko Prospex LX Spring Drive Diver 300 m Ref. SNR029 (SBDB027 in Japan)
Diameter: 44.8 mm Height: 15.7 mm Material: Titanium with hard coating Water resistance: 300 m
Movement: 5R65 Features: Hours, minutes, seconds, date, and power reserve indicator Winding: Automatic Frequency: Spring Drive Power reserve: 72 hours
Strap: Titanium bracelet
Availability: At Seiko boutiques and retailers Price: US$6,000, or ¥630,000 (prices exclude taxes)
In 2015, an Audemars Piguet ref. 1533 sold for 305,000 Swiss francs, setting the record for a vintage AP chronograph at auction – which was then topped two years ago by another example of the same reference that sold for 384,500 Swiss francs.
An extra-large wristwatch with an unusual three-counter chronograph, instead of the two registers common at the time, the ref. 1533 was produced in the 1940s. Only nine were made, and three of the nine had two-tone, steel-and-gold cases, making them the rarest of variants. Unsurprisingly, both of the record-setting ref. 1533s were two-tone.
And now the two-tone ref. 1533 has now been “remastered” as the modern-sounding but appealingly vintage [Re]master01 Selfwinding Chronograph 40 mm, a limited edition of 500 watches to coincide with the new, spiral-shaped Audemars Piguet museum that’s scheduled to open around middle of the year.
Vintage details
Looking very much like the ref. 1533, the [Re]master01 recreates all of the key elements of the original.
Characterised by large, teardrop lugs, the case is steel with its bezel, crown, and pushers in 18k pink gold. It’s 40 mm to accommodate the large, automatic cal. 4409 inside, but because the original was already 36.5 mm – enormous in the 1940s – the increased diameter still maintains the retro style.
To match the gold accents, the dial has a gilt finish, which was unique amongst the vintage original – just one of the three two-tone ref. 1533s had a yellow gold-tone dial.
Because the cal. 4409 in the [Re]master01 has a different layout compared to the Valjoux 13VZAH in the original, the arrangement of the chronograph registers is different. But the crucial details of the originals have been retained, right down to the vintage logo that includes “Genève”, part of the company’s logo until its workshop in the city was closed in the 1970s.
Like the original, the hands are colour coded for function: gilt hands are for the time, while the blued steel hands are for the chronograph.
And more novel feature of the original has also been translated into the [Re]master01 – the 30-minute chronograph counter also includes a red “45”, representing the half-time mark for a football match. It was a feature requested by Jacques-Louis Audemars (1910-2003), the firm’s chairman until 1975 who was also a great fan of the game, resulting in most of the brand’s mid-20th century chronograph having a “45” on the minute register.
Flyback and in-house
The cal. 4409 inside is an in-house movement from the same family of chronograph calibres first found in last year’s Code 11.59 chronograph. Equipped with the usual column wheel and vertical clutch common in modern, high-end chronographs, it’s a large, 32 mm movement with a longish, 70-hour power reserve.
The cal. 4409 also has a flyback mechanism, meaning the chronograph can be instantaneously reset, and restarted with a single push of the reset button. And unlike the similar movement Code 11.59, this version of the movement has no date display (thankfully).
Though the movement is modern in style, the large, 22k pink gold rotor has been decorated with clous de Paris, or hobnail, guilloche executed the traditional way – engraved with a hand-operated rose engine.
Limited to 500 pieces, the [Re]master01 is priced at 49,500 Swiss francs, or about US$50,000, which makes it quite a bit more expensive than the Code 11.59 chronograph in pink gold, which costs about 20% less.
Key facts and price
Audemars Piguet [Re]master01 Selfwinding Chronograph 40 mm
Ref. 26595SR.OO.A032VE.01
Case diameter: 40 mm Case height: 14.6 mm Material: Steel and 18k pink gold Water resistance: 20 m
Movement: Cal. 4409 Functions: Time, and flyback chronograph Frequency: 28,800 beats per hour (4 Hz) Winding: Automatic Power reserve: 70 hours
Strap: Brown calfskin with pin buckle; additional brown alligator strap
Limited edition: 500 pieces Availability: Only at Audemars Piguet boutiques from end-March 2020 Price: US$53,100; or 74,400 Singapore dollars
Correction March 25, 2020: Both the cal. 4401 and 4409 in the Code 11.59 and [Re]master01 chronographs have a flyback mechanism, and not only the latter as stated in an earlier version of the article.
MB&F has always been about pushing the boundaries of aesthetic and conceptual creativity in watchmaking, lassoing in everything from pop culture to science fiction to build its Horological Machines.
Reminiscent of the HM3 Frog and HM9 Flow, the HM10 Bulldog is the tenth watch in the series and another intergalactic timekeeper reassembling a robotic animal. While MB&F has historically been all about less-than-friendly animals, like a cyclops-chicken, luminous jellyfish, or giant spider, the HM10 is modelled on a domestic favourite (and perhaps also takes inspiration from the LM1).
The design language of the HM10 is a familiar one as it borrows liberally from MB&F’s past machines. Bulging eyes in the form of rotating displays take their cues from the HM3, while the suspended balance wheel under a high domed crystal is also found in the Legacy Machine series, and finally the mobile jaw that’s also a power reserve display brings to mind the vertical indicator on the LM1.
An elaborate body
It’s a complex-looking watch, so an explanation is in order.
Available in either titanium, or red gold with titanium accents, the HM10 has a flat, elongated body with a protruding pair of collets for the crowns, as well as two domed sapphire crystals on the front and back to accommodate the time display and power reserve indicator respectively.
At 54 mm by 45 mm, the HM10 does have a large presence – which is usually the point of a Horological Machine – but the overall shape, particularly in comparison to past Horological Machines, feels rather ungainly and less assertive than say, the HM4, which is arguably MB&F’s all-time best “machine”.
But despite the odd form, the HM10 wears comfortably due to the long hinged lugs (that have a narrow range of movement), which are the figurative front legs.
At the back half of the watch, the twin crowns also serve as the pivot points of the “hind legs”, which are shorter than those in front. One crown is for time-setting and the other for winding.
The hind lugs with the crowns
While the case design is doubtlessly polarising, the case quality is impeccable in typical MB&F style. The case body is predominantly brushed with a polished, recessed seam running along its edge. Amongst the finely-executed details are the polished necks for the crown collets that contrast against the brushed case body.
Similarly, the lugs are elaborately skeletonised, with polished curves and contrasting, brushed flanks. The outer and inner edges of the lugs are bevelled and polished, and even the inside faces of the lugs are brushed.
The lugs are elaborately finished with alternating brushed and polished surfaces
Though the two versions of the HM10 vary solely in metal and colour, they are starkly different in style and of course, weight.
The case of the pink-gold version appears larger and more prominent, while the homogeneous grey tones across the case and dial of the titanium version draws attention to the blue, domed displays, which bring to mind the “eyes” of the HM3 Frog.
A favourite element of MB&F design, the HM10 has two large, domed sapphire crystals, one on the front and the other on the back. The sapphire dome on the top creates most of the volume on the watch – it is 24 mm at the tallest point – and it is the reason the case sits high on the wrist.
The front crystal shows off the half-spheres that tell the time, as well as the oscillator and escapement. And the crystal on the back reveals massive, hinged jaws that open and shut according to the state of wind of the mainspring – something MB&F terms the “dental power reserve”.
Form movement
The highlight of the movement inside, as with many of MB&F’s movements, is the impressive, novel form and three-dimensional construction.
Shaped like a pear to accommodate the case exactly, the back side is dominated by the crown wheel and barrel ratchet wheel that occupy most of the real estate.
The front and back
The barrel is flanked by a pair of gear trains – the primary train made up of gilded wheels runs along the left side of the movement and connects to the escapement to drive the time display, while the smaller, secondary train on the right of the movement is for the power reserve indicator.
Effectively a simple automaton in the form of a pair of moving jaws, the power reserve indicator shows fully closed jaws once the mainspring is empty. And because the jaws sit at a 90° angle to the power reserve gear train, bevel gears that mesh at a right angle are needed to create the motion of the jaws.
The barrel ratchet wheel partially visible in the upper half of the sapphire crystal, with the gilded wheels of the primary gear train to its left
The “dental power reserve”
The legacy of the Legacy
The characteristics and architecture of the movement when seen from the front are familiar as they borrow heavily from the LM1. In fact, the mechanics and design of the HM10 are almost a three-dimensional take on the LM1.
The LM1 had a pair of sub-dials for the time, both sitting below a balance wheel suspended by an arched bridge, as well as a vertical power reserve indicator – all elements that have been translated into the HM10.
The LM1
On the HM10, instead of flat sub-dials, the hour and minutes are displayed on a pair of rotating domes – an element taken from the HM3 Frog.
To reduce energy consumption, the domes are aluminium and milled until they are paper-thin, allowing the movement to have the same 45-hour power reserve as the LM1 with its conventional, less energy-hungry display.
While the time-telling domes are the visual highlight on the front, the beauty actually lies in the visible mechanics. All of the key bits of the movement are prominent, symmetrically arranged, and well finished.
The escapement, held in place by an anchor-shaped bridge
In traditional MB&F style, the balance is extra-large and held aloft by an arched, black-polished bridge – which is all very impressive. The balance runs at the slow and attractive frequency of 2.5 Hz – so you can really observe it swinging back and forth – and is attached to an overcoil hairspring, a neat old-school detail.
Because the domes take up significant space, the balance wheel had to be raised even higher than on the LM1, requiring an extended balance staff, which extends from the towering balance wheel down to the main plate where the escapement is. So even though the balance and escapement are located on the same side of the movement, the balance wheel is almost separately from the escapement, a trick first performed on the MB&F LM Perpetual.
The highly polished, arched balance bridge, and below it the slots in the plate that reveal some of the motion works that drive the domes
Finishing and decor
MB&F watches adhere to a high standard of finishing inside and out, and the HM10 is no different.
Notably, the finishing of the brand’s sci-fi Horological Machines has improved over the years – the HM10 ranks as one of the best machines in that regard – closing the gap between them and the classically-inclined Legacy Machines that were conceived from the start to be highly decorated.
The finishing of the HM10 is done to a similar level as found in LM movements, albeit lacking the elaborate, artisanal details like the inward and outward corners on the anglage as well as gold chatons for the jewels.
Here the movement bridges are ruthenium-plated for a dark grey finish, and decorated with finely-executed Geneva stripes. All of the bridges boast polished bevels on their edges that are completed by hand, likely with a polishing tool. And the winding click spring, for instance, is notably well finished, having a straight grained top, along with bevelled edges and countersinks.
The winding click spring visible just below “Swiss Made”
Bridges covered in textural Geneva stripes, with jewels and screws in polished countersinks
Another appealing bit of finishing is found not on the movement, but on the power reserve: the jaws are sandblasted with contrasting, polished teeth
Concluding thoughts
After the technical novelty of the recent LM Thunderdome Triple-Axis Tourbillon – the most complex MB&F to date – it is hard to be impressed by the HM10 in the same way. The HM10 is a mishmash of past elements of earlier Horological Machines, but reconstituted in a novel form. Moreover, the design and shape of the case is overly eccentric, even for an MB&F watch.
However, if creating an emotional impact with a mechanical work of art was the goal – mission accomplished, and then some.
But while design is subjective, it has to be pointed out that the fit and finish of the HM10, inside and out, is top notch. As far as avant-garde, sci-fi watches go, MB&F places first in finishing.
Key facts and price
MB&F HM10 Bulldog Ref. 100.TL.BL (Titanium case with blue time domes)
Ref. 100.RL.B (Red-gold and titanium case with black time domes)
Diameter: 54 mm by 45 mm Height: 24 mm Material: Titanium, or 18k rose gold and titanium Water resistance: 50 m
Functions: Hours, minutes; power reserve indicator Frequency: 18,000 beats per hour (2.5 Hz) Winding: Hand-wound Power reserve: 45 hours
Strap: Blue calf with Velcro closure (titanium); brown calf with gold folding buckle (rose gold and titanium)
Availability: Already at retailers Price: US$105,000, or €92,000 (titanium); US$120,000, or €105,000 (rose gold and titanium)
