he harmonious architecture is a demonstration of beauty, too. No detail has been overlooked. Every part, every element, every component has been meticulously crafted down to the last nook and cranny. Slowly but surely, Kari Voutilainen has established himself as master of his trade, in the most noble sense. His timepieces are shining examples of mechanical watchmaking, executed to perfection, while thanks to his creative explorations of hand-guillochage, his often exceptional dials (his company also owns dialmaker Comblémine) are cited as a reference in the field. To the point that “Voutilainen style” has become an inspiration for others.

The Voutilainen KV20i Reversed is a timely reminder that a watch’s dial is not “the icing on the cake”; it is – or should be – a faithful extension of its complex inner beauty – its visible side. The KV20i highlights this inner beauty magnificently.

Inverted architecture

Designed, manufactured, finished and assembled at the Voutilainen workshops, every detail of the KV20i’s inverted mechanism can be admired from the dial side, starting with the single-arm balance bridge, the balance itself (an imposing 13.5mm in diameter), oscillating at a traditional frequency of 18,000 vibrations/hour and equipped with rose gold timing weights, and the synchronised motion of the two escape wheels which deliver a direct impulse to the balance wheel through the impulse roller.

Voutilainen KV20i Reversed. Case (39mm) and crown manufactured in-house in titanium. Cherry-red minutes ring framing the movement with polished gold dots for the quarters. Hand-guilloché cherry-red dial ring and seconds subdial on the back. Gold hands. Hand-sewn strap in cherry-red fabric lined with calfskin.

In addition to its visual appeal, this innovative construction uses less energy than a traditional Swiss lever escapement. This results in considerable benefits in terms of day-to-day wear, whether regulation within strict tolerances, efficiency, longevity or power reserve – which is 60 hours. The atypical, not to say unique, balance-spring system combines a Phillips overcoil for the outer curve with a Grossmann curve for the internal curve, resulting in significantly enhanced accuracy. Infinitesimal tolerances

That every detail of this mechanism – fitted with a full 31 jewels – is on display on the “inverted” side (which shows hours and minutes; small seconds are on the back) is a chance to admire the artisanal finishing carried out inside the Voutilainen workshops. The tolerances, described by Voutilainen as “exceptionally uniform”, are close to zero, from the flat polished surfaces of the pinions and wheels to the meticulous surface finish of the mainplate and bridges, in German silver, and the screws and steel parts. Every last element is finished, decorated, chamfered and polished by hand.

Prior to this, a watchmaker spends a month and a half assembling each movement, which is then completely taken apart, handed over to the decoration workshop where finishing will take an equal amount of time, then reassembled over a further month and a half.

When the bar is this high, it’s easy to see why production can never exceed 60, at most 70, watches a year.

Inside the ateliers

This commitment to quality is facilitated by the horizontal organisational structure within the workshops, which now include Brodbeck Guillochage. There are no line managers, no hierarchy. Whether for assembly or decoration, watchmakers and artisans are versed in every part of their craft, and take full and personal responsibility for the watch on their bench.

Passionate about his work but never one to seek out the spotlight, Kari Voutilainen is the epitome of quiet determination. He chooses his collaborators not by the length of their CV but by how he connects with them. He trusts his intuition, which so far has never let him down.

This modus operandi, giving staff ownership of their work, is instantly discernible. The atmosphere throughout the ateliers is peaceful and relaxed, tranquil but focused. It’s about mutual respect between equals.

The most striking example of this “intuitive” functioning is Kari Voutilainen’s choice of Angélique Singele, 31, as COO at Voutilainen, appointed five years ago, and, more recently, as managing director of Brodbeck Guillochage.

A living museum

Brodbeck Guillochage was inaugurated this autumn inside the fully refurbished premises of what used to be the Fleurier watchmaking school. It is a living and entirely functional museum of guillochage whose thirty-some machines form a unique ensemble. Hand-operated machines haven’t been made since the 1950s. At Brodbeck, the oldest dates from 1913 and each one has each been restored by Georges Brodbeck.

Alongside the 25 rose engines and straight-line lathes are five rare tapestry machines, complete with a treasure trove of a thousand templates (a tapestry machine copies a pattern engraved on bronze or glass and transposes it, in miniature, onto the workpiece which can be a watch dial but also jewellery, a cigarette lighter, a metal box, a pen or some other object).

These august and complex mechanisms are in the hands of six skilled operators who are trained in every aspect of their profession and can work on any one of the lathes with the same ease.

One of Brodbeck’s guillocheurs shares his enthusiasm: “I worked for years at a company where everyone was given a machine and spent the entire day performing the same task, over and over. It’s completely different here. We’re trained to use all the machines. People are at the heart of the job. It’s both motivating and recognition for what we do.”

The same specialist marvels at “the ingenuity it must have taken to make machines like these when there was no computer-aided design. Just a pencil and your own two hands. Not that long ago, a team of engineers took one of the lathes apart thinking they could copy it, except they couldn’t get theirs to work. They gave up in the end!”

Safeguarding expertise

“The only way to keep this knowledge alive is to master every aspect of it, including the machines themselves,” Angélique Singele tells us. “Georges Brodbeck continues to give us the benefit of his experience and knowledge. He personally trained an operator to use every one of the machines. Guillochage isn’t taught at any school, so we’re open to training more people. Safeguarding this endangered skill is central to our action. We want to bring the art of guillochage up to date with contemporary tastes, to go beyond traditional applications. As soon as we integrated Brodbeck Guillochage, we noticed an upsurge of interest among young people who are more and more taken with the artisanal aspect.”

In a not too distant future, Brodbeck Guillochage plans to open workshops for enamelling and engraving stone, wood and straw marquetry under its one roof, forming a hub for the métiers d’art.

“Naturally, we work for Voutilainen,” says Angélique Singele, “but we’re open to third-party propositions, whether for a single bespoke dial, a piece of jewellery such as a ring, or small limited series for brands or independents. The creative possibilities are literally endless. Clients can come with their own design ideas or we can work with them and propose something ourselves. Anything goes.” She pauses then adds, smiling: “Just don’t ask for a volume discount! We craft each dial by hand, hence each one is unique.”

HOW A TRADITIONAL ROSE ENGINE LATHE WORKS

• The central element of a rose engine lathe consists of a set of rosettes (hence “rose engine”). These are cams, cut with lobes which generate a particular pattern. As the cam rotates, a cam follower transmits these movements to the cutter, which traces the desired pattern on the workpiece.

• Unlike a conventional lathe, a rose engine makes a rocking motion which enables the cutter to form lines in the workpiece. Adjusting the angle of the cutter alters the thickness of the line. The number, depth and intersection of these lines produce a multitude of radial or rectilinear patterns.

• The cams determine the pattern and also the distance between the lines, which can be evenly or gradually spaced, depending on the desired effect. The multiple combinations of cams together with the nuances created by the spacing of the lines open up infinite possibilities for patterns which are still being explored. The guillocheur must apply a steady and constant pressure; the quality of the finished piece depends to a large extent on their dexterity. No two dials are the same; each is a reflection of the artisan who created it.