Orthodoxies
Yet, we did have the crisis and, as a result, we are witnessing a clear return to a much more orthodox form of timekeeping—at least in its appearance. The immense and rapid success of the ultra-classic Laurent Ferrier is a good example (for more on this brand, see the article in this issue by Malcolm Lakin or read our next issue). Kari Voutilainen, always in search of absolute chronometry, pushes even further his classic expression with a very interesting new timepiece called the ‘Vingt-8’, equipped with a very large balance and two direct impulsion escapements (we will return in more detail to this watch in our next issue, ES 4/11).

VINGT-8 by Voutilainen

On another level (in terms of volume, with 1,500 watches planned this year), the good health enjoyed by H.Moser & Cie, epitomizing a rare and pure type of watchmaking, is due to the brand’s incredible consistency in its endeavours. It never races to create new items but rather works towards deepening its design and technology in subtle terms, carried out step by step, as seen in the new brown dial—a magnificent ‘chestnut’—brought this year to the Monard. The inroads by H.Moser & Cie (now with more than 80 points of sale in 21 nations, of which half are in Asia), has also been made possible because the famous Moser Perpétuelle (the most elegant and simple perpetual calendar in timekeeping) has finally started deliveries in 2010, at the rate of 20 pieces per month. Another reason, undoubtedly, for this success is the ‘truth in pricing’ policy practiced by H.Moser & Cie . The brand was strongly criticized for its policy of measured prices before the crisis (some people even accused it of trying to “sabotage the market” with a fine perpetual calendar selling for 50,000 CHF) but it held firm. Today, what was considered by some to be a strategic error is now thought to be a great advantage.

MOSER PERPÉTUELLE by Moser & Cie

Peter Speake-Marin on the launching pad
Also raised on classic timekeeping (he began in London by restoring antique horological masterpieces), Peter Speake-Marin, after having worked for so long for others, has decided this time to “go fully into his own brand,” as he says himself.
Since 2008, Peter Speake-Marin has been developing his own calibre, the SM2, which has finally reached maturity and which will be the launching pad for his brand. It is an entirely exclusive calibre, for which all, right to the last screw, has been specifically designed, and constructed by Laurent Besse. It is intended to be a ‘foundation’, a base equipped with a ‘great energy force’ composed of a large barrel providing 72 hours of power reserve that can later drive all sorts of possible complications, whether integrated or on additional plates. It is a very lovely automatic movement (a manual version is also available), displaying hours, minutes, and central seconds. Magnificently structured, it has large bridges placed side by side, whose forms are both soft and pointed (Celtic influence?), and a remarkable rotor wheel in the same vein. The finishing is clear, perfect, evoking a rare fineness and elegance.
This movement crowns the new Peter Speake-Marin collection that will gradually be divided into three lines: the Marin line, composed of watches all equipped with the SM2; the Classic line, ranging from a steel automatic watch to a minute repeater tourbillon timepiece, but composed of existing calibres modified for the occasion; and a third line, whose name will soon be revealed, that will be the brand’s ‘research division’, and that will offer innovative concept watches, available in different cases.
Let’s talk a bit about the case, since this is precisely one of the most important signs of recognition of Peter Speake-Marin timekeepers. Its stylistic codes were established right from the beginning, in 2000, with what he calls the ‘Foundation Watch’, where all of the most striking design elements can be found. They have been directly influenced by classic timekeeping and its tools. For example, the particular shape of the tourbillon carriage is identical to that of the SM2 rotor, and both were inspired by a topping tool. There are the characteristic large crown, the hands in the shape of a heart, the horns with screws, etc.

SM2 CALIBRE and MARIN 2 by Peter Speake-Marin

The Tourbillons of Cecil Purnell
In a much more flamboyant style, Cecil Purnell —a brand that proposes only tourbillons—also intends to pass to a higher speed. After several technical difficulties, Cecil Purnell has joined Magma Concept and the constructor, Cédric Grandperret. Starting again from zero, they designed a new in-house basic movement, the CP 3800, featuring 3 Hz or 21,600 vibrations per hour, 60 hours of power reserve, an MHVJ escapement, and an escape wheel with 15 teeth (compared to the traditional 20) to easily be able to switch to 2.5 Hz, or 18,000 vibrations per hour, a gauge of precision. An automatic watch with a micro rotor is also being planned.
Starting from scratch, this work is well presented in the Classique 43 model in pink or white gold that offers great visual depth, thanks especially to its curved dial that supports a sapphire crystal plate on which the hour markers are directly placed. The large bezel also lends itself to being set with diamonds, particularly the very visible baguettes. More contemporary and with a greater ‘bite’, the CP 47 version is available in steel treated with black PVD, or in pink 5N18 gold, or in palladium. A large date model is available this year in a CP 47 case, with sufficiently large dimensions to allow for an optimal display of the date (the circles carrying the date numbers remain visible).
To mark its return, Cecil Purnell decided to propose an ‘iconic’ piece. This is La Croix, a bold and very segmented design. (We know that the cross design has been tried in the past, especially by Roger Dubuis during the Dias period with more or less success.) In pink or white gold, mounted on a rubber or crocodile strap (the strap is nicely integrated into the case), La Croix has been very complex to realize, particularly its case (whose underneath side is composed of a flat window on a curved base so that the piece does not twist around on the wrist). “The crisis has taught us a lot,” explains Jonathan Purnell, “and forces us to finally think of the final client, with the greatest transparency—we are 100 per cent Swiss Made and can prove it—by being irreproachable from the standpoint of quality, finishing, and by setting prices that are totally justified.” So, just what are these “justified” prices? At Cecil Purnell, they range from 90,000 to 130,000 CHF.

LA GRANDE DATE and LA CROIX by Cecil Purnell

• BaselWorld 2011 – In search of the perfect watch – Part 1
• BaselWorld 2011 – In search of the perfect watch – Part 2
• BaselWorld 2011 – In search of the perfect watch – Part 4

Source: Europa Star June - July 2011 Magazine Issue