Attention to Detail
Luxury watchmaking is elevated to an art form as centuries- old techniques are applied to watch dials by craftsmen of the highest calibre, writes Melissa Lim
Getting to know the timeold traditions that make up modern- day métiers d’art
We watch enthusiasts might like to think that we hold the technical in far greater esteem that the aesthetical, but the truth is that métiers d’art is a time- old tradition that goes hand in hand with fine watchmaking, and is at times itself the focus. Haute horlogerie has gone through various phases, with its emphasis wavering between technological merits and decorative arts, but métiers d’art has been resurrected time and time again to grace the occasional limited or one- off edition. As a time- consuming pursuit, the number of craftsmen looking to choose this as a career path is necessarily limited, though after my many visits to Switzerland I can happily report that métiers d’art departments are thriving, with a mix of veterans and the next generation co- existing seamlessly.
For the most part, and regardless of price, watch dials begin with some sort of raw metal. It’s then standard for this disc of metal to go through various stages of machining, finishing and painting – and it’s at this stage where a craftsman’s skill ( or lack thereof) will be revealed, separating the exceptional watches from the forgettable. There are, however, a few watches that forgo this process, their dials adorned instead by techniques that impart greater depth, both literally and figuratively. In an era where “handmade” is king, it comes as no surprise that these timepieces are so prized and explains why their prices can at times be eye- wateringly high.
ENAMELLING
If this technique appears familiar, it’s because enamelling has been going through a renaissance of sorts in the last fi ve years, having been embraced by romantics for its mesmeric, deeply pigmented fi nish that drives up the price of a timepiece. It’s categorically not for the impatient or faint- hearted – it requires a steady hand and a fl exible approach. Rest assured, there’s plenty of heartbreak along the way and it isn’t uncommon for even the biggest in- house snobs to seek external help from the few experts.
Basic enamelling involves laying down melted soft glass made predominantly of silica in a scorching oven set to 800° C; there are, however, various subtechniques. For extra shimmer and luminosity, the paillonné technique sandwiches a piece of foil between two layers of enamel. In cloisonné, designs are laid out in wire, creating a raised outline, and enamel is painted inside the walls while, conversely, champlevé begins with engraving, so that space is made for the enamel to go. Plique- à- jour provides a similar framework for enamel, in which the translucent enamel sits within a wire or metal strip frame, but isn’t fi xed to a supporting surface. Van Cleef & Arpels’ Lady Arpels Papillon Automate absolutely shines through the use of plique- à- jour to add a sense of lightness and frivolity.
Grisaille technique requires the dial to be initially painted in a deep, smooth black enamel – a feat in itself – before typically white enamel detailing is painted over to create a design that invokes a mysterious effect of architectural relief. Grand Feu enamelling is the granddaddy of the enamelling category and is an incredibly tricky beast to tame. The technique not only requires several episodes of fi ring in the oven, but is extremely volatile and sensitive to aspects as seemingly inconsequential as slight weather changes. Bubbled or fractured dials are commonplace and up to 75 percent of dials produced are discarded. So volatile and uncertain is this journey that the sheer simplicity of the dial on Breguet’s Classique 5177 Grand Feu Blue Enamel allows for zero margin of error and is proof of how magnifi cent this technique can be when done right. That’s not to say Grand Feu enamelling isn’t for complex designs, as seen on Graff’s captivating sojourn into the galaxy with the Mastergraff Gyrograff World.
ENGRAVING
Etchings of patterns on a surface made of metal, motherof- pearl or stone using a traditional sharp tool are often made by each individual engraver to suit his or her own requirements. Lines are carved, softened and polished, and the true test of an engraver is the ability to bring a dial to life with depth, precision, texture and volume. The effortlessness shown by engravers is misleading; I’d like to think I’m relatively nimble with my hands, but any attempt at engraving a dial in the past has ended in utter disaster. The skill and savoir faire of this technique perhaps shines brightest in skeletonised pieces, where there’s virtually no degree of error. One would be remiss to speak of recent examples of engraved dials and not to mention Vacheron Constantin, a watchmaker that relies on this technique to bring its dynamic Métiers d’art line- up to life, or Piaget, which turns to it to enrich its Altiplano collection.
MARQUETRY
Marquetry can be traced back to Ancient Greek times, but is considered a recent addition to watchmaking techniques. It’s a rare craft that principally uses wood, and certainly has the crowds cooing, executed by a craftsman who’s able to read the characters of up to 130 different woods, deciphering countless tints, applying stains and working with the grain for the most meticulous – albeit outstanding – fi nish. For colour, a range of woods is employed, cut and assembled as per the dial design. Patek Philippe’s Black Crowned Cranes of Kenya pocket watch and Royal Tiger watch are fi ne examples of how remarkable a technique wood marquetry is, as are Hermès’s Slim d’hermès Pégase Paysage and Arceau Astrologie Nouvelle watches.
Another fascinating material used in marquetry is the feather, as seen in Dior’s Grand Bal collection, capturing the beauty of haute couture ballgowns. Known for its fi ne leather goods, Hermès decided to take the idea of wood marquetry and inject a little of its own personality into it. Leather marquetry is seen in its Arceau Cavales watch, while paired with enamel in the Slim d’hermès Les Zèbres de Tanzanie.
SHAKUDÕ
When the word “shakudõ” is mentioned, it’s diffi cult not to think of Blancpain and use it as the sole point of reference when discussing this Japanese craft and its relation to watchmaking. Shakudõ dates back to the 8th- century Nara period of Japan, and its name derives from the combination of gold and copper traditionally used for Samurai sword fi ttings including the handguard ( tsuba) and grip decorations ( menuki). Due to the inclusion of gold, it’s no wonder it’s usually reserved for smaller surface areas. When an item is lowered into a warm rokusho bath fi lled with sulphates, chlorides and copper acetates, a variety of decorative patinas can be achieved – for example, changing the hue from black to grey and blue, and thus offering a decidedly more masculine aesthetic than other métiers d’art. Blancpain often revisits shakudõ, but who could forget the Villeret Métiers d’art Ganesh watch, which won the Artistic Crafts prize at the Grand Prix d’horlogerie de Genève in 2015, or its The Great Wave, inspired by Hokusai’s 1830 woodblock print?
DAMASCENING
This long- practised craft has been on the scene since 300 BC, with roots in China, before moving to India, Persia and Damascus in the Levant, and later fi nding great popularity in the Spanish city of Toledo. If you’re unclear as to what this technique actually is, don’t fret as it’s not often seen in watchmaking because of its elaborate process and high cost. A design is carefully chiselled on to a surface before microscopically thin threads of gold, silver or steel are inlayed into the grooves, which are then polished to leave a smooth surface. No adhesives or other methods of attachment are used, meaning the technique has to be performed perfectly. We once again look to Blancpain for the unique pieces it has created for the Damasquinage Collection, in which the dials are made from grade 2 titanium. These are then hand- carved and fi lled with 24k- gold threads, leaving a profoundly superior radiance.