ounded in Neuchâtel in 2004 and recognised from the outset for its bold complications and radical language, Hautlence has experienced something of a paradox in recent years: the historical exuberance of its creations continued, but instead of building on its success, it became more discreet than during its sensational debut in the disruptive watchmaking of the 2000s.

It must be said that this period favoured a more refined, vintage and neo-classical aesthetic. This was a much more profitable period for Hautlence’s ‘big sister’ within the Meylan family’s MELB holding company, H. Moser & Cie, which has experienced stratospheric growth in recent years (it has just announced the opening of a brand new and ambitious 6,000 m² manufacture in Schaffhausen for 2028, the ‘Moser Ship’).

Now also based in Schaffhausen to benefit from the group’s infrastructure, Hautlence intends to return to the limelight, under the dual leadership of Cédric Joos, who has taken over the reins after several years at H. Moser & Cie in developing the direct sales strategy, and Guillaume Tetu, its co-founder and historical driving force, who has returned to watch over his ‘baby’ as chairman-consultant, while continuing to manage his many independent activities in the watch industry from the canton of Neuchâtel.

Cédric Joos, brand manager of Hautlence (left), with Guillaume Tetu, co-founder and chairman.

In addition, the brand has set up a dedicated steering committee, composed of the key members of the H. Moser & Cie management team: Edouard Meylan, Bertrand Meylan, Nicholas Hofmann and Maurizio Tallero. This committee, responsible for strategic direction and supervision, will encourage synergies between Hautlence and its sister brand in order to promote growth and innovation.

“With Cédric’s dynamic leadership and Guillaume’s visionary approach, we are confident that the brand will continue its destiny as a pioneer in independent watchmaking,” said Edouard Meylan on this occasion. The avant-garde brand, whose name is an anagram of Neuchâtel and which has developed nine proprietary calibres since its inception to power its unique displays, is thus entering a new era. Cédric Joos shares his vision for Hautlence: integration into the Moser ecosystem, redesigned products, modernised communication, clarified distribution and renewed creative ambitions.

Europa Star: You joined Hautlence after several years at H. Moser & Cie. What strategy underpins your appointment?

Cédric Joos: Hautlence is a brand that had perhaps become a little dormant, particularly in terms of communication. The potential was there, immense, but the ‘why’ was no longer clear enough. The return of Guillaume Tetu as president and consultant was decisive. He presented me with the projects in the pipeline and we worked together to restructure a five-year vision, returning to the brand’s Neuchâtel roots while embracing a very contemporary future.

Where did you start?

With communication and image. We completely overhauled our online presence, the way we tell the brand’s story and the way we use images. Today, Hautlence is much more active, more readable and more embodied. We have also clarified our message: it’s not an ‘on/off’ situation, but a real change of direction.

Celebrating the legendary motorcycle racer, the Linear Giacomo Agostini is full of references to the world of speed. To the left of the dial, the graduated scale is reminiscent of the precision instruments on a dashboard. Hautlence’s signature complication, the linear retrograde jumping hour, takes on the appearance of a paddock chronograph. At 6 o’clock, the flying tourbillon spins like a wheel set in motion at full speed, protected by its red skeletonised bridge. Behind this mechanical ballet lies the D50 calibre, designed and assembled in-house, with a module developed by Agenhor: 239 components, 3 Hertz, 72 hours of power reserve.

You are more open about your connection with H. Moser & Cie.

Absolutely. It’s even a factor in building trust with customers and retailers. Guillaume Tetu launched the first video, then Edouard Meylan explained the acquisition of the brand. We chose to give the founders a voice, to talk about their lives, their choices, and what led them to create such distinctive watches. That changes everything. The storytelling becomes more beautiful, more human, more interesting to listen to. We also embrace the synergies: the retailer network, the MELB subsidiary in the United States. This brings the credibility and stability that Hautlence needed.

In terms of products, what are the current priorities?

The focus was initially on the case. We resized the titanium case: in 2024, we were working with 37 x 43.5 mm with lugs; today, we offer equivalent dimensions but with an integrated bracelet. It should be understood that in 2020, when we moved to Schaffhausen, the adoption of Moser base movements led to larger cases. We are now working in parallel with Moser calibres and Hautlence calibres.

You also mention more complex developments to come.

Or, in particular, the Linear complication. The group is co-owner of Agenhor and a new collection with an Agenhor complication is planned for 2026. We also benefit from Precision Engineering’s expertise in escapements, as well as the signature of Marcus Heilinger, the designer of H. Moser & Cie’s Streamliner. It’s an exceptional creative force.

The Sphere Series 3 is a variation on Hautlence’s most hypnotic mechanical sculpture. The more compact titanium case features clean, bold contours, as if carved from the raw material. The sphere that gives it its name, located on the left side of the dial, rotates on three axes, revealing the hours through a ballet orchestrated by four conical gears that move around two crossed axes inclined at 21 degrees.

Until now, Hautlence has been very focused on limited series. Is that changing too?

Absolutely. Historically, we have been producing limited editions of 28 pieces. Now we are launching our first non-limited collection, starting at CHF 33,000. The vision is also cultural: we want to become more involved in the art world, engage in dialogue with galleries and be present at Art Basel.

The Sphere seems to occupy a special place in this relaunch.

It is undoubtedly the most important watch of the last six months. We have relaunched it in new dimensions. It is also an exercise that helps us to rethink future collections, with a possible return to more classic versions, such as the first Hautlence watches in white gold. Today, we work exclusively with titanium and steel.

What about distribution, particularly with regard to H. Moser & Cie?

We have to be extremely careful. In the past, we have seen cases where one brand was used to obtain the other. This kind of situation is not healthy. That said, Moser has established real trust with retailers, and that helps us. Dialogue has been re-established with several retailers.

Presented at Geneva Watch Days, the Vagabonde Tourbillon Series 4 and Vagabonde Tourbillon Series 5 combine a wandering hour display with a flying tourbillon. The choreography of the hours unfolds above the three-dimensional dials, set in Hautlence’s iconic rectangular case.

What are your objectives in terms of volume?

Until now, Hautlence has produced around 150 pieces per year, all in limited series. The target for 2026 is to reach 250 pieces, with a more consistent and clearer offering.

In summary, what is the key to Hautlence’s revival today?

The right product, at the right time, with the right message. Hautlence stands out thanks to its avant-garde complications, but also thanks to its creativity, which is nourished by a unique ecosystem. We don’t seek to please everyone, but to be fair, consistent and sincere in everything we offer.