Before leaving France for new journalistic adventures on the other side of the Atlantic, I must confess something. When I first started this column about four years ago after I arrived in Paris, I had certain preconceptions about the French watch industry that, over time, proved to be totally false. I used to think that this industry was an endangered species, barely surviving in a pitiless universe while playing the card of creativity for double or nothing.

After spending time with the brands, getting to know them, interviewing the managers and following their evolution during the various Basel fairs, I realized just how much my preconceived ideas of French watchmaking did not correspond to the reality of the situation. I also believe that among the readers of this letter, many of them have the same erroneous vision of the French timepiece. So it is particularly to them that I address this last column.

French watchmaking does exist. Not only have I encountered it, but today I am convinced that it has a bright future. It is somewhat difficult to exactly define a French watch in global terms, since there are so many types, styles and methods of production. It is perhaps better to speak of French watches in the plural, since none of these pieces come out of the same mould. In France, we find mechanical watches, ‘Swiss Made’ quartz watches, un-categorized quartz watches, watches made under licensing agreements, sports watches, fashion watches. In a word, we find ‘everything’.

Despite their great diversity, they do, however, have one thing in common: their creativity. This is not a clichéd creativity as I once thought in the beginning. I already have written about it, and I repeat it for those who don’t know. In the global watch world, controlled by the large luxury groups where timepieces end up all looking the same, French watchmaking distinguishes itself by the originality and boldness of its production. And, it proves this year after year at the Basel fair. In four years, I have had the occasion to also follow the qualitative evolution of these brands, most of which are based only a few steps from the Swiss border. Mostly, they have been forced to move upmarket in order to escape the merciless universe of the mid-range. This effort has shown results, but this course of action has not been evident for all these enterprises, many of which are family businesses without astronomical financial resources.

French watchmaking does have its problems, however. It suffers from the nearness of its neighbours, whose watches have acquired a truly global reputation, and who, we must admit, have overshadowed their French counterparts. Also, we cannot forget that Swiss brands regularly come across the border to recruit the talented French watchmakers. Another difficulty is the state-imposed 35-hour work working week which has caused a multitude of problems for many small to medium sized French enterprises.

In this problematical and competitive environment, it is thus understandable that some watchmakers are rather defensive and accept criticism with great difficulty, even if it is constructive criticism. I know this first hand, believe me.

I was also surprised to discover to what extent French watchmaking is involved with Franco-Swiss relations. In this case, it is the Swiss who have an obvious superiority complex. Even more surprising, Swiss brands have used French patrimony to promote themselves. Did not Nicolas Hayek rent the Château de Versailles for a whole evening to celebrate the bicentenary, not of the French Revolution, but of the invention of the tourbillon by Breguet! Other brands such as Longines, Piaget or Zenith have also organized promotional events in Paris. While expressing my admiration and esteem for French watchmaking and watchmakers, I would also like to thank all of those who have helped me to discover the many wonderful facets of this creative industry during the last few years. It has been wonderful knowing you. Goodbye and good luck to all.

Source: Europa Star February - March 2004 Magazine Issue