Following the publication of this report in Europa Star magazine (issue 4/03)
we have received many messages and comments.
In a near future, we will bring you with some further considerations and
aditional information on the Tourbillons topic.

Please see as well the page Alain Silberstein New Tourbillon.
Tourbillons:
2003 was
a bountiful year

There was an avalanche of tourbillons at the 2003 Spring fairs! Has it become an epidemic? This year, we witnessed an amazing outbreak in the `queen of complications'. How can we navigate through this deluge? How can we distinguish the real innovation from an ordinary copy? To help us, and you, get our bearings, Europa Star asked a trained watchmaker who is also an independent retailer in Geneva, Denis Asch (L'Heure Asch) to share his appreciation and knowledge of the current state of affairs of the tourbillon. It is his own personal opinion, of course, but one that is enlightened and professional, and that draws on his expertise as a watchmaker as well as his experience as a retailer.

Interview conducted by the editorial team of Europa Star

First observation that we all agree upon is that `too much is too much'. The abundance of tourbillons takes away from the value of this complication that is the crème de la crème of the complication. Why has there been such a headlong rush into the tourbillon, we asked Denis Asch.

Denis Asch: There are other extraordinary mechanisms such as the perpetual calendar or the minute repeater, but these complications are generally not visible. The tourbillon, on the other hand, moves and lives. It is something spectacular, which we notice right away. A person doesn't need to be an expert in watchmaking to understand that it is different and special. From an aesthetic point of view, therefore, a tourbillon has certain advantages and every watch collector wants to have one of these masterpieces. The brands clearly understand this and, commercially speaking, they are right to join in the game. Yet, it is not necessarily all these brands that have the legitimacy or the expertise to contribute something to watchmaking. The tourbillon has been around since 1802. While it was useful for pocket watches, it does not really need to be in a wristwatch since this type of watch is constantly changing positions and therefore does not need to compensate for its operation. With the current plethora of tourbillons, we are seeing a devaluation of this wonderful device. It's really too bad, but that's the way it is.

Europa Star: We hear a lot about the `democratized' tourbillon launched by Progress. What do you think about this?

DA: It is a good challenge but not a wonderful challenge. Let me explain. Progress, at least in the beginning of its exciting adventure, had the means necessary to create an efficient and attractive tourbillon. What they ended up with was certainly robust, at an affordable price, but one that is quite massive. Without wanting to generalize, the lighter the frame is, the better the tourbillon can be adjusted. One of the lightest cases weighs 0.2 grams. At Progress, it weighs much more. Also, Progress has allowed a personalization of its tourbillons according to the brands. A logo can be incorporated as an integral part of the frame itself but in the case of Progress, it is an element that is added onto the frame, making it even heavier and thicker. The beauty of a tourbillon is in the feeling of lightness and airiness that it evokes.

ES: Isn't there also an element of being somewhat overpriced?

DA: The tourbillons on the market today are often excessively expensive, that is correct. But still we must differentiate among them. In spite of a definite high cost, we need to congratulate those who have known how to or who have dared launch into the research and development of a new tourbillon. We must also salute the watchmaker's passion and love for fine craftsmanship. For collectors and aficionados of fine watches, owning a masterpiece such as a tourbillon satisfies a dream, and can be compared to owning a unique masterpiece in art, for example. In this case, price is not an issue. A fine tourbillon, angled, decorated, perfectly balanced and adjusted, requires hours and hours of highly specialized work. Some prices are justified, while others are clearly not.

After this brief introductory conversation, we move to the examination, case by case, of the latest tourbillons shown this year. In all, we selected 16 models for Denis Asch to comment upon. (While this list is not exhaustive, it does offer a representative look at the current situation.) Asch began by taking the first dossier that came to hand. The discussion is open and free and in most cases, our opinions were the same, with the exception of a few minor points of personal preference.
Denis Asch comments:


Antoine Preziuso
If we consider the elements, one by one, it is perfect. But if we take it as a whole, I see a problem. The association of the galuchat and the great originality of the stone setting that evokes the granulation of the bracelet is wonderful. But that's a piece in itself. The tourbillon, taken separately, is lovely and a perfect example. But mixing it with the bracelet, representing a totally different aesthetic approach, destroys the effect of the tourbillon. The quality of the tourbillon and the visibility of its movement disappear under the weight of the ornamentation. Each element taken separately is highly original and well made, but together, the combination just doesn't work. Having said that, we all know the excellence of Antoine Preziuso and know that he is capable of producing, and will continue to produce, pieces that are purer and more vibrant than this example.

Arnold & Son
In the case of this brand, which has produced some very nice products such as, for example an excellent flyback chronograph, we get the impression that a tourbillon was not really quite justified in this particular timepiece. Obviously, collectors want tourbillons, but that alone is not enough to justify their presence in a watch. In and of itself, the tourbillon is quite lovely. The frame and bars are well executed and the movement is chamfered and quite well hand crafted, but the case is a little too big. The white dial, the rose gold and cut-out of the frame orifice do not work well together. It doesn't make a good marriage. The triple-zone function is perhaps interesting, but it is an addition, which is not really necessary. The tourbillon is very nice in itself but the encasing is not up to its level.

Audemars Piguet
We find here the touch of Renaud & Papi that is already visible at Richard Mille, notably, in the hands that show the remaining power and the working reserve in the barrel. Technically, the finishing is excellent, but aesthetically, it is not very inspired. It is a sort of hybrid. Here also, it is too trendy. Having said that, Audemars Piguet can allow itself this type of fancy since it is a venerable company that has made, and will continue to make, truly great classics.

Blancpain
From its debut, I have always liked Blancpain's classic tourbillon. Very fine, delicate and well balanced, I find it aesthetically pleasing. It was one of the very first and since has become timeless. It is still very nice, but combined in this model with chronographic functions, with an overcrowded dial, large numbers and a stone-set bezel, well, frankly, it is too much. It's a shame. This poor tourbillon has become so engulfed in everything around it that it has nearly disappeared. Its simple beauty has been lost. Also, by its very nature, a tourbillon is not sporty. But, it is a model among many others, testimony to the general confusion that surrounds the tourbillon today. Blancpain certainly has good commercial reasons for wanting to bring it out but that does not mean the brand will no longer make its magnificent and purely classic model. We must be patient.

Chopard
Technically, this tourbillon is very interesting and successful with a working reserve of eight days and a movement endowed with the PoinÇon de Genève (Geneva Seal). It is also one of the rare tourbillons with an oscillation of 28,800 vibrations/hour. But, unfortunately, it is a disappointment from an aesthetic point of view. The rectangular form of the bars, with their strict mechanical severity, clashes with the rest and degrades the watch by destroying the purity that it had before. It is a total contrast with the dauphine hands, for example. The combination is not convincing.

Daniel JeanRichard
Why would Daniel JeanRichard propose a tourbillon? I wonder because this brand, whose diverse offer I appreciate very much, is not positioned in this category. Moreover, I find that the hybrid aspect is too much a mix of types. In spite of the excellent execution of the tourbillon itself, the relationship between the shape of the case and the device is odd. The colours and style do not match and the bar seems to be an added element. In sum, the whole is made up of an assorted variety of elements and lacks homogeneity.

Daniel Roth
As is usual, the case is very nice and gives a strong identity to the watch. It is an in-house movement, which is to be saluted. But the style resembles a little too much that of Breguet. The shape of the bar is not at all convincing. The dial is too large in relation to the opening of the tourbillon. It is very classic, rather pure but it lacks spice and fantasy, but we get the impression that we have seen it before.

Franck Muller
Has Franck Muller succeeded in creating a watch that many watchmakers dream of? Perhaps, but because of not having the opportunity to examine it closely, I cannot answer this question. His idea is clever. He knows perfectly well that the tourbillon is only really applicable to pocket watches which are carried in a vertical position. Undoubtedly, he was inspired by the ancient gyroscope-mounted marine chronom-eters when he created this tourbillon that rotates on the horizontal and vertical axes. Is it the Grail? Unfortunately, I don't know. But at least he has made it, and that is already saying something. In passing, we might mention something of similar prowess created by Thomas Prescher of the ACHI, which is a pocket watch equipped with a double-axis tourbillon. As for the Muller tourbillon, while waiting to learn more, I would give him the Grand Prize for Art and Experimentation.

FranÇois-Paul Journe
In terms of watchmaking, what FranÇois-Paul Journe has created is the best out there today. He is the most interesting watchmaker since he has ideas and demonstrates that making an interesting object is not just a matter of having financial resources. He is proposing a technical and aesthetic revolution. He says what he does and does what he says. Now, returning to his tourbillon, the frame is among the most beautiful. It is light, airy, polished and chamfered down to the slightest detail. Just look at the mirror-polished and completely uniform screw heads. For the first time, a tourbillon is equipped with a constant-force device to regulate the energy and distribute it in a continuous manner. This existed in bell pendulums and music boxes, but is the first time it has been included in a wristwatch. The ensemble offers the best equilib-rium of the various elements today while being very contemporary.
It is a total success!

Girard-Perregaux
Here, we move on to quite another thing. With the Tourbillon with Three Gold Bridges, it was, and still is, love at first sight for me. We are now seeing the greatest purity. There is the strict minimum of gears. This is not only beautiful because it gives an exceptionally transparent life to the movement, but also because it is technically perfect since we know quite simply that the more gears there are, the more intermediate gears there are and the more difficult it is to make adjustments. Here classicism, efficiency and beauty rule. There is no need to say more. It is the grand classic. It gets the Grand Prize for Purity.

Jaeger-LeCoultre
Aesthetically, this is a very nice expression of the technical aspects of a tourbillon. It resembles somewhat a super-expensive toy. The gear return, which turns before the winding, adds life to it. The ensemble is very classic, impeccably finished and decorated with the beauty of its blued screws. It is certainly worthy of one of the best manufacturers. The classic beauty of the piece gives it a timeless quality. However, it is a little expected.

JÖrg Hysek
The tourbillon of Richard Mille is more advanced from a technical standpoint than this one, but I would like to salute this accomplishment. Frankly, I don't find it especially attractive for my own personal taste, which is obviously subjective, but it is revolutionary. It also shows an effort in research for materials and form. It is courageous and innovative and breaks with the norm. We should also mention that the price is more advantageous, offering a better price/quality ratio.
I would give it the Special Grand Prize for Innovation.

Patek Philippe
Does this get the prize for moderation or for daring? I ask the latter because they dared to hide a tourbillon! Certainly, Patek Philippe could allow itself to do this. In fact, Patek's tourbillons have always been hidden, like they were from the very beginning in pocket watches. It is true that sunlight damages R
the lubricating oil used in the gears. Patek's tourbillon is not just any tourbillon. The watchmaker chose to combine it with its new 10-day movement, introduced in 2000, which offers a lot of force but takes an enormously large space with its double barrel. To combine that with a tourbillon, in a case of normal dimensions, is wonderful! We don't see much on the back either. They have hidden everything except the large bar. Their movement is one of the best in existence. It is the ultimate in luxury and we must credit them with the performance of the tourbillon and their boldness.

Piaget
It is a flying tourbillon (fixed on its central axis, with no bar) and is one of the rare tourbillons produced in-house. Already, from this point of view, we must give it credit. It has a high level of refinement, and is the lightest in weight thanks to the use of titanium. Piaget obviously worked a lot on the technical side as well as on design, as seen in the curve of the bar that evokes the case. These watchmakers were sure of their work, even daring to place the Piaget `P' on the tourbillon, thus adding more weight, which ran the risk of unbalancing the ensemble. Was this necessary? Even with the added logo, we can clearly see the tourbillon move. The only drawback is that Piaget could have gone a little further on the design side, for example, removing a little bit of material at the centre in order to make the overall effect a little more airier.

Richard Mille
This is the most interesting tourbillon of the year, and by far. Aesthetically, it breaks with what has been done and, technically, it is nothing short of revolutionary. The evolution is found mainly in the unusual use of new materials. To create a bar in titanium is very adventurous. Technically, it is interesting because the lighter the tourbillon is, the more efficient it is. The new materials, the sturdiness of the balance spring, the shock-resistant case and the domed anti-reflective sapphire crystal all contribute to protect the fragile equilibrium of a tourbillon. Thanks to their research, this is one of the most precise and reliable tourbillons today. Its design matches the technical specifications, as in the selection of functions that are activated by pushing the crown. It is also one of the only tourbillons that is totally modern in its conception. It was certainly developed by Renaud & Papi [Editor's note: belonging to Audemars Piguet] but it is the creativity and talent of Richard Mille himself that was the driving force. This tourbillon deserves a Special Mention.

Roger Dubuis
There has been much effort and soul put into this movement. The chamfered bars and angles, the beauty and attention to detail contribute to satisfying the demanding criteria of the PoinÇon de Genève. This prestigious seal is conferred on all the brand's timepieces, which are only made in series of 28 each. Unfortunately, for my taste at least, the beauty and precision of this work are smothered under too much design. The movement and tourbillon disappear, hidden under three too-large bars, very large hour markers, arrow-shaped curved hands and a shock of materials. Its placement at 7 o'clock is original but represents no particular prowess. It is a very trendy tourbillon, which may find commercial success, but which will not last. Happily, Roger Dubuis is a grand watch master and we are all aware of the fine quality of his work.

Europa Star Magazine
August-September 2003