Stories

Guido Terreni, CEO of Parmigiani Fleurier, holds that a chronograph is only as good as the architecture of the movement that drives it.

At La Fabrique du Temps Louis Vuitton, Master Watchmakers Michel Navas and Enrico Barbasini oversee the calibre DR002, built to Mr. Roth’s principle of clarity and proportion.

Louis Erard spent three years with Worn & Wound shaping a regulator dial of fluted sunray lines and lacquer, and it now joins the brand’s Métiers d’Art collection.

Chronoswiss has turned to the Roaring Twenties, and the geometry of Art Deco, for a new edition of the Delphis, one of its best-known complications since 1996.

In the Chronoswiss Atelier in Lucerne, an engraver spends weeks cutting Chronos, the ancient Greek god of time, into a solid gold case, one stroke at a time.

Czapek developed its Cosmic Blue for the first Antarctique Tourbillon, then chose to wait, keeping it to unite three Antarctique models in titanium.

Among the one-of-a-kind watches URWERK keeps in its workshop is one that slid time across a 180-degree arc beneath a diamond-studded sky.

Master watchmaker Claude Greisler believes materials must carry meaning beyond aesthetics, and with a local stone artisan, Armin Strom has cut a dial from natural ruby.

H. Moser & Cie. made one watch for the drivers of the BWT Alpine Formula One Team and one for its mechanics; now both take on pink, from the team’s second livery.

Only two specialists at GT Cadrans can make the dial of the Promenade Midnight Pearl: blue aventurine glass laid over Tahitian mother-of-pearl, around 0.4mm thick in all.

At GT Cadrans, near Lausanne, only one artisan can brush the varnish that shapes the clouds on the Antarctique S Ice Cloud, working entirely by hand.

Chronoswiss's second reading of the moon is the Space Timer Gravity, built around one of the universe's most powerful forces and a lunar surface lasered from an original NASA photograph.