For Vacheron Constantin, 2023 is the year of the retrograde date. The brand kicks off the year with three references featuring this unusual complication, led by the Traditionnelle Tourbillon Retrograde Date Openface.

Vacheron Constantin has a rich history in retrograde displays that dates back almost 100 years, and the Traditionnelle Tourbillon takes things up a notch with a hand-engraved, open-worked dial.

Initial thoughts

The new Traditionnelle Tourbillon is a tidy little package that tweaks an existing movement to create a surprisingly different watch thanks to an open-worked dial that uses the retrograde mechanism as a design element.

The result is a watch that is recognisable as a Traditionelle Tourbillon – it has many of the hallmarks of the line – but one that instantly stands apart.

The new look also compliments the largish case well. Size-wise the new tourbillon is almost identical to the standard Traditionelle Tourbillon with a conventional dial. But while the standard model feels a little large at 41 mm due to its classical styling, the new model feels more natural in its size thanks to its contemporary aesthetics.

In terms of its value proposition, the estimated price of €200,000 is consistent with its stature, if a bit on the high side. It’s slightly more than the brand’s own Overseas Tourbillon Skeleton, a watch that features the same base movement dressed in more elaborate finishing. Of course, it’s not an apples-to-apples comparison since the Overseas lacks the two-piece guilloche dial and retrograde date mechanism of the Traditionelle. 

Guilloche and retrograde 

While the base movement of the new Traditionnelle Tourbillon is familiar, the execution of the retrograde mechanism and dial are unusual – the retrograde mechanism is essentially the dial.

Easily the most striking feature of the new Traditionnelle Tourbillon, the dial is built on two levels to offer visual depth and a dramatic play of light and shadow.

Notably, the lower half of the dial is actually the movement base plate decorated with traditional guilloche engraved with a straight-line engine. The upper dial is composed of a sapphire crystal disk and a segment of 18k gold that is similarly engraved.

The baseplate of the retrograde date mechanism, which forms a large part of the dial, is engraved by hand using a straight-line engine.

The use of an engraved base plate as a dial element is a bold and unusual choice that requires utmost care during assembly and servicing of the retrograde date components, but the effect is worth the effort. Another watch that uses an engraved base plate to form the dial is the F.P. Journe Chronomètre Bleu Byblos introduced in 2014.

The upper dial combines sapphire crystal with hand guilloché on 18K gold

Sandwiched between these elements, the retrograde date mechanism is on full display. This configuration calls to mind the earlier ref. 47247, a limited edition introduced in 2002 to mark the brand’s 247th anniversary. 

Interestingly, while the configuration of the retrograde date is similar to this prior reference, the mechanism has evidently been redesigned to offer a more tidy and attractive arrangement of racks and springs. 

The racks and springs of the retrograde date mechanism are elegant and uncluttered.

A familiar movement, with an Easter egg

The cal. 2162 R31 in the new tourbillon is based on the cal. 2160 introduced in 2018 as the brand’s first automatic tourbillon. The movement features Vacheron Constantin’s signature tourbillon cage in the shape of the Maltese cross.

The cage stands out for its distinctiveness, delicacy, and its satisfyingly sharp inner angles. The cage also features an Easter egg: one of its cage screws is galvanised to the same grey colour as the dial, enabling the tourbillon cage itself to double as a running seconds hand. 

The movement architecture is elegant, with graceful curves mirrored by adjacent bridges. The finishing is exemplary, especially the black polished tourbillon bridge on the dial side.

The grey-tone screw at the 12 o’clock position on the cage

The most unusual characteristic of the movement is the peripheral winding rotor. Though peripheral rotors tend to wind less efficiently than central rotors, they offer the advantages of reduced thickness and an unobstructed view of the movement. Given the fine finishing of the cal. 2162, this is a worthwhile compromise.

The cal. 2162 R31 – the magic lever winding system is visible at the upper right

Also worth noting is the automatic winding train visible through the case back between 12 and two o’clock. In most automatic movements, these components are hidden, but this layout enables the user to observe the transmission of energy from the peripheral winding ring to the intermediate wheels, and finally to the “Magic Lever” style, pawl-based bi-directional winding system. 

As an aside, the Magic Lever was invented by Seiko in 1959 and is still strongly associated with the Japanese brand. But over the past few years, the Swiss have overcome their collective “not invented here” bias, and you can now find this compact and efficient system in numerous brands from Ulysse Nardin and H. Moser & Cie to IWC and Jaeger-LeCoultre.

Key facts and price

Vacheron Constantin Traditionnelle Tourbillon Retrograde Date Openface
Ref. 6010T/000R-B638

Diameter: 41 mm
Height: 11.07 mm
Material: 18K 5N pink gold
Crystal: Sapphire
Water resistance: 30 m

Movement: Cal. 2162 R31
Features: Hours, minutes, small seconds on tourbillon cage, tourbillon and retrograde date
Frequency: 18,000 beats per hour (2.5 Hz)
Winding: Automatic
Power reserve: 72 hours

Strap: Alligator with folding clasp

Limited edition: No
Availability: At Vacheron Constantin boutiques only
Price: €200,000 (subject to change)

For more, visit Vacheron-constantin.com.

Recently in Singapore for The Anatomy of Beauty, an exhibition dedicated to Vacheron Constantin’s watchmaking over the decades, Christian Selmoni has an encyclopaedic knowledge of the brand. Now the brand’s Style & Heritage Director, Mr Selmoni joined Vacheron Constantin (VC) in January 1992. His tenure of almost 31 years has given him an innate sense of the brand and its philosophy as well as a wide-ranging perspective on its timepieces over the years.

We had a chat with Mr Selmoni to hear more about the brand’s most interesting creations, ranging from the 22”’ observatory-certified tourbillon movements of the 1920s to the modern-day Celestia grand complication.

The interview was edited for length and clarity.

SJX: The Singapore exhibition has a good selection of the complicated, historical, and artisanal. What’s your favourite out of all that?

Christian Selmoni (CS): It’s a tricky question, but one that immediately comes to my mind – the 22”’ tourbillon because I love this this calibre. VC made the movement in the 1920s; around 20 movements were sent for observatory contests.

Once the contests were over, the movements were put in a tray somewhere. Then at the beginning of the 1990s, we made six or seven pocket watches with 22”’ tourbillon movements that had been totally refurbished and decorated. They were made for John Asprey in London. All of the [Asprey pocket watches] were unique, either in material or decoration, and some were set with gems as well.

One of the 22”’ tourbillon pocket watches made for Asprey in the early 1990s

SJX: One of them sold at Phillips not too long ago…

CS: Yes, that’s the one. I love them because they bring us back to observatory contests, which few people remember these days.

The watchmakers who were regulating the movements for the contes were just like Formula 1 drivers. They had their secret recipes for their their own mix of oil since lubrication was key for accuracy. Some preferred to die with their secrets rather than give the recipe to someone else.

But back to the story of the 22”’ movements. Some of them were sold during in the 1920s as finished watches and I’ve seen the records listing the clients, Henry Graves, the Maharajah of Patiala – all great collectors. The movement is something special.

SJX: Do you have any more of these movements left?

CS: Ah… yes, we do. We still have some 19”’ and 22”’ calibres.

SJX: So what are your plans for them?

CS: We haven’t planned anything, but rediscovering such movements from the past, then making cases and dials for them is a good thing if you fully respect the movement. It could be a great initiative to extract something from the past and to make it alive again. But on the other hand, you will have people will say well, what’s the point with this?

A closeup of the tourbillon regulator in the 22”’ movement

SJX: On the topic of custom made watches, every year VC launches a collection of unique Les Cabinotiers watches. Which of those in recent memory was the most interesting?

CS: There are several watches that are really phenomenal, but I absolutely need to start with the Celestia. It is mind blowing.

The Celestia has three gear trains – for mean time, solar time, sidereal time –  23 complications on two faces, while having incredible thinness. And not to forget the quality of the design.

Just so you know, the designer who designed the Celestia was the same one who did the 57260. Emilie [Vuilleumier], who is not with us anymore, was absolutely brilliant because she had a deep understanding of translating watchmaking into clear displays, a rare skill.

The Celestia Calibre 3600

And the Celestia is also special to me because that was the last watch where I was in charge of the development. It’s kind of mad love affair with an absolutely amazing watch.

Did you have others in mind yourself?

SJX: A few comes to mind. One is the 1921 perpetual calendar. It’s not complicated, but I find it an interesting design.

CS: That was not a unique piece, it was a series of 20. We made them in platinum for the Geneva boutique and later in rose gold. It was controversial at the time because we took a model from the past that was never a perpetual but made it a perpetual. It was a strange initiative, but the result was great.

The 1921 perpetual calendar in platinum

SJX: Why don’t you do this more often and add something new to a vintage design?

CS: With the Historiques collection we are paying tribute to the past. We think that it’s better to translate them into the 21st century but respect them in terms of functionality.

SJX: You could do a 222 perpetual.

CS: Yeah, I was thinking of that. Or we can do a Cornes de Vache automatic.

SJX: Exactly [laughs]. Or Cornes de Vache split seconds.

CS: That’s a good discussion to have, to confirm what others like yourself think. I’m not myself too rigid that I don’t change my position. But why not?

SJX: I look forward to that – Cornes de Vache split seconds.

To mark the reopening of its boutique within the same complex, Vacheron Constantin (VC) has just inaugurated The Anatomy of Beauty, an exhibition taking place in the ArtScience Museum of Marina Bay Sands from now to November 2, 2022.

Open to the public with free admission, the exhibition is an all-encompassing showcase of the brand’s watchmaking split into three sections, starting with its historical timepieces and culminating in its modern-day grand complications like the Tour de l’lle.

The first section, Our Heritage: A Legacy as Precious as Time, presents a selection of the brand’s notable timepieces from its earliest years – the oldest watch on show is exactly 200 years old – continuing into the present day with the landmark Tour de l’lle launched in 2005 to mark the brand’s 250th anniversary, an impressive double-faced watch with 16 complications.

A pocket watch dating from 1822 with an engraved case set with amethysts

The Tour de l’lle

Following that comes The Anatomy of Beauty dedicated to the brand’s traditional and artisanal decorative techniques. Amongst the highlights is the Métiers d’Art “Great Civilisations”, a quartet of watches unveiled just earlier this year at the Louvre.

Métiers d’Art “Great Civilisations”

Finally Science and Complications explores the five most important complications for VC, namely the tourbillon, split-seconds chronograph, retrograde display, perpetual calendar, and minute repeater. The key exhibits in this section include an elegant split-seconds chronograph pocket watch from 1939 as well as the Mercator double-retrograde from the 1990s.

The 1939 split-seconds with a symmetrical dial featuring a tachymeter

The Anatomy of Beauty takes place from October 16 to November 2 at the ArtScience Museum in Marina Bay Sands. It is open to public daily from 10:00 am-7:00 pm.

Admission is free, but registration is required to attend. To register, visit Marinabaysands.com.

ArtScience Museum (Level 4)
Marina Bay Sands
6 Bayfront Ave,
Singapore 018974

For more, visit Marinabaysands.com.

At Watches & Wonders 2022 Vacheron Constantin introduced watches in a diverse range, but sandwiched in between the artisanal decoration and complications was a new addition to the Historiques collection of vintage remakes. An unexpected launch given that Vacheron Constantin (VC) already has a luxury-sports watch in its lineup, and largely focuses on dress watches and complications in any case, the Historiques 222 was nevertheless a highlight amongst the new launches, especially given the current appetite for such watches.

But the 222 is more than just something that caters to today’s fads. It is a sympathetic remake that manages to incorporate substantial, hidden improvements while preserving the look of the original – but not the feel thanks to a significantly improved bracelet.

Initial thoughts

As the Overseas has long matured into an established collection amongst VC’s offerings, the return of its predecessor is surprising. My initial reaction was that it is confusing to offer two different luxury sports watch models simultaneously, but it makes sense given that the 222 is a Historiques model, a vintage remake in other words. Not only does VC have a track record of reviving vintage models in style, the 222 can cater to an audience that seeks something more elegant and compact than the Overseas.

It’s likely that the return of the 222 was a deliberate decision on VC’s part to create a luxury-sports watch that is different. Of the three luxury sports watches by the “Holy Trinity” of brands, the 222 is the most restrained due to its simple lines and largely matte finish. In comparison both the Royal Oak and Nautilus are bold, loud designs.

That said, the fact that it’s a remake is arguably a downside, since it reflects the fact that the 222 wasn’t in production long enough to become a defining watch of the brand. The most successful models in the luxury-sports watch segment are those that were in continuous production, giving them a strong, unbroken history. But that philosophical musing doesn’t take away from the qualities of the watch, which are sizeable and easy to appreciate.

While the Historiques 222 isn’t an original design, it is certainly a good one that manages to be distinct from other luxury-sports watches. And the deft, tasteful manner in which it was remade gives it considerable appeal. That is rarely the case for remakes since they inevitably get bigger and bolder, sacrificing a certain old-fashioned elegance along the way, losing the charm of the original. The Historiques 222 manages to be just as charming as the original but better executed.

In fact, the modern-day 222 is even more successful than most of its counterparts in the Historiques collection because of its artful execution. While majority of the watches in the Historiques are clearly contemporary creations – they would not be mistaken for a vintage watch even at a distance due to their size and form – the 222 is faithful enough that it could pass for a vintage original, but yet manages to be a tangibly better watch in terms of fit and finish, particularly on the bracelet.

Though carefully modelled on the original, the Historiques 222 is all new in terms of the construction and details of the case and bracelet. Both have been manufactured with enhanced precision – and superior ergonomics for the bracelet – while being finished to a higher level. At the same time, the dial is finished in a slightly shade of gold, while its furnitures has been made more prominent.

And of course it’s equipped with the in-house cal. 2455 that is visible through the sapphire case back. That, however, is perhaps the only technical shortcoming of the watch.

In contrast, the original 222 contained the cal. 1120, the vaunted ultra-thin movement made by Jaeger-LeCoultre and also used by Patek Philippe and Audemars Piguet. Today VC only uses the calibre in the Overseas perpetual calendar, presumably because of supply constraints as assembly and regulation of this decades-old construction is more laborious than for newer calibres. The cal. 1120 would have made the 222 even better than it is, but presumably a lot more expensive.

At US$69,000, the Historiques 222 is arguably priced modestly for an all-gold luxury-sports watch from a haute horlogerie watchmaking. Compared to the Overseas ref. 4500V in gold, it is only 15% pricier, a modest premium given that it features a thinner, higher-end movement while being made in smaller quantities.

The cal. 2455/2 with a customised rotor for the 222

A brief history

The original 222 was rolled out in 1977 to commemorate the 222th anniversary of VC’s founding in 1755, a year after Patek Philippe debuted the Nautilus. While its better-known rivals were both designed by Gerald Genta, the 222 was penned by a then up-and-coming German designer in his early twenties, Jorg Hysek, who would go on to create a variety of sports watches for brands like TAG Heuer and Breguet.

Discontinued in 1985, the 222 had a production run of just eight years, with slightly over 2,000 produced across all variants. The 222 was available in three sizes, 37 mm and 34 mm with automatic movements, and quartz in 25 mm, along with an odd-looking square model.

The rarest among the sizes is the largest, “jumbo” model, of which just over 700 pieces were made. Beyond rarity, the appeal of the “jumbo” is the simple fact that it’s most wearable by today’s standards.

The 37 mm model was produced in several guises, including steel, all gold, and two-tone, along with a few examples set with diamonds. It is the “jumbo” that is making a return this year, and in the luxe, all-gold format.

While steel is often the material of choice for a sports watch, the all-gold 222 perhaps has more appeal (and a Historiques 222 in steel will probably emerge in time to come anyway).

A period advertisement for the 222. Image – Vacheron Constantin

On the wrist

The Historiques 222 is a pleasant experience on the wrist; it wears comfortably. And it is also satisfyingly hefty despite its compact size.

At the same time, the 222 looks good. The design is simple and almost understated with its brushed finish, but it’s still yellow gold from end to end. Despite the restraint, it still has the appeal of a luxury sports watch; it exudes class without trying too hard.

The 222 is as discreet as an all-gold watch can be and I like that. Almost all its surfaces are brushed, giving it a fine matte finish on nearly every plane – an unusual choice of finish for a gold watch.

And the 222 is smaller than the modern norms for such a watch at just 37 mm wide and 7.95 mm tall. It’s probably the only luxury-sports watch on the market with such compact dimensions. The Overseas, on the other hand, is much larger at 41 mm in diameter.

Together, the size and finish gives the 222 an easy, casual feel, making it versatile enough for most occasions. But it is still entirely yellow gold, so it has the lustre and density only found on a gold watch with a gold bracelet. The gleam of the metal and its weight on the wrist are reassuring.

Distinctive and handsome, the case and bracelet of the 222 are finely finished though not quite as complex as those of the Royal Oak and Nautilus

Though the 222 is almost entirely brushed, its edges are highlighted by polished bevels that are most apparently on the case and bezel

But beyond the aesthetics and details, the 222 is appealing for its fit on the wrist. While the vintage original was almost identical in terms of size, the remake is much more comfortable. That’s thanks to a redesigned bracelet that’s more supple, giving it a more fluid feel on the wrist.

The bracelet also has a superior construction, resulting in narrower tolerances, making it tangibly more solid. The improved construction is immediately apparent in the hand and on the wrist – the watch feels good on the wrist.

In contrast, the bracelet on the original was more rigid while also being a bit dinky thanks to the thin, stamped clasp in steel.

The new 222 has a two-fold “butterfly” clasp with a hidden buckle

Same but better

It’s already clear the Historiques 222 has a singular purpose: to look like the original but do better in terms of tactile feel and construction. That required significant reworking of all parts, from case to bracelet to dial, while staying within the limits of the original design.

Consequently, the improvements are only apparent up close. The proportions of the bezel, for instance, are entirely different, as is the finish.

The topmost flat surface of the bezel has been slimmed down, emphasising the brushed “bottle cap” aspect, which also makes the dial seem wider. At the same time, the flat base of the bezel has been given a polished bevel on its outer edge that adds visual refinement.

The most obvious refinements are on the dial. At first glance it appears wider, thanks to the reshaped bezel described above. But that’s also a result of enlarged hour markers and hands, surprisingly look perfectly proportional despite the case staying the same size, no doubt a reflection of the careful redesign.

A giveaway that the movement inside is no longer the same is the date window. It is now slightly smaller and also sits further away from the edge of the dial, far enough that the minute track continues uninterrupted. On the vintage original the date sits over part of the track.

In vintage remakes, a repositioned date is often the major letdown in terms of design because it throws off the balance and proportions of the dial. But on the 222 it works. The date, in fact, looks surprisingly good, which is partly due to the uniform gold-on-gold colours. And it also reflects the fact that while the cal. 2455 inside is not the same as in the original, it certainly fits the 222 case well.

The gold-on-gold livery is worth mentioning for its unusual nature. A gold dial on a gold watch is not novel in itself, but the specific execution of the 222’s dial is uncommon.

Instead of the typical champagne or bright yellow gold, the dial colour includes a hint of cream, resulting in slightly muted tone that manages to evoke a vintage watch while looking contemporary. And it also accomplishes the difficult feat of creating contrast against the yellow gold of the case and bracelet.

A subtle but important element of the design is the Maltese cross on the case, which is ironically the only element in the entire setup that is not a shade of yellow gold.

Compared to the cross on the original, this has been given a more pronounced profile by reducing its diameter while increasing the height. Though minor, the applied cross is an unusual detail that brings with it a retro feel that’s perfect for the 222.

Polished and raised against a bead-blasted surface, the Maltese cross on the case is a discreet but a defining feature of the 222

Thin and crisp

Visible via the sapphire back is the cal. 2455/2, an automatic, ultra-thin movement that’s part of a family of calibres that started with the cal. 2475 introduced in 2005 for the brand’s 250th anniversary.

Perhaps because the movement architecture is almost two decades sold, the cal. 2455/2 feels old school in a good way. That might be due to the various wheels and levers that are exposed or perhaps the individual bridges for the barrel and gear train. One of the details I particularly like is the hacking lever for the stop seconds – it takes the form of a slim steel blade with a step at its tip that halts the balance wheel when the crown is pulled to set the time.

Sitting just beside the balance, the stop-seconds lever is shaped like a golf club

Despite the retro looks, the cal. 2455/2 is still a more modern movement than the cal. 1120 found in the vintage 222. The cal. 2455/2 beats at the modern frequency of 28,000 vibrations per hour, or 4 Hz – making it high beat compared to the cal. 1120 – which gives the balance greater inertia thus leading to improved stability and shock resistance.

The power reserve, however, is just 40 hours, identical to that of the cal. 1120 and a telltale sign of the movement’s age. By comparison, the newer and larger cal. 4100 of the Overseas has a 60-hour power reserve.

While the cal. 2455/2 is a somewhat dated movement with a relatively short power reserve, it is more elaborate than the cal. 4100 in the Overseas. Other members of the same movement family are typically found in VC’s pricier timepieces, including the recent Metiers d’Art “Great Civilisations”.

And the cal. 2455/2 is superior to the cal. 1120, at least from a practical standpoint, simply because it has a quickset date. The cal. 1120 didn’t have that luxury, which means the hands have to be cycled back and forth past midnight to set the date on a vintage 222.

The finishing of the 222 is neat and careful with a mix of machine and hand-applied decoration that qualifies for the Poincon de Geneve. It is similar in quality to other watches in this segment from the likes of Audemars Piguet and Patek Philippe.

The Poincon de Geneve hallmark is visible on the balance cock

All jewels and screws sit in prominent countersinks

One of the highlights is the rotor, which has a relief “bottle cap” edge pattern that echoes the bezel and a variety of finishing ranging from frosting to brushing

Concluding thoughts

The Historiques 222 is smartly conceived and just right. It’s neither too big nor too thick, common pitfalls for a vintage remake, and also not too expensive, which happens easily with luxury-sports watches. Importantly, it feels good on the wrist. In fact, in some ways it wears better than the solid-gold Overseas with its smaller, more refined dimensions.

But the 222 is yet another luxury-sports watch with an integrated bracelet, which means it will be accompanied by a long waiting list (it is), despite not being a limited edition. Availability, in other words, is almost nil.

Still, the merits of the watch make it a compelling proposition. If the lengthy production runs of other Historiques models are anything to go by, the 222 will stay in the catalogue for a long time, hopefully long enough that it becomes accessible.

And as a parting thought, it will be logical from a commercial perspective for VC to debut a steel version once demand cools off. That won’t have the solid heft of the gold model, but it will certainly be more hard wearing, making it more of a sports watch.

Vacheron Constantin Historiques 222
Ref. 4200H/222J-B935

Case diameter: 37 mm
Height: 7.95 mm
Material: 18k yellow gold
Crystal: Sapphire
Water resistance: 50 m

Movement: Cal. 2455/2
Features: Hours, minutes, and date
Frequency: 28,800 beats per hour (4 Hz)
Winding: Automatic
Power reserve: 40 hours

Strap: 18k yellow gold bracelet

Limited edition: No
Availability: At Vacheron Constantin boutiques only
Price: US$69,000; or 99,000 Singapore dollars

For more, visit vacheron-constantin.com.

Announced in 2019, Vacheron Constantin’s partnership with the Louvre has given birth to the Métiers d’Art Tribute to Great Civilisations, a quartet of watches featuring artisanal, micro-sculptures in a nod to bygone empires.

Each of the four watches bears on its face a scaled-down reproduction of an artefact in the Louvre – the Great Sphinx of Tanis, the lion relief from Palace of Darius I at Susa, the Winged Victory of Samothrace, and the bust of Caesar Augustus. These objects have each been reproduced with creativity and artistry to create dials that live up to the métiers d’art label.

Buste de Auguste

Initial thoughts

Vacheron Constantin’s Metiers d’Art watches reflect the brand’s versatility in artisanal decoration, both in terms of technique and style. But the Great Civilisations are notable for being more complex in terms of construction and materials than past Metiers d’Art watches.

The dials are comprised of several layers and sections, in turn decorated with a variety of artisanal techniques ranging from enamelling to mosaic, in order to create the depth and detail they possess. Importantly, the result is greater than the sum of the parts – the dials are attractive in form and impressive in detail.

Lion de Darius with its Roman mosaic dial base and relief lion

Though all four watches are exceptional examples of Vacheron Constantin’s metier, the Grand sphinx du Tanis and Lion de Darius certainly stand out over the other two, just because of their more striking palette. The Buste d’Auguste and Victoire de Samothrace feel muted in comparison.

The dial of the Grand sphinx de Tanis

While the cultural and historic inspirations behind each of them will not resonate universally, the watches are intrinsically appealing for their craft and aesthetics. They do justice to the objects in the Louvre, especially considering the scale of the objects themselves – the Sphinx is the size of a room – relative to the size of a wristwatch.

But as impressive as the watches themselves is the obvious effort that went into their creation. Each of the watches incorporates a surprising numbers of historical references – a pattern from a vase for the frieze here, a paragraph from a speech given two millennia ago there – so much so that the degree of collaboration between Vacheron Constantin’s creative team and the Louvre must have been all encompassing. This is a collaboration in every sense of the word.

Vacheron Constantin’s Christian Selmoni is instantly recognisable in his windowpane-fabric suit

A shared canvas

Despite the incredible diversity of the dials, they all share the same usual construction made up of a dial base, a decorative frieze around the base, a smoked and engraved sapphire disc on the base, and finally the miniature sculpture on top of the sapphire.

The dial base of Lion de Darius is inlaid with tiny pieces of turquoise and yellow jasper to form a Roman mosaic

The dial base of Victoire de Samothrace features fired enamel, applied by hand naturally

Installing the frieze on the dial of Victoire de Samothrace

The clear sapphire disc is metallised with historical script; in the case of Grand sphinx du Tanis, it features Egyptian hieroglyphs from the cartouche of the pharaoh Menenptah

And the centrepiece is the hand engraved miniature sculpture that reproduces the object itself

The sphinx is set in place

Assembling the dial of Lion de Darius

The result is a three-dimension appearance with the sculpture seemingly positioned at a distance from the dial base, although everything is contained with the millimetres available under the crystal

Mechanically the four watches are identical. They are powered by the cal. 2460 G4/2, a variant of the brand’s in-house movement developed specifically for Metiers d’Art watches.

Additional gearing under the dial splits the time and calendar display into four discs that can be read through four windows at each corner of the dial. This leaves most of the dial empty and a perfect canvas for decoration.

The under-dial view of the movement with all discs removed

The movement with the discs for the hours, minutes, day, and date

The cal. 2460 G4/2 is fitted with a customised rotor specific to the Great Civilisations watches. Made of 22k yellow gold, the rotor reproduces in relief the east facade of the Louvre as depicted in an 18th century etching. The relief is produced via stamping, although the die used for the process is hand engraved.

Buste d’Auguste

Reproducing a bust of Caesar Augustus, the Roman Emperor who succeeded Julius Caesar, the Buste d’Auguste shows the ruler in his fifties wearing a crown of oak leaves. While the bust in the Louvre is marble, the miniature on the dial is hand-engraved solid gold.

It sits on a dial centre that’s been enamelled in dark green and ringed by a Roman mosaic inspired by a fourth century mosaic found in modern-day Israel. The mosaic rendered on an impressively minuscule scale. Made up of 660 tiny pieces, it relies on seven types of mineral stone: quartzite, cacholong, dumortierite, mochaite, red jasper, grossular, red aventurine.

The decorative ring around the dial, on the other hand, is modelled on another fourth century mosaic is what is now eastern Tunisia. And behind Augustus are lines of text in Latin that are a tribute to the Emperor, drawn from a dedication given at the opening of a city in Algeria that was once part of the Roman Empire.

Grand sphinx de Tanis

A granite sphinx that might be over 4,000 years old, the Great Sphinx of Tanis is missing a nose but still remains imposing. And so it is on the dial of the Grand sphinx de Tanis, which bears the head of the sphinx. Thanks to a clever tweak of the perspective, it appears to loom over the view despite the small size.

The dial base is blue-black enamel with decorative elements taken from the cartonnage of Nakht-khonsou-irou, a gentleman whose coffin is now in the Louvre. Made of plastered layers of fibre – ancient papier-mâché of sorts – cartonnage encased the mummy and was decorated with intricate motifs. Traditionally, the chest area on the cartonnage was covered by a necklace, lends its decorative elements to this watch.

Details from the necklace that have been translated into the watch include the petals in champleve enamel that form the frieze around the dial, as well as the champleve enamel wings on either side of the sphinx; under the necklace on the cartonnage sits a hawk with a ram’s head.

Lion de Darius

Unquestionably the most striking of the quartet, the Lion de Darius takes inspiration from a relief taken from the Palace of Darius in Susa. Built by the Achaemenid king during the sixth century BC in what is modern-day Iran, the palace featured walls decorated with reliefs depicting various creatures and scenes.

One of these is a lion frieze showing several of these creatures – symbols of royal power in the Achaemenid Empire – that’s been reproduced in hand-engraved solid gold against a backdrop of turquoise, a colour seemingly at odds with the lion frieze as it appears today. The reason for the colourful dial is that the frieze is made of glazed bricks that have lost their colour over the millennia, so the dial imagines the lion frieze as it might have been in its time.

The dial is covered in tiny tiles of turquoise, along with tiles of yellow jasper for the upper and lower bands. Sixty-nine pieces of stone were required for the dial mosaic, each piece carefully cut and positioned by hand.

The decorative ring around the dial is inspired by yet another frieze from the palace, this time the “Frieze of Archers”. Its pattern is made up of alternating triangles of engraved metal and champleve enamel.

Victoire de Samothrace

Headless but still strikingly graceful, the Winged Victory of Samothrace represents Nike, the Greek goddess of victory. Here the miniature sculpture sits on a dial centre of opaque enamel in orange-brown, a colour that is especially difficult to create according to Vacheron Constantin. It’s a mix of other colours of rare enamels that are not longer available and requires six firings in the oven.

The orange-brown centre is ringed by grisaille enamel, a technique that calls for the artful removal by scratching of the top surface of enamel to reveal the contrast-colour enamel below. The grisaille enamel depicts a pattern taken from a pair of Greek vases in the Louvre. And around the dial is a gold ring that’s been hand engraved with a motif from the Vase of Pergamon, a funerary vase.

Key facts and price

Vacheron Constantin Métiers d’Art Tribute to Great Civilisations
Ref. 7620A/000R-B926 (Lion de Darius)
Ref. 7620A/000R-B927 (Grand sphinx de Tanis)
Ref.7620A/000G-B928 (Victoire de Samothrace)
Ref. 7620A/000G-B929 (Buste d’Auguste)

Case diameter: 42 mm
Height: 12.9 mm
Material: 18k pink gold or white gold
Crystal: Sapphire
Water resistance: 30 m

Movement: Cal. 2460G4/2
Features: Hours, minutes, day, and date
Frequency: 28,800 beats per hour (4 Hz)
Winding: Automatic
Power reserve: 40 hours

Strap: Alligator strap with folding clasp in gold

Limited edition: Five pieces each
Availability: At Vacheron Constantin boutiques only
Price: Upon request

For more, visit vacheron-constantin.com.

Taking place every two years in Venice, Homo Faber is an exhibition dedicated to craftsmanship of all forms, ranging from glass to porcelain to fabric. Because its organiser is the Michelangelo Foundation established by Johann Rupert, the plain-speaking chairman of Richemont, several of the Swiss group’s watchmakers are taking part.

One of them is Vacheron Constantin, which is presenting a pair of one-off striking watches at Homo Faber – the Les Cabinotiers Minute Repeaters Ultra-Thin “Thunder God” and “Wind God”. The watches each recreate one half of Wind God and Thunder God, a pair of folding screens made by 16th century Japanese painter Tawaraya Sōtatsu that depicts the titular gods of Japanese mythology.

Initial thoughts

Owned by a temple in Kyoto, the folding screen is a National Treasure of Japan, a cultural object deemed so important by the Japanese government that it cannot be exported. The screen is certainly a worthy subject for a high-quality miniature, and Vacheron Constantin appears to have done justice to it.

The dial decoration is perfect for a repeater, since the brand’s cal. 1731 minute repeater movement is relatively large, resulting in an expansive dial that is usually blank. It’s an ideal canvas for artisanal decoration.

Vacheron Constantin’s enamel work, whether in house or done by independent artisans like Anita Porchet, is usually impeccable. The repeater dials definitely look the part. In fact, the miniatures of the gods are impressive, but so is the background that captures the gold-leaf surface of the folding screen.

And like many of Vacheron Constantin’s one-off complications, the cases of both repeaters are fully engraved. While such engraving can feel over the top on larger, thicker watches, it is a graceful complement to the dial in this case. With the narrow bezel and lugs, most of the front is occupied by the dial, so the engraving is intricate yet minimal.

And both watches have a tasteful, discreet accent – six narrow gemstones set on the repeater slide. They are amongst the most beautiful of Les Cabinotiers watches in recent memory.

Miniature enamel and engraving

Always depicted as a pair in Japanese art, Fujin and Raijin are the gods of wind and thunder respectively. Both are depicted as fearsome demons, with Fujin carrying a long bag of wind, while Raijin wields a set of Taiko drums arranged in a ring.

The duo are captured on the dials of the minute repeating duo, reproducing the matched pair of folding screens painted by Sōtatsu. Both watches have enamel dials executed in a similar manner.

The dials start out as a solid, 18k gold disc that is first engraved to form a fine chequerboard pattern meant to evoke the gold-leaf surface of the folding screen by Sōtatsu. This is then coated with a clear enamel that’s fired in an oven, creating a glossy surface that will be the canvas for the miniature painting.

The respective gods are then painted in steps, with one or a handful of colours being applied before firing. Between six and seven firings are required to complete each dial.

While both watches have the same 41 mm white gold case, each is hand engraved with a different motif that echoes the painting on the dial. The Wind God watch is engraved with a scroll-and-line pattern representing wind, while the case of Thunder God is decorated with spirals symbolising a storm.

Aside from the enamel dial and case engraving, both repeaters have an inconspicuous bit of bling on the repeater slide. Each has its slide set with six baguette-cut gemstones totalling 0.16 carats, tsarvorites for Wind God and rubies for Thunder God.

Engraving the case of the Thunder God repeater

Like the other unique Les Cabinotiers minute repeaters, the Wind God and Thunder God pair utilise the Traditionelle case that is characterised by its straight lines and subtle Maltese cross incorporated into the flanks of the lugs. Notably, the Traditionelle repeater is not available as a regular-production model. Instead, the standard minute repeater in the catalogue is the Patrimony that has more rounded lines.

The pair, however, have the same movement as the Patrimony repeater, the cal. 1731. The slimmest minute repeating movement on the market at the time of its launch in 2013, the cal. 1731 is just 3.9 mm high, but still manages a 65-hour power reserve.

Both the governor and secondary mainspring for the repeater are visible between ten and 11 o’clock on the back

Key facts and price

Vacheron Constantin Les Cabinotiers Minute Repeater Ultra-Thin – Thunder God and Wind God
Ref. 6600C/000G-B731 (Thunder God)
Ref. 6600C/000G-B732 (Wind God)

Diameter: 41 mm
Height: 8.44 mm
Case material: 18k white gold, hand engraved and repeater slide set with gemstones
Crystal: Sapphire
Water-resistance: Not water-resistant

Dial: 18k gold disc decorated with hand engraving and Grand feu miniature enamel

Movement: Cal. 1731
Functions: Hour, minutes, and minute repeater
Winding: Hand-wind
Frequency: 21,600 beats per hour (3Hz)
Power reserve: 65 hours

Strap: Alligator with pin buckle

Limited edition: Each is unique
Availability: Only at Vacheron Constantin boutiques
Price: Upon request (as a reference, the standard Patrimony repeater is priced at about US$350,000)

For more information, visit Vacheron-constantin.com.

A hidden gem amongst Vacheron Constantin’s sports watches, the Overseas Tourbillon is thin, understated, and good value as such things go. Now it receives a thorough makeover.

Gone is the dial and excess metal from the bridges, creating the new Overseas Tourbillon Skeleton. Available in two metals, the titanium variant is particularly intriguing as it’s a metal that is rarely used by the haute horlogerie watchmaker.

Titanium with blue accents

Initial thoughts

Though polar opposites aesthetically, the Skeleton is every bit as handsome as the standard Overseas Tourbillon. In terms of finishing, aesthetics and watchmaking, the Tourbillon Skeleton is top of its class not only in the luxury-sports category but even among the brand’s other offerings.

A reason for this is the well proportioned case that measures 42.5 mm wide and only 10.39 mm tall. This results in elegant, flat-and-wide proportions that defines the most desirable luxury sports watches. These proportions gives the watch a sporty aesthetic that is further enhanced by the blackened, skeletonised movement. In comparison, the base Overseas model is smaller in diameter but slightly thicker.

It’s also thinner than a open-worked Royal Oak and Laureato tourbillon

The movement within is notable for balancing simplicity and complexity, which tends to be a challenge for skeletonised movements. In comparison, I find the latest Royal Oak Openworked Tourbillon too nuanced and the GP Laureato Openworked Tourbillon too clean.

The titanium model is about 25% more expensive than the steel variant. While affordability is relative, the Tourbillon Skeleton represents fairly good value as there are few comparables at this price point. Even within the brand’s own catalogue, open-worked wristwatches are mostly much more expensive.

Skeleton

The watch is powered by the cal. 2169 SQ, a movement that’s based on the cal. 2160 found in the standard model. As a derivative of the cal. 2160, the movement is attractive due to the tourbillon bridges visible on the front and back.

A few thoughtful details are incorporated in the movement, such as a tourbillon cage shaped like a Maltese cross as well as a barrel cover shaped like a compass rose.

A crucial but underrated feature is the peripheral winding rotor made of a narrow band of 22k gold. It oscillates on the circumference of the movement so as not to obstruct the view.

Beautiful curves with numerous inner angles

And like the brand’s other skeleton movements, the finishing is elaborate and impeccable. Take for instance the bevelling of the bridges, which is done the traditional way with pith wood. This technique allows for more refined mirror polishing and curvature on bevelled edges.

Key Facts and Price

Vacheron Constantin Overseas Tourbillon Skeleton
Ref. 6000V/110R-B934 (titanium)
Ref. 6000V/110T-B935 (pink gold)

Diameter: 42.5 mm
Height: 10.39 mm
Material: Titanium or 18k pink gold
Crystal: Sapphire
Water resistance: 50 m

Movement: Cal. 2169 SQ
Functions: Hours, minutes, and tourbillon
Winding: Automatic
Frequency: 18,000 beats per hour (2.5 Hz)
Power reserve: 80 hours

Strap: Matching bracelet and additional strap in rubber and leather with folding clasp

Limited edition: No
Availability: Titanium model only at boutiques
Price:
Titanium – US$146,000, or 226,000 Singapore dollars
Pink gold – US$170,000, or 263,000 Singapore dollars

For more, visit vacheronconstantin.com

Vacheron Constantin opens its doors at Watches & Wonders 2022 with diversity of timepieces ranging from the sporty to artisanal, but its most classical offering is the Traditionnelle Perpetual Calendar Chronograph in a fashionable “salmon”.

With the model having been launched over a decade ago and then gently upgraded in 2016, the new version is merely a facelift. But still it’s noteworthy for combining a platinum case with a “salmon” dial, both currently desirable attributes, which should help make this a strong seller (which also explains why it will only be available at boutiques).

Initial thoughts

The highlight of the new Traditionnelle is the dial – the only element that’s different compared to the original launched six years ago. Though less intriguing because it’s popular and common today, the new dial is nevertheless a good move that gives the model a new lease of life.

While the rest of the watch apart from the dial isn’t new, it does have several features that make it stand out, most obviously the large, 43 mm case with a flat, wide bezel, a bold look for a relatively classical watch.

While the large diameter does improve the legibility of the complex dial, it will not appeal to traditionalists who favour smaller cases.

But the movement will certainly appeal to traditionalists. The cal. 1142 QP, which is based on the Lemania 2310, was long the movement of choice in a variety of old-school classics such as the Patek Philippe ref. 5970. Vacheron Constantin remains one of the few brands to rely on the calibre, since most of its peers now have their in-house equivalents.

Slightly upgraded Lemania

The cal. 1142 QP is complicated movement executed in a straightforward manner with a lever-based perpetual calendar module sitting on the Lemania-derived base. That’s unsurprising since the construction of both the base movement and perpetual module are several decades old.

In typical Vacheron Constantin fashion, the movement is meticulously finished with rounded, polished anglage along the edges of the bridges as well as steel levers that even incorporate a few inward angles. And there are a few brand-specific accents as well, including the column wheel topped by a relief Maltese cross, the brand’s logo.

Because the moon phase wheel completes a revolution every 59 days, there are two moons “faces” on the same disc. Interestingly, the hand-engraved faces are rendered slightly differently, a subtlety that will be apparent only to the owner

The rest of the watch is quintessential Traditionnelle, which means a flat and wide case with a fluted case back rim that’s one of the visual flourishes on the relatively simple case.

The dial is easily recognisable as a Traditionnelle with its slim, applied markers as well as the sunken railroad tracks for the registers. Being finished differently, the registers give the dial texture and depth, but they appear to be clustered uncomfortably around the centre of the dial, a consequence of the oversized case relative to the movement diameter.

Key Facts and Price

Vacheron Constantin Traditionnelle Perpetual Calendar Chronograph
Ref. 5000T/000P-B975

Diameter: 43 mm
Height: 12.94 mm
Material: Platinum
Crystal: Sapphire
Water resistance: 30 m

Movement: Cal. 1142 QP
Functions: Hours, minutes, seconds, perpetual calendar, and chronograph
Winding: Manual
Frequency: 21,600 beats per hour (3 Hz)
Power reserve: 48 hours

Strap: Alligator with platinum folding clasp

Limited edition: No
Availability: Only at boutiques
Price: Unavailable at press time

For more, visit vacheronconstantin.com

Launched last year but perhaps overshadowed by mega complication like the Vermeer pocket watch and Traditionnelle split-seconds chronograph, the Métiers d’Art Tribute to Great Explorers – Vasco da Gama was the latest in Vacheron Constantin’s long-running series of antiquarian-map watches dedicated to noted historical seafarers.

The Vasco da Gama, along with its siblings in the series, exemplify the brand’s tagline for 2021 – “Classic with a Twist” – with a case that evokes 1980s design but an enamelled dial and time display that are both quirky and interesting.

The Vasco da Gama is one third of the Métiers d’Art Tribute to Great Explorers collection. The other two watches that make up the rest of the line up are naturally dedicated to “Great Explorers”, namely Bartolomeu Dias and Pedro Alvarez Cabral, fellow Portuguese sailors who were contemporaries of da Gama. They are each mechanically identical to the Vasco da Gama and differ only in terms of the dial motif.

Each of the dials depict the journey of the respective explorer who were professional seamen who charted the world during the Age of Discovery, the period between the 15th and 18th centuries that saw the rise of European empires as their ships roamed the world.

The watch outlines the first voyage of da Gama, the first European to reach India by sea. In 1497, he led his fleet of four ships on the two-year journey, setting sail south Lisbon, then around the Cape of Good Hope, and onto to Calicut, the city on the southern tip of India once a centre for the spice trade.

The dial depicts the Indian Ocean flanked by the Africa and India

Initial thoughts

Having evolved from the Mercator, the Tribute to Great Explorers collection dates back almost three decades (more on that below) and remains interesting all these years later. The watches remain unique in combining enamel miniature painting of an antiquarian map with a novel time display.

All of the Great Explorers watches all stick to the same theme: the dials depict 16th century European maps. The Vasco da Gama, for instance, is inspired by the Miller Atlas, a map drawn by Portuguese cartographers in 1519. So if you like Age of Discovery maps reproduced in miniature on a watch dial, then Vacheron Constantin is the go-to watchmaker since no other brand does anything similar.

Like the vintage Patek Philippe cloisonné world time watches, the Great Explorers watches are defined by their enamelled cartography, but each model bears a different map. The Vasco da Gama depicts the final leg of da Gama’s journey to India.

Unlike the earlier generation of Great Explorers watches, which was introduced in 2004 and 2008, the Vasco da Gama (as well as its counterparts in the current trio) utilises a more impressionistic style for the map. While the maps are still miniature enamel, the motifs and markings have been streamlined.

There are fewer geographical names on the dial, while the depictions of figures and objects rely on shading and diffuse lines, instead of the tight, bold outlines of the earlier versions. The result is a map that looks slightly more modern and contrasts with the obviously classical style of past models.

The updated style makes sense, especially for anyone who already owns a Great Explorers watch. Intricate as the enamelling was on the earlier generation of watches, most of them appeared identical at a distance. The Vasco da Gama and its siblings are clearly distinct, different enough to appeal to someone who already owns an older model.

Priced at US$121,000 – all three current Great Explorers watches cost the same – the Vasco da Gama might seem steep for a time-only watch but it is a special one. Both the artisanal dial decoration and wandering hours time display go a long way to rationalising the price. And it helps the ultra-thin cal. 1120 AT within is a fine movement that is also finely finished.

The cal. 1120 AT

And its free-sprung, adjustable mass balance

While Vacheron Constantin has done many iterations on the same idea, the total number of such watches remains small – just 10 pieces each for the current trio, and a totality in the high hundreds over three decades. At the same time, there’s nothing else quite like them on the market. All that helps preserve the appeal of the Vasco da Gama and its compatriots. So all in all it’s a fair proposition that offers intrinsic value for those who cherish the design.

The Mercator’s successor

The Vasco da Gama is a successor to the Mercator, which was introduced by the brand in 1994. Originally conceived by Jean Genbrugge, an independent enameller and watchmaker based in Belgium, the Mercator watch was a commercial success. So much so that Vacheron Constantin kept it in the catalogue for a decade and produced dozens of iterations.

The prototype Mercator watch, with a fired enamel dial made by none other than Mr Genbrugge. Photo – Watch Collector in Luxembourg

The Mercator featured a double-retrograde hour and minute display that took the form of a compass. After it was discontinued in 2004, it was succeeded by the first Tribute to Great Explorers pair, dedicated to Magellan and Zheng He respectively. The first Great Explorers watches told the time with a wandering hours, which has since become the de facto time display for many of Vacheron Constantin’s Metiers d’Art watches since it allows for most of the dial to be a blank canvas for enamel.

The inaugural pair of Great Explorers was followed by the Christopher Columbus and Marco Polo duo of 2008. A 13-year hiatus followed before the current trio of Great Explorers watches were unveiled last year, including the Vasco da Gama.

Wandering in space and time

Two elements set the Vasco da Gama apart from its peer in the same price category – the miniature enamel painting and also the cleverly integrated wandering hours. In contrast, most metiers d’art watches have conventional, two-handed time displays.

While a dial painted with a map isn’t novel, the Vasco da Gama is different in that the map occupies the entire dial. Not even the time-telling function gets in the way, since there are no hands and few numerals.

In addition, the dial motif itself is interesting because of its historical inspiration, the Miller Atlas, a richly-illustrated map incorporating a Portolan chart that is decorated with the flora, fauna, and peoples thought to inhabit the various corners of the world.

The key elements of the Miller Atlas been recreated on the dial, giving the watch an antiquarian feel, but one updated for the modern world with the bright white background. The result is immediately recognisable from across a room as one of the Great Explorers watches.

The dial is made up of solid 18k white gold discs covered in fired enamel

And as is expected of a Vacheron Constantin’s Métiers d’Art watch, the enamel dial is exceptionally high quality, with few imperfections discernible even up close; neither bubbles nor unevenness is visible under magnification.

The style of miniature painting, however, might not be for everyone. As discussed earlier, the impressionistic style means the illustrations are not high resolution. Instead of sharp, distinct strokes, the objects and continents are formed with shaded lines and tiny dots, almost like the Ben-Day dots of a Lichtenstein painting. At arm’s length, however, the pixelised nature of the painting is not evident.

While the style of miniature painting is a matter of personal taste, the geographical markings on the map feel a little untidy. The markings are rendered in different font types and sizes, along with varying kerning.

That’s historically correct as that’s how they are on the Miller Atlas, but the original map has the advantage of size. On a watch dial, the varied fonts seem incongruent – compared “Africa” and “Arabia” for instance.

Nevertheless, the dial is still captivating, especially with the camouflaged time display.

The dial is essentially a two-level affair – the upper layer is purely for the enamel art, while the lower layer is for time-telling. That explains the upper layer having a fan-shaped cut-out across a third of the dial to reveal the minute scale.

Time telling is accomplished with a centuries-old trick – the wandering hours.

Invented by Italian clockmakers known as the Campani brothers in the 17th century and found in large clocks, the complication consist of a three-armed bridge that holds a satellite disc at the end of each arm, with each disc carrying with four hour numerals, totalling 12 hours.

The periodic rotation of each satellite disc is coordinated by a Maltese cross (which coincidentally also forms the Vacheron Constantin logo), such that only one hour numerals shows up at a time. Over the course of an hour, the numeral sweeps across the fan-shaped opening to indicate the minutes.

The time indicated above is just shy of 6:45

The wandering hours is not unique to Vacheron Constantin – Urwerk has its sci-fi interpretation of the concept while Audemars Piguet has the Star Wheel – but Vacheron Constantin is singular in applying artisanal decoration to the complication.

Notably, the complication works especially well with Vacheron Constantin’s antiquarian-map dials. It blends into the map motif nicely, allowing the display to be legible enough while not interrupting the miniature painting. The fan-shaped opening is an elegant solution that gives the watch character while remaining functionally discreet.

A nuanced, classical case

Like the dial and complication, the case is old-school in style. In fact, it is one of the more classical – and charming – cases in the brand’s current catalogue. Vacheron Constantin doesn’t use this case style often, though one prominent other example of it is the whimsical Métiers d’Art Les Aérostiers.

The style brings to mind complicated watches of the 1980s and 1990s, when this case type was popular. The design is essentially a series of repeating circles, from the bezel to the lug screws, with details that give it a luxe appearance. Most appealing is the double-stepped bezel that consists of twin domed rings, which reinforces the rounded case shape.

And because the case a large 41 mm, the wide bezel help keep the dial small in proportion. Consequently, the watch doesn’t appear overly large, though it is substantial once you have it in hand. The size contrasts somewhat with the delicate dial decoration, although it isn’t an excessively big watch.

At under 12 mm high, the Vasco da Gama is fairly thin and elegant on the wrist. It helps that much of its height is camouflaged by the thick, double-stepped bezel that’s almost as tall as the case middle.

Notably, the case is entirely from that of the earlier Great Explorers, which were in turn evolved from the Mercator. Instead of the stepped lugs of those previous models, this has simple, narrow lugs.

The streamlined shape makes sense since the case is now a lot larger at 41 mm – the Mercator was 36 mm and past Great Explorers 40 mm – so the simpler lugs give the watch a sleeker look.

That said, the lugs are simple visually but not simple in tangible terms.

The distinct break between the lugs and the case middle indicate that they are separate parts that were individually soldered to the case middle. Another detail is the cabochon at the end of each lug that contains a screw, which secures the bar for the strap.

The attention to detail continues on the buckle that’s shaped like a Maltese cross – even the inner blades of the clasp mimic the arms of the cross and are finished in contrasting frosted and polished surfaces

A familiar calibre

Inside the Vasco da Gama is the cal. 1120 AT, which is essentially a cal. 1120 topped with a wandering hours module, bringing the total thickness to 5.45 mm –making it more than twice as tall as the base movement that’s only 2.45 mm.

The cal. 1120 is derived from the Jaeger-LeCoultre (JLC) cal. 920, an ultra-thin automatic movement that’s found in a large number of high-end watches, most famously the Royal Oak “Jumbo” ref. 5402 ST and Nautilus ref. 3700.

Like its fellow “Holy Trinity” watchmakers, Vacheron Constantin has been using this calibre for decades across a variety of watches. Amongst the current models with the same base is the Overseas Perpetual Calendar. In fact, the Mercator also share the same base movement, though it was fitted with a different module for the double retrograde display.

While the time-telling module is hidden under the dial, the view of the movement from the back is a familiar sight

The cartographic motif on the dial is echoed by the compass-rose rotor

The finishing of the movement is typical of Vacheron Constantin – excellent enough to earn the Geneva seal – and superior to most of the brand’s simpler watches, though not quite as artisanal as the brand’s ultra high-end offerings like the Traditionnelle split-seconds chronograph (which costs several times as much to be fair). In other words, the finish is perfect for what it is.

Most notable are the wide, polished bevels along the bridges. They are rounded in profile, which indicate some degree of hand-finishing. It was probably done with a hand-held electric tool, as is often the case with movements from large brands.

But it is not just the bridges that are finely bevelled, even smaller parts like the winding click and escape wheel bridge below the balance are similarly finished, indicating the impressive attention to detail paid to the finishing.

The rounded bevels are apparent even at a distance

While the external edges of the bridges sport rounded anglage, the bevels for the apertures within the bridges are simpler. Those edges are chamfered but have a flat, sloping profiles with the machining marks still visible, indicating the bevelling was done with a milling machine. This is no doubt a necessity of the movement’s slimness and the awkward position of the recesses on the bridges.

The crown wheel boasts a pleasing, polished chamfer on every single tooth, but the teeth of the barrel ratchet wheel are simply polished and flat

Most of the movement components are elegantly shaped but they lack the sharp, defined inward angles for that extra oomph in the finishing

All of the holes sit in chamfered countersinks, but crucially, the countersinks are are proportional to the screws or jewels they frame. That said, the intersections between countersinks and bevels seem less carefully planned, something that’s noticeable at border of the large screw between the crown wheel and the balance cock. But again this is a consequence of the movement’s thinness, which limits the decorative range.

Conclusion

With its meticulously-painted map and cleverly integrated time display, the Vasco da Gama is beguiling. And its appeal is boosted by the sophisticated and slim movement sitting within a handsome, classical case. There’s nothing quite like it on the market – making it an interesting watch indeed.

Key facts and price

Vacheron Constantin Métiers d’Art Tribute to Great Explorers
Ref. 7500U/000R-B687 (Bartolomeu Dias)
Ref. 7500U/000R-B688 (Vasco da Gama)
Ref. 7500U/000R-B689 (Pedro Álvares Cabral)

Case diameter: 41 mm
Height: 11.68 mm
Material: 18k pink gold
Crystal: Sapphire
Water resistance: 30 m

Movement: 1120 AT
Features: Hours and minutes
Frequency: 21,600 beats per hour (3 Hz)
Winding: Automatic
Power reserve: 40 hours

Strap: Alligator strap with folding clasp in gold

Limited edition: 10 pieces each
Availability: At Vacheron Constantin boutiques only
Price: US$121,000 or 188,000 Singapore dollars

For more, visit vacheron-constantin.com.

When Vacheron Constantin celebrated its 260th anniversary in 2015 with the Harmony collection of cushion-shaped watches, the standout was easily the split-seconds chronograph. Seemingly ordinary on its face, the Harmony split-seconds was powered by the cal. 3500, an all-new rattrapante chronograph calibre with a novel automatic winding mechanism.

The movement was gorgeous, but disappeared from the catalogue – until last year. The cal. 3500 made its comeback with the Traditionnelle Split-Seconds Chronograph Ultra-Thin Collection Excellence Platine.

Like the other Collection Excellence Platine (CEP) watches, the Traditionnelle split-seconds is a limited edition – only 15 pieces in fact – that utilises platinum generously throughout the watch, but it is unique as there is no standard production equivalent in the catalogue. In short, it is a special watch.

The cal. 3500 with its intricate chronograph mechanism and novel peripheral rotor

Initial thoughts

On its face, the Traditionnelle split-seconds is an elegant watch with a restrained, almost simple style. Its proportions are wide and slim, creating a graceful profile. The thinness exaggerates the case diameter slightly, so it does seem a bit wider than it is, especially with the longish lugs.

In typical CEP style, the dial is nearly monochromatic, rendered in grey and silver, with the only colour coming from the indicator hands for the chronograph and power reserve. It’s a simple combination, but a good one.

The platinum hallmark on the dial is sometimes criticised for being obvious. While that may be the case in photos it isn’t that apparent in the metal. And to me it’s an attractive detail – obvious enough to make a point but not that obvious that it becomes a key element of the dial.

The sandblasted platinum dial

If I could tweak the dial I would alter the font for the numerals on the registers, scale, and tachymeter in favour of typography that’s a bit more old school. And I wish the twin seconds hands were more rounded, though I  am certain their flatness is a matter of weight.

Still, the Traditionnelle split-seconds is a handsome watch. And it is certainly more appealing than the Harmony split-seconds that had the same movement. The Harmony tried a bit too hard to resemble a 1920s wristwatch, while the Traditionnelle is straightforward in style.

Both seconds hands are blued steel, while the hour and minute hands are white gold

Though the Traditionnelle split-seconds might be a CEP edition, but its best feature isn’t the platinum inside and out, but it is the cal. 3500 within.

The movement is brilliant in style and substance, and also a record holder: it’s the thinnest split-seconds chronograph movement for a wristwatch ever. But it is outstanding for more than just its height.

For one, it is thin but still retains the beauty of a traditionally constructed rattrapante mechanism, having all of the slender levers and fine wheels that characterise the best of such movements. And it is also automatic, a feature that takes nothing away from its aesthetics because of the novel peripheral winding mechanism.

The scythe-like clutch lever with its pointed tip and twin inward angles along its bevelling

The cal. 3500 was clearly developed to prioritise thinness and beauty, which inevitably meant that some compromises were necessary in terms of technical features, like the lack of an isolator and the constant minute register.

But that is arguably a good thing. A chronograph movement created with only thinness in mind and aesthetics as a secondary consideration would probably be something like the Bulgari BVL 318, the thinnest wristwatch chronograph movement of all time but sparse in terms of visual appeal.

All things considered, the cal. 3500 is magnificent. And that makes the Traditionnelle split-seconds worthy of its hefty US$300,000-ish price tag.

Platine

The Traditionnelle split-seconds chronograph is the latest in the CEP collection, a long-running series that started in 2006. The CEP treatment is simple: a standard model gets upgraded with platinum being used for most visible components.

So platinum is used for the case, dial, clasp, and strap, where the thread is actually fabric woven with platinum wire. Because CEP watches all stick to the same formula, they also share an elegant and restrained aesthetic of grey and blue – along with a “Pt950” hallmark on the dial.

But the Traditionnelle split-seconds is unique in being the first CEP edition to be an entirely new model that is not in the standard catalogue. The CEP before it was the American 1921, which is available as a standard model in gold or platinum.

The case is platinum of course, which gives it good heft. At 42.5 mm in diameter it’s wider than the Patek Philippe ref. 5370P but slightly narrower than the Double Split. The dimensions are elegant, though on smaller wrists the width-to-height ratio might result in a dinner-plate appearance.

Despite being named traditionnelle, the line of watches is actually modern in style, with clean lines and no frills, save for some discreet flourishes visible on the sides. The split-seconds has the typical Traditonelle case and almost everything is linear and polished on the front.

The profile of the case reveals the subtle details that define the Traditionnelle case. The lower edges of the lugs gently echo a Maltese cross, while the case back has a coin-edge rim that’s purely decorative (the back is screwed on via notches).

The case side has a single step to create the Maltese cross along the lugs

These details are only occasionally visible when the watch is on the wrist. They, along with the relief Maltese crown on the crown, are the only decorative elements on the case.

This simplicity suits the dial, which is also platinum. It’s finished in the usual manner for CEP – sandblasted to give it a fine, grained finish that’s matte. The entire dial is finished in that manner, including the recessed registers and power reserve scale.

A change in texture for the indications and tachymeter would have made the dial a bit more interesting, but that is too complex to execute on platinum. While that is impractical, adjusting the typography for the registers and scale is feasible – that would be a good tweak in my opinion.

The only elements of the dial that are not platinum are the hands and hour markers. The chronograph and power reserve hands are blued steel, while the other hands are white gold, as are the hour markers and Maltese cross at 12 o’clock.

The markers are substantial and sharply detailed with lengthwise bevelling

Calibre 3500

In contrast to low-key sensibility of the dial, the movement celebrates itself. The chronograph is traditionally and wonderfully constructed, but with a smart automatic winding mechanism that obscures nothing.

At 5.2 mm high, the cal. 3500 is the thinnest split-seconds chronograph movement created for a wristwatch – ever. It trumps the previous record holder, the incredibly refined CHR 27-525 PS of Patek Philippe, by 0.05 mm.

Found in the refs. 5959 and 5950, the CHR 27-525 is eminently traditional; in fact it was inspired by a Victorin Piguet calibre that Patek Philippe used in its split-seconds chronograph wristwatches of the early 20th century.

It is also a tiny chronograph movement by modern standards, at just 27.3 mm in diameter. In contrast, the distinctly more modern CHR 29-535 PS found in the ref. 5370P is 29.6 mm.

The CHR 27-525 in the ref. 5959P

And the CHR 29-535 PS in the ref. 5370P

In contrast, the cal. 3500 is automatic. Less traditional no doubt, but the result is an arresting blend of tradition and contemporary watchmaking.

One can surmise that the movement’s designers did everything they possibly could to take the record from Patek Philippe. As a result, concessions had to be made, so two features expected in conventional, high-end chronographs are missing, namely a jumping minutes counter and split-seconds isolator. But the cal. 3500 is anything but conventional, and should not be judged against movements that are substantially thicker.

The chronograph works are remarkably attractive. But they are especially unusual because the levers are slender, which gives them a graceful appearance. That contrasts with many ultra-thin chronographs that instead rely on wide and flat levers to minimise thickness.

The two best features of the chronograph mechanism are the clutch lever off to the side and the split-seconds assembly in the centre. Both are incredibly fine and minute, yet bring to mind the same parts in the best pocket watch chronographs, which are several orders of magnitude larger.

The strikingly curved clutch lever terminates in a perfectly sharp point

The split-seconds mechanism with its clamps and column wheel

The rest of the movement is equally accomplished. The intricate network of steel levers and springs is impressive in its density and detail considering the height of the movement.

And despite the height of the movement, it still manages an overcoil hairspring. Its designers deserve compliments for ensuring this was taken care of.

The overcoil hairspring attached to a balance wheel with variable-inertia screws, along with a swan’s neck regulator index for beat-error adjustment

One concession made for the sake of thinness is the minute counter, which has a continuously moving hand instead of the semi-instantaneous hand of most chronographs. While a semi-instantaneous creeps forward and then jumps at the 60-second mark, this hand just steadily travels around the register at a constant pace. When the chronograph is stopped, a brake lever contacts the minute wheel, stopping its rotation along with the hand.

This allows the minute wheel to be smaller in diameter and sit on the same plane as other wheels. And that overarching desire for height reduction also informs the most novel feature of the calibre.

The minute wheel with impressive bevelling on its inner rim

While the chronograph is the most obvious feature of the movement, its most unusual aspect is the automatic winding mechanism. Traditionally constructed split-seconds chronographs are uniformly manually wound, except for the cal. 3500.

The cal. 3500 manages to preserve the traditional appearance with all the levers and wheels visible because the automatic winding mechanism is cleverly positioned around the movement, rather than over it as is convention. This peripheral winding mechanism allows the movement to be thin, while also preserving the stellar view.

And because the winding mechanism is around the movement, it increases the overall diameter of the cal. 3500 to a massive 37.66 mm. But a large portion of that is the rotor and winding ring, I expect the base movement and chronograph are under 30 mm.

The oscillating weight is 22k rose gold and finished with a repeating Maltese cross motif in relief

Although the concept of peripheral winding is decades old – Patek Philippe was one of the first to debut such a mechanism in 1950s with the cal. 350 – it only gained traction in the last two decades when the technology advanced sufficient to make it reliable. The peripheral winding movements of the 20th century, on the other hand, were more like experimental products, and typically finicky and inefficient.

The large wheel with teeth on its inner rim that surrounds the movement is the peripheral winding ring

Peripheral winding isn’t commonplace today, but found in a fair number of ultra-thin watches from the likes of Breguet, Bulgari, and Piaget. And on the cal. 3500 it is the perfect solution, since it ensure the lovely chronograph mechanism can be admired in its entirety.

The operation of the winding mechanism is straightforward: a toothed ring with a semicircular gold weight sits on the periphery of the movement, functioning as the rotor and winding the mainspring via a winding wheel located next to the balance. And it also makes the power reserve indicator more unusual than average, since the wearer will know how much of the 48-hour running time is remaining.

The winding wheel that meshes with the winding ring

Interestingly, the instructions for the watch state that the split-seconds chronograph should only be activated when the movement is at least 75% wound. That is presumably because the energy consumed by the chronograph, as well as the drag generated when the split-seconds and elapsed minutes hands are stopped, will affect the amplitude of the balance wheel significantly, perhaps enough to impair timekeeping.

This inconvenience is the norm for a chronograph set-up without an isolator, especially one that is so thin and also wound via a peripheral mechanism that is likely less efficient than a conventional rotor. Considering the construction of the movement as well as its beauty, the power reserve requirement is hardly a drawback.

Useful for an automatic

Finishing

Needless to say, the finishing of the cal. 3500 is exceptional. Like most of mechanical movements by Vacheron Constantin, it bears the Poinçon de Genève hallmark, which certifies that is meets certain decorative and functional criteria. But that isn’t the point, because the cal. 3500 does far, far better than that.

As the cliche goes, it has to be seen to be believed and the photos illustrate that well. Just trying counting then number of inward angles on the anglage across the movement – it’ll be as challenging as counting the dollars needed to buy one of these.

Every level of the split-seconds and chronograph assemblies are finished, even those hidden below

The clutch lever equals the best of them, namely A. Lange & Söhne

Small as it is, the split-seconds wheel is bevelled on its inner rim, while the narrow clamps are also bevelled along their edges

The tension springs for the chronograph levers serve a rudimentary function but are equally decorated

The Maltese cross is found on both column wheels – and notice the anglage on the fingers of the clamps

Concluding thoughts

The cal. 3500 is exceedingly impressive. And that alone is enough to elevate this to the hall of fame for split-seconds chronographs.

While the Traditionnelle split-seconds is certainly a top class watch, obtaining one might be a challenge, price notwithstanding, as only 15 were made and they are sold out (the last one available sold the week before this was published). Fortunately Vacheron Constantin has an accommodating custom-order workshop in the form of Les Cabinotiers, so the cal. 3500 can probably be obtained in another form.

Key Facts and Price

Vacheron Constantin Traditionnelle Split-Seconds Chronograph Ultra-Thin Collection Excellence Platine
Ref. 5400T/000P-B637

Diameter: 42.5 mm
Height: 10.7 mm
Material: Platinum
Crystal: Sapphire
Water resistance: 30 m

Dial: Platinum with white gold applied numerals

Movement: Cal. 3500
Functions: Hours, minutes, seconds; mono-pusher, split-seconds chronograph; and power reserve indicator
Winding: Automatic
Frequency: 21,600 beats per hour (3 Hz)
Power reserve: 48 hours

Strap: Alligator with platinum folding clasp

Limited edition: 15 pieces 
Availability: Only at boutiques
Price: Approximately US$300,000

For more, visit vacheronconstantin.com