if only walls could speak

APOTHEOSIS
TEMPORIS
A Classical Collection Re-defined
SIDEWAYS
The Revolutionary New
Hidden Calendar Correctors
PHILIPPE ROCHAT
SPRING | 2006
While Away an Afternoon In
Switzerland’s Greatest Restaurant
IF ONLY WALLS
COULD SPEAK
The Re-opening of Blancpain’s
Complicated Watch Atelier
SPRING | 2006
EDITORIAL
| 01
DEAR FELLOW WATCH CONNOISSEURS
Welcome to Issue No. 1 of Letters From Le Brassus!
We at Blancpain are pleased to introduce you to our new magazine. It is our hope that
Letters From Le Brassus will let you experience the
spirit of Blancpain by not only deepening your understanding of the collection and Blancpain’s haute
horlogerie innovations, but as well by introducing you
to some of the personalities of Blancpain, bringing
you the latest news from the manufacture and, finally,
sharing with you experiences from our art de vivre.
It is fitting that in our first issue of Letters From Le Brassus we write about the biggest
event of this past year, the re-opening of our workshop in Le Brassus following more
than a year of renovation. In the article If Walls Could Speak we are proud to give you
a short tour of our completely refurbished workshop, known affectionately inside
Blancpain as the “farmhouse”. Not only have we completely remodeled the farmhouse,
we just completed moving our entire team of watchmakers to Le Brassus so that 100%
of our production is now located there.
We hope you enjoy this first issue, and encourage you to fill out the enclosed card so
that you can be on the list to receive future copies.
Marc A. Hayek
CEO Blancpain
HIGHLIGHTS
IF ONLY WALLS
COULD SPEAK
4
APOTHEOSIS TEMPORIS
A CLASSICAL COLLECTION
RE-DEFINED
14
WHILE AWAY AN AFTERNOON
RESTAURANT PHILIPPE ROCHAT
24
THE BLANCPAIN WINE LETTER
LUCIEN LE MOINE
54
02 | 03
CONTENT
IF ONLY WALLS COULD SPEAK page 04
APOTHEOSIS TEMPORIS page 14
RESTAURANT PHILIPPE ROCHAT page 24
SIDEWAYS page 34
THE PRODIGY page 40
SHORT STORIES page 48
THE BLANCPAIN WINE LETTER page 54
THE NEW AD-CAMPAIGN page 62
NEWS OF THE BLANCPAIN WORLD page 64
COVER
Detail of the
Villeret Chronograph
Monopusher
IN
TIME
04 | 05
The Le Brassus atelier
known within Blancpain
as the “farmhouse“
“IF ONLY WALLS COULD SPEAK” IS A FAMILIAR, IF NOT STOCK
LAMENT. THE SECRETS, OMNISCIENCE, THE SUPERIOR WISDOM
THAT COMES FROM THEIR SILENT, PATIENT OBSERVATION
OF HUMANITY AND EVENTS WITHIN CAUSES US ALL TO EXHALE
THIS EXPRESSION DURING OUR LIVES WHEN WE REALIZE THAT
WE DO NOT KNOW WHAT THEY WOULD KNOW WERE THEY ALIVE.
BY JEFFREY S. KINGSTON
IN
TIME
Entry to the
farmhouse
O
n occasion, however, walls do speak.
It was thus during Blancpain’s 270th year
Loudly. There are circumstances when
celebration. An anniversary year rich with
they not only reveal a glimpse of what goes
events, it culminated October 6-7 with the
on within, they spew forth whole para-
re-opening of the Le Brassus farmhouse. But
graphs, sometimes whole cinema reels of
the re-opening was more than an occasion
their stories. How can this be so? It is when
to remark upon the beauty of a rejuvenated
the walls show us the values, the ethics, the
building. The farmhouse atelier is symbol of
purposes, the aspirations of the people who
what Blancpain stands for. Its re-opening
built them or who inhabit them. Think of the
was a re-affirmation of Blancpain’s core val-
famous photographer, Peter Menzel, whose
ues. No need to summon the chef d’atelier or
landmark 1994 portrayal for the United
the horlogers who work within these walls
Nations’ International Year of the Family used
to learn the details of what goes on within.
photographs of family dwellings and posses-
The style of the farmhouse, its traditional
sions eloquently to tell the tales of how
wooden watchmaker benches, its layout, its
people around the world live. As this exhibit
loving restoration all speak volumes of
traveled from the banks of the Seine in front
Blancpain’s goals, ethics and the things it
of the Assemblée Nationale to New York, the
prizes. Walls do speak.
images of the walls gave gripping narration
The cynical among us may be prone to
of each of their lives, without need of words.
scoff: “This is just a factory”, a word which is
06 | 07
Stairway to the
upstairs workshops
IN
TIME
THE FARMHOUSE ATELIER IS A SYMBOL
OF WHAT BLANCPAIN STANDS FOR.
Blancpain took the occasion to lavish special
finishing throughout. Here the banister
highlighting the year of Blancpain’s founding
08 | 09
Lovely details abound.
Note the drawer
pulls on the bespoke
watchmaker benches
pejorative here. “How is this different from
When it was acquired in 1982, the Le
gleaming architectural watch-house trophies
Brassus farmhouse was meant to symbolize
in Geneva with soaring arches or flying can-
Blancpain’s joinder in more than 200 years
tilevers?“ And the final question in the riff,
of Vallée de Joux watchmaking traditions.
meant as the coup de grace “Aren’t these all
Historically, watches were not made in fac-
just structures with a watchmaking factory
tories. There were no fluorescent lit, cantilever-
within?”
ed antiseptic facilities with assembly line
The answer is a resounding no. These build-
methods. Watches were handiworks of arti-
ings are not alike and those differences
sans who labored in attics, farmhouses,
reveal the differences in watchmaking phil-
small family dwellings. Each watch was a
osophy. The Blancpain Le Brassus farmhouse
highly personal creation of the man who
has not been conceived like a factory and its
lovingly fashioned it. The finishes and deco-
design shows that it is not meant to be used
rations were artistic signatures. Each watch
like one.
was made beginning to end by hands of a
IN
TIME
Being born:
a Le Brassus
series Equation
Marchante
THE BLANCPAIN WATCHMAKER BENCHES ARE ENTIRELY
BESPOKE AND HAND MADE. IF A WATCHMAKER IS
GOING TO WORK ON A SINGLE WATCH FOR AS LONG
AS ONE YEAR—AS IS THE CASE WITH THE 1735—IT WAS
VITAL THAT HIS OR HER POST BE PERFECT IN EVERY DETAIL.
Tough love. The renovation
In the 1735 room, one of the only
tore the farmhouse apart to
two Blancpain watchmakers who
its raw walls
work on this exclusive caliber
10 | 11
single watchmaker. The Le Brassus farmhouse transports these methods—and the
philosophy behind them—forward to our
times. The basics remain fully intact. The
farmhouse is ill-suited to productions lines
with their output charts and is not outfitted
with any. Instead, each watchmaker is given
his or her traditional work bench and gives
birth to time pieces, as was done 200 years
ago, building each from “A to Z”, that is to
say that a single watchmaker creates each
watch working from beginning to end.
D
uring the ceremonies marking the reopening of the Le Brassus farmhouse,
Blancpain’s CEO Marc A. Hayek explained that
Blancpain had many choices as it confronted
the problem of how to expand its capacity.
The easy path, conventional wisdom, if you
will, was to select a location for an efficient,
modern watchmaking factory. Plan-les-Ouates
in Geneva is a veritable garden blooming with
shining edifices housing famous brands popping up like so many tulips in asphalt beds.
That solution, however, conflicted with
Blancpain’s traditional method ethos. The
Jura mountains, in which Vallée de Joux
lies, has been inextricably woven into the
fabric of Blancpain and linked to its soul
throughout its history. Moving from Le
Brassus was out of the question. Instead,
Blancpain chose to restore meticulously the
farmhouse that has become its symbol.
Leaving the four exterior walls intact and
cleverly adjusting the interior spaces,
Blancpain was able, settle on a design that
would on the one hand save the building
and on the other increase the watch,
making space by 50%.
As with any renovation, the first phase—
destruction—always precedes construction.
A stout constitution was required when
surveying the end result of the destruction
phase. Management and watchmakers
alike could only exhale as they peered into
the dusty pit that had once been the most
prized workshop of Blancpain, trusting that
the rewards would arrive at the other end.
IN
TIME
The Tourbillon room
SINCE DECEMBER 2005, ONE HUNDRED
struction. Catalogs abound serving up choices
of modular watchmaking benches for the fac-
PERCENT OF BLANCPAIN’S PRODUCTION HAS
tories of other houses. These Blancpain watchmaker benches were entirely bespoke and
BEEN LOCATED IN LE BRASSUS.
hand made. If a watchmaker is going to work
on a single watch for as long as one year—as
is the case with the 1735—it was vital that his
nd arrive they did, as the press, selected
A
But decorative flourishes lie at the periphery of
collectors and many Blancpain retailers
the renovation. By contrast the defining ele-
As the farmhouse is the home of Blancpain’s
discovered on the occasion of the re-open-
ments are the individual watchmaker benches
most complicated timepieces, the organization
ing. In perfect harmony with its pastoral set-
(or etabli) which were conceived to re-enforce
of the building was done according to compli-
ting—the Le Brassus ski lift is but 100 feet
Blancpain’s core belief that watches are to be
cation. Occupying the summit of Blancpain’s
from one side of the farmhouse, Swiss cows
constructed from beginning to end by one
constellation of watches, the most complicated
all outfitted with bells graze in field a 2-minute
watchmaker. Although they are thoroughly
series produced automatic wristwatch in the
walk away—the farmhouse retains its stone
modern in their adaptation to perfect lighting,
world, the 1735, merits its own room at the
exterior walls, sheathing the interior in cherry.
supply of air (used to control dust), brushes,
summit of the farmhouse, the top floor. There
Wood ceilings and hardwood floors add to
and multiple height adjustments, the etablis
are but two benches in the 1735 Room, as but
the rural ambiance. Small details add to the
have their roots in the past with their arrange-
two horlogers devote themselves to the year-
pleasures of the interior.
ments of drawers and solid cherry wood con-
long process required to fashion a 1735.
or her post be perfect in every detail.
12 | 13
A
cross the hall from the 1735 Room is
the largest room in the farmhouse, the
found the Finishing Room. The tradition-
Training Room is nonetheless key to the vital-
al and complex finishes applied to compo-
ity of everything else. At Blancpain, compli-
nents of Blancpain’s complicated timepieces
cation savoir faire is passed from one gener-
can only be realized through painstaking
ation of watchmaker to the following on a
handiwork, applied by the master craftsmen
one-on-one basis. Working side by side with
in the Finishing Room. It is here where the
a master, rising watchmakers acquire the skills
clock is most decidedly rolled back two hun-
to add new complications to their repertoires.
dred years. Working with materials and tools
What better arrangement than facing
developed by their forbearers, the Blancpain
benches?
craftsmen pay homage to tradition as they
As the name implies the Quality Control
patiently apply a wide variety of polishes,
Room is the place for final checks and adjust-
swirls, stripes to components.
ments for Blancpain’s complicated timepieces.
The next floor down is home to three
On the occasion of the re-opening, the
rooms. The largest is the Grand Compli-
Entry Hall did double duty. Not only were its
cation Room. It is here where Blancpain’s
wooden display cases there to tempt the in-
watchmakers give birth to minute repeaters,
vited guests with treasures from the collection,
split-seconds chronographs, combined
Blancpain used the occasion to debut a spe-
complications and equation of time watches.
cial exhibit entitled “Tradition of Innovation”.
Across the hall is the Tourbillon Room,
The Tradition of Innovation highlighted world
which as the name suggests, is the locus
firsts, world records and ground-breaking
for the creation of all of the Blancpain
innovations developed by Blancpain’s crafts-
tourbillon variations.
men over the years. Punctuating the event,
The first level features the Training Room,
Blancpain debuted yet another world record,
the Quality Control Room and Entry Hall. Not
the caliber 5621 Women’s Perpetual Calendar, which features the world’s thinnest per-
The moon phase clerestory gives just
petual calendar movement. When it leaves
a hint of the special 1735 work room
Le Brassus, the Tradition of Innovation Exhibit
which lies on the other side of the hall
will tour the world.
The ensemble of the farmhouse and its furnishings re-affirms Blancpain’s adherence
to its values. How better to inspire its most
talented watchmakers—and, hidden benefit, attract the best and the brightest from the
Vallée de Joux—than to offer the warmth of
cherry wood, the serenity of intimate quiet
workrooms and the family atmosphere of
watchmaking from eras past?
Yet another benefit comes from the renovation project. With the farmhouse enlarged
and restored, Blancpain was able to move
watchmakers who create its less complicated
watches to facilities immediately adjacent.
Since December 2005, 100% of Blancpain’s
production has been located in Le Brassus.
I
IN
TIME
14 | 15
APOTHEOSIS TEMPORIS:
A CLASSICAL COLLECTION
RE-DEFINED
IN THIS AGE OF BUSINESS CASUAL WHERE THERE IS ONE LOOK NO
MATTER THE OCCASION, WE FORGET WHAT IT MEANT TO BE WELL
TURNED OUT IN THE GLORY YEARS OF THE EARLY ‘60S.
BY JEFFREY S. KINGSTON
IN
TIME
T
hen the mantra was correctness for
the most traditional specialties of haute
each occasion, and a gentleman’s ward-
horlogerie.
robe was defined by those dictates. Business
Each of these eight watches is dressed in a
attire: white shirt, narrow tie, dark suit, hat,
platinum case, with a platinum deployant
black wing-tipped shoes. Formal attire: sin-
buckle. All have a special black dial reserved
gle button tux, stud fastenings, patent leath-
for watches of this set.
er shoes. Cocktail attire: blue blazer with
The best way to understand how
gold buttons and single vent, gray trousers,
Blancpain has evolved the Six Masterpieces
black loafers. Visit to academia: corduroy
to arrive at the Apotheosis Temporis is to
APOTHEOSIS TEMPORIS IS A SET OF EIGHT WATCHES
EACH CONCEIVED TO FIT THE DEMANDS OF A
DIFFERENT OCCASION, IN THIS CASE THE DEMANDS
OF THE MOST CLASSICAL WATCH SPECIALITIES.
coat with elbow patches, brown loafers.
think of a “comparative tasting”. No, I do
Touch football on the lawn: crew-necked
not propose that like oenophiles we
sweater (with only a white tee shirt under-
solemnly swirl the watches all the while sniff-
neath), khakis (no belt), sneakers.
ing to extract nuance then pompously in-
There is something of that spirit in the spe-
tone an adjectival riff on what we imagine
cial edition Blancpain set “Apotheosis
we have just experienced. But I do propose
Temporis”, a set of eight watches, each conceiv-
that we illuminate our powers of observa-
ed to fit the demands of a different occasion,
tion, so as to appreciate what years between
in this case the demands of the most classical
the two sets have brought.
watch specialties. Thoroughly researching the
First of course there are now eight
development of watch complications, includ-
watches instead of six (no points for that
ing re-examining its earlier issue of the Six
observation, that being the equivalent of the
Masterpieces, Blancpain has composed a set
pronouncement that a wine at a tasting is
of eight individual complications to outfit
“red”). Even if remarking on the existence of
perfectly a watch wardrobe with one each of
two additions does not reveal extraordinary
16 | 17
APOTHEOSIS
TEMPORIS
Ultraplate
APOTHEOSIS
APOTHEOSIS
TEMPORIS
Time Zone
APOTHEOSIS
TEMPORIS
TEMPORIS
Quantième à
Quantième
Phases de Lune
Perpétuel
avec Correcteurs
sous cornes
APOTHEOSIS
TEMPORIS
Chronographe
APOTHEOSIS
TEMPORIS
Tourbillon
Monopoussoir à
Rattrapante
APOTHEOSIS
TEMPORIS
Equation Marchante
Pure
APOTHEOSIS
TEMPORIS
Répétition
Minutes
IN
TIME
APOTHEOSIS
TEMPORIS
Equation du Temps
Marchante
Showing the solar hand
and the ellipsoidal cam
“programming“ solar time
powers of perception, the significance of the
we have finished extracting more from our
two additional watches does earn points.
comparative tasting.
Blancpain realized that the original set of six
The next difference gets many points if
lacked two thoroughly classical complica-
you spotted it, for it is not apparent from the
tions: two time zones (“double fuseaux
faces of the watches themselves. Unlike the
horaires”) and equation of time. We will turn
Six Masterpieces, all of the watches in
to the refinements of these two pieces after
Apotheosis Temporis are automatic. In the
Six Masterpiece set the Tourbillon, Minute
Repeater and Ultraplate were all manual
wind. In addition to the convenience that
automatic winding affords, Blancpain graces
the Apotheosis set with a special custom
eight rotor winding box.
Too hard? Now an easy one to spot. Size.
The Masterpiece Set was realized in the then
standard Blancpain 34 mm case. The
Sunset over
Apotheosis Temporis is turned out in the
Lac de Joux
Villeret 38 mm case.
The set includes
a winding box
18 | 19
IN
TIME
The village church
of Le Brassus
20 | 21
Another difference, movement finishing.
Am I not playing fair? Asking you to spot a
difference visible from the back of the
watch, but, thus far, only displaying photos
of the front??? Really, honestly, there is
neither legerdemain nor trickery. If
you are a thorough student of
Blancpain you would know from
the face of the watch, which I have
showed you, that the Apotheosis set is
of the Villeret style, which means that
you don’t yet have to actually see a photo
of the movement to know that its finishing
would be carried out in the Villeret “ton sur
ton” style. Although the eight watches
EACH OF THESE EIGHT WATCHES IS DRESSED IN A PLATINUM
CASE, WITH A PLATINUM DEPLOYANT BUCKLE. ALL HAVE
A SPECIAL BLACK DIAL RESERVED FOR WATCHES OF THIS SET.
APOTHEOSIS TEMPORIS
Time Zone
showing two time zones
IN
TIME
APOTHEOSIS
TEMPORIS
Quantième Perpétuel
avec Correcteurs sous
cornes
year. The Villeret Perpetual With Correctors
Under The Lugs debuted at Basel this year.
Outside of the Apotheosis Temporis set it is
available in rose gold and platinum with
opaline dial.
The next two items really qualify one as a
particularly shrewd professor of Blancpain if
you not only spotted them as new to
Blancpain this year outside the set, but also
adopt the understatement of the Villeret ton
absorbing detail, you marked that they
sur ton movement finish, a little flourish was
debuted themselves as limited editions. The
reserved for the winding rotors. There are
Villeret Equation of Time debuted this year
four distinct rotor designs in the set, each of
at Basel in a limited edition of 50 pieces in
the rotors being realized in platinum.
platinum, with opaline dial.
The next difference if spotted earns you a
Of course, keep in mind that for all the
doctorate in Blancpain history. Three of the
watches of Apotheosis Temporis, the combi-
watches in the Apotheosis Temporis set are
nation of platinum case and black dial is
Moon drenched
entirely new to the Blancpain collection this
reserved for the set.
I
shores of Lac de Joux
22 | 23
ART
DE
VIVRE
24 | 25
WHILE AWAY
AN
AFTERNOON
RESTAURANT PHILIPPE ROCHAT
THE MOST COVETED ACCOLADE IN ALL OF GASTRONOMY IS THE AWARD
OF THREE STARS FROM THE GUIDE MICHELIN. SO RARIFIED IS THE
ATMOSPHERE AT THIS STELLAR LEVEL THAT BUT TWO RESTAURANTS IN
SWITZERLAND HAVE ACHIEVED THIS SUMMIT; ONE OF THE TWO IS
PHILIPPE ROCHAT’S LEGENDARY HÔTEL DE VILLE RESTAURANT IN CRISSIER.
BY JEFFREY S. KINGSTON
ART
DE
VIVRE
Named “Hôtel de Ville”, the restaurant is
located in the center of the Crissier village
situated on the hill above Lausanne
T
Rochat boasts one
of the great wine
cellars of the world
here is a natural bond between
For 17 years he worked alongside Fredy
cause for celebration among gourmets
Philippe Rochat and Blancpain as he
Girardet at the Hôtel de Ville as the restau-
around the world, as Rochat introduces new
was born in the Vallée de Joux home of
rant acquired world-wide renown. Upon
menus conceived around the very best ingre-
Blancpain’s Le Brassus atelier. Rather than
Fredy’s retirement nine years ago, Philippe
dients then in the market.
pursue the path of horlogerie, for which the
made the restaurant his. Although the philo-
Spurning the trend of other celebrity
Vallée de Joux is known, Rochat’s mother
sophy of relentless searching for the finest
chefs who have opened branch restau-
gave him the love of good food and in-
ingredients in season, respect for the purity
rants separated by thousands of miles from
spired him even at the age of nine to create
of flavors and lightness in preparation carries
their roots, Rochat is content to work his
it. Just a few years after that early beginning,
on, Philippe has firmly placed his signature
magic in Crissier. It is here where he
he began to dream of becoming a great
on the cuisine with his constant invention of
remains close to the sources of the finest
chef and took up the calling.
new preparations. Each change of season is
ingredients in the world and where he can
26 | 27
devote himself to his constant drive to
OWNER OF FIVE BLANCPAIN WATCHES ACQUIRED
refine and invent.
OVER THE YEARS, PHILIPPE ROCHAT’S DAILY WATCH
ty years. Owner of five Blancpain watches
He has known Blancpain for nearly twenacquired over the years, his daily watch is a
IS A WHITE GOLD BLANCPAIN TOURBILLON,
white gold Blancpain tourbillon, worn even
as he presides over the kitchen in his chef’s
WORN EVEN AS HE PRESIDES OVER THE KITCHEN IN
whites. His choice of Blancpain for his timepiece is reciprocated as Rochat is Blancpain’s
HIS CHEF’S WHITES.
choice of chef for important occasions.
ART
DE
VIVRE
ONE OF LIFE’S GREAT LUXURIES
IS A LEISURELY, GRACIOUSLY SERVED,
RELAXED LUNCH.
reign of Fredy Girardet, and not missing a
beat, into the reign of Philippe Rochat. I think
of him as a great opera conductor. His gaze
takes in the entire room, and with barely perceived winks, nods, gestures and an occasional word, he directs all the waiters and somme-
O
ne of life’s great luxuries is a leisurely,
SOOOOOOOO—LET’S DO LUNCH! Not
liers. Under his command the room quietly
graciously served, relaxed lunch. Not
just anywhere but at Rochat in Crissier.
hums with perfect service. So after a pleasant
chat with M. Villeneuve, ordering was particu-
only has this precious civilizing grace been
banished from our working lives, to be re-
So off I went to rediscover the pleasure of
placed by cardboard sandwiches wolfed
the hugely satisfying and uplifting ritual of a
down at one’s desk, but it has also withered
magnificent lunch.
larly easy: the BIG menu s’il vous plaît!
When M. Villeneuve departed with my
order, I took in the rest of the room. As this
and nearly died off from our leisure lives.
At Rochat, every meal, particularly a deca-
was Friday lunch the room had a high pro-
“Who has time to sit for lunch? We have to
dent lunch is a fête. So if lunch it would be to
portion of what were obviously business-
hurry off and play!”
while away a misty cold December afternoon,
men. But business in Western Switzerland
So what happens in the confluence of the
it would not just be three plates and out, but
is different than in many places. No one
following circumstances: it is a cold, misty,
the full on big menu. I had this firmly in mind
was headed back to the office to turn out
forbidding day in Western Switzerland; the
as M. Villeneuve, the maître d’hôtel, showed
an-other marketing report that afternoon.
afternoon meeting has been cancelled; every
me to my table.
It was plain that everyone there was taking
tourist attraction worthy of a visit has been
Great restaurants depend upon a great
the remains of the day off. I was particularly
visited and … confessing freely, one of my
maître d’hôtel. M. Villeneuve has been at this
delighted to listen in on a conversation at
favorite restaurants is just around the bend.
restaurant for decades, beginning with the
the table next to mine where the entire
The ratio of chefs per dinner is astounding—Rochat leads a brigade of more than twenty
28 | 29
focus of their first half hour together was
in the shell, barely translucent and accented
Both senses of taste and texture were ful-
not how the foreign subsidiaries were
by a herb vinaigrette. Could I have 3, no
filled. This was a brilliant dish.
managing their order flow, but which
make that 10, of these? Finally the couteaux
The white wine to accompany was a 2000
Condrieu would marry best with the sev-
were taken out of the shell coated in a dark
Puligny Montrachet from Sauzet. Sauzet is
eral truffle dishes they had planned!
stock, offset by a balsamic vinaigrette, placed
of course an icon in Puligny. Sauzet’s vil-
as chunks back on the shell and decorated
lages level Puligny performs far above its
with finely piped crème fraîche.
appellation. It was an elegant, richly satis-
T
he meal started off with a glass of parchampagne
The next course showed the separation
fying Puligny with a hint of spiciness that
(Philippe Rochat selection) and an elon-
between Rochat and ordinary excellent
struck a nice compromise for the dishes
gated, almost tray-like plate, carrying the
cooks. It was a gelée de caviar d’osciètre
with which it was paired.
amuse-bouches. Arrayed in a line were a sea
acidulée aux pommes vertes. This was an
What followed was familiar, a dish I had had
urchin shell holding a veloute of oursins
incredibly generous mound of osciètre
here a year ago. Indeed, if I could imagine
from Ireland; a small scallop shell with a
caviar which arrived perched on top of a
coming to Rochat and having just one
vinaigrette de pétoncles noirs and finally
pale white gelée flecked with tiny chards
thing, it would be this: gros spaghetti aux
crissed crossed shells of “couteaux” (knife) or
of green apple. Of course the pairing of
truffes blanches d’Alba. Spaghetti were rolled
sometimes called “ciseaux” (scissors) in
caviar with citrus, is rather normal. That is
into the shape of a hemisphere (imagine a
French. Oursins is one fish amateur cooks
the stuff of ordinary chefs. The green apple
ball the size of a small mandarin cut in half)
never tangle with. Rochat produced a vel-
is far finer. Less acid than citrus it provides
placed into the center of the plate. It was
vety, slightly sweet thick velouté served just
a barely perceived background polish to
surrounded by the lightest foamy truffle
warm, a simply lovely first bite on the road
allow the full flavor of the caviar to shine
sauce and generous slices of white truffle.
to an elaborate menu. The pétoncles were
through. The texture of the gelée was just
The waiter counseled to cut the ball in half
particularly small in diameter served as slices
firm enough to carry the tiny caviar balls.
immediately, which released a poached egg
ticularly
fine,
yeasty
Gros spaghetti aux truffes blanches d’Alba
ART
DE
VIVRE
Aiguillette de Saint-Pierre
yolk and light herbs hidden beneath the spaghetti. So what one experienced was sensory
overload. The smell of white truffle leaped
from the bowl and one married the truffle
foam and the slices of truffle with its two best
foils, pasta and egg yolk. I cannot imagine a
more hedonistic dish. Nor a more perfect one.
I HAVE OFTEN THOUGHT OF ROCHAT AS A
If the first two dishes were studies in black
and white, the color palate changed abruptly
“YIN YANG” CHEF. IN EACH PLATE HE
with the arrival of the first fish course,
Aiguillette de Saint-Pierre de Port en Bessin
STRIVES TO STRIKE A NOTE AND AT THE SAME
grillée à la fleur de sel fumée et piment
d'Espelette, gnocchi parisienne aux olives de
Nyons. A flat rectangular platter bore the
grilled St. Pierre, generously salted with coarse
herbed sea salt, surrounded by a luminescent
orange sauce dotted with hunks of pimento
and olive. Surrounding the border were the
gnocchi olive tubes. This was a pure breath
TIME OFFSET IT WITH A COUNTER NOTE.
30 | 31
Caviar d’osciètre
of provence on a winter’s day in Switzerland.
were surrounded by foamy bright green
carnivore’s delight and a Rochat speciality,
St. Pierre is a lovely white fish with a
sauce with green flageolets and bits of the
chamois du Tyrol. The filet was no more
somewhat chewy texture that needs a great
tomato confites. But there was even more
than an inch and half in diameter sport-
sauce to spice it up. Rochat provided that
hidden away. Between the encasing phylo
ing a rib bone far thinner than my baby
with this boldly spicy orange pimento based
shell and the langoustine were flecks of herbs,
finger. Where do you find meat like
sauce, accented by the salty Nyons olives.
principally basil. I have often thought of
that??? And what size exactly was this
The gnocchi served to provide not only a
Rochat as a “yin yang” chef. In each plate he
little creature before he met the butcher?
textural counterpoint to the St. Pierre, but to
strives to strike a note and at the same time
A rib filet and separate mignon were
cool the palate for the white wine.
offset it with a counter note. Here one had
served perfectly rare, coated with chutney
Again came a change in the color palate.
the natural sweetness of the langoustines,
and surrounded by a dark spicy classic
From the brilliant orange of St. Pierre, one
playing on the one hand against the very
game sauce. There is no more delectable
was transported to the chartreuse green of
subtle spice of the basil, in turn modulated
venison to be found on the planet. The
Grosses langoustines de Bretagne frites
by the earthiness of the beans, then propel-
meat simply vaporized on the palate. The
Chlorophylle et tomates confites au jus de
led forward by the almost spicy confites
spice of the meat was accented by the
flageolets. The menu description does not
tomatoes. Another candidate for a one dish
subtle chutney coating. The meat itself was
fully capture all the elements of this Rochat
meal. Let me come here and eat just this!
perfect, but there was a little treasure
creation. Two giant langoustine were en-
The animal rights and PETA crowd can
sitting by itself on the right upper side of
cased in very thin phylo shell, dusted with
now avert their eyes or, better yet, seek out
the plate. This was small layered cylinder
almost microscopic flecks of parsley. They
the nearest exit. The meat course was a
that featured slices of celery root alternating
ART
DE
VIVRE
from factories and sold as “Gruyère”. But
DESSERT AT ROCHAT CONSISTS OF NO LESS
laboring out of sight from the mass market
are small artisanal producers. What they
THAN FOUR COURSES, NOT COUNTING THE
create is a different substance from the rubbery, cased in shrink wrap, yellow bricks that
PETIT FOURS AND CHOCOLATES
present themselves to the mass market. It is
Gruyères with real character. Rochat offers a
full range from mild, through mi-salé and
with a farce of finely chopped bits of pine-
There is a season for game, and there is a
onto vieux Gruyères. The mi-salé has a nut
apple and turnips. Brilliant! This could have
season for cheese as well. This being after
quality that is delightful. But the real winner
been a course all by itself. It set off the rich-
October, the season for Mont d’Or cheese
is the vieux Gruyère that introduces caramel
ness of the chamois and its game sauce
was in full swing. Mont d’Or comes from the
overtones.
perfectly.
nearby Jura and only is found from October
For the red, I found a great half bottle of 99
to April. At its best, it is a runny, unctuously
Trapet Gevery Chambertin vieilles vignes. Like
creamy, rich cheese that, together with
A
the Sauzet which proceeded it, this is a bur-
Reblochon, is perfect for finishing off the red
the cheese trolley here – the bread! As with
gundy that is far better than its villages level
wine remaining after the meat course. So of
any self-respecting three star, Rochat bakes
appellation. It had everything one seeks out
course, I chose both receiving a particularly
his own bread, and good they are. But the
from Chambertin: a blackberry cassis spice,
generous portion of flowing Mont d’Or. But
special bread basket that materializes as the
earth tones, vanilla and hint of chocolate. It
remember that Rochat’s village of Crissier is
cheese trolley departs is a wonder. It abounds
had more than enough power and stuffing to
but a short drive from Gruyère. Sadly, there
with crunchy baguettes, elegant couronnes,
go with the game.
is too much supermarket cheese spewed
rustic country breads and best of all fig bread.
Mirroir Cassis
part from the range of perfect cheeses,
there is another reason never to pass up
The dessert trolley
32 | 33
I had now worked my way up to dessert,
which at Rochat consists of no less than four
courses NOT counting the petits fours and
chocolates. The first dessert was Miroir de
cassis aux baies de sureau crème glacée aux
poires William's du Valais. This was a cassis
mousse crowned with a shimmering shiny
cassis glaze accompanied by a wonderful
pear william ice cream. Yin and yang again.
The pear william eau de vie, creamy as it
was, had just enough bite to play off the
miroir de cassis.
The parade of desserts then turned to first
After all of this comes the challenge, the
least something. For me the one constant is
a plate of intense and perfect sorbets and
last act in the ballet, the dessert trolley. It is
the tarte vaudoise. This is a tarte whose filling
then a plate of ice creams, in each case a
always entertaining to look at the expres-
is a highly reduced crème of cinnamon. With
selection of three. Sorbets were grapefruit,
sions on faces around the room as diners,
that and a sensational bittersweet chocolate
mango and raspberry; ice creams were prali-
who have made it this far, confront a trolley
tart I surrendered. Well, not exactly, since irre-
ne, vanilla and yogurt-lime. The vanilla ice
laden with enormous selection of tarts and
sistible chocolates materialized with coffee.
cream alone is worth the trip to Crissier:
poached fruits—have as many as you like.
By this point, the afternoon had now
positively black with bits of vanilla bean, it
Smiles of guilt, eyes bulging in disbelief,
moved to its final stages and, surprise, the
shames all others.
hands rubbing together, everyone has at
mists had separated allowing for just a bit of
late afternoon glow. I know that it did not
atone for the caloric intake, but I managed
to race off to Glion, above Montreux, and
jog until enveloped in darkness. All in all, a
perfect day.
PHILIPPE ROCHAT
RESTAURANT DE L’HÔTEL DE VILLE
1023 Crissier
Phone: + 41 (0) 21 634 05 05
Fax: + 41 (0) 21 634 24 64
www.philippe-rochat.ch
IN
TIME
SI
Villeret Perpetual Calendar
34 | 35
DEWAYS
ONE OF THE FILM SUCCESS STORIES OF THE PAST YEAR WAS
“SIDEWAYS”. WIDELY ACCLAIMED, IT WAS NOMINATED FOR THE
OSCAR BEST FILM OF THE YEAR, WHICH IT DID NOT WIN, AND
WAS NOMINATED FOR THE OSCAR BEST SUPPORTING ACTOR
FOR THE PERFORMANCE OF THOMAS HAYDEN CHURCH WHICH
IT DID WIN. SUCH WAS THE NOTORIETY OF SIDEWAYS
THAT IT HAS HAD A PROFOUND INFLUENCE OUTSIDE OF
ITS ENTERTAINMENT DOMAIN.
BY JEFFREY S. KINGSTON
A
s it recounts a several day vacation,
Although it seems the film has achieved
harsher wags might substitute the
enormous commercial success and even
word “debauch” for “vacation”, in Califor-
turned the wine markets topsey turvey, no
nia’s Southern Coastal wine country, the
one can explain the title. Just what does
principle protagonist of the film, a nebbish
“Sideways” mean? Is it a slang description
oeneophile, spouts opinions on wines,
for people who drink too much? The two
waxing lyrical on the fragility, caprice, delica-
principle characters in the film, both losers,
The story is what
cy and virtues of pinot noir, and sourly
consume far too much wine. Is it a reference
is not seen. Note
denouncing merlot shouting “if anyone
to the way bottles are stored? No one
a complete absence
orders merlot … I’m leaving!”. Result: Sales
knows. The film is accepted for what it is
side and the resulting
of pinot noir have risen more than 34% and
and evidently for what it says about wine,
purity of line
sales of merlot have plummeted.
mysterious title and all.
6057-3642-53B
of correctors on the
IN
TIME
When I first laid eyes on Blancpain’s new
what is seen. This seems to be particularly
Villeret Perpetual Calendar, fresh from
true in this age of larger, bolder, yes, even
having seen the film, its title immediately
bling watches. However, Blancpain con-
popped into my head. The reason had noth-
ceived the Villeret line to embody the most
ing to do with the merits of pinot noir vs.
refined, elegant, traditional horological values.
merlot. No, the catalyst that brought the
What those values teach is restraint and
word “sideways” to the fore, was seeing the
understatement in all of the features of the
marvel of a completely clean side profile of
watch. The cases are round and classic. The
the watch. Normally one expects a calendar
movements finished ton sur ton (which
watch, even a perpetual calendar watch, to
means a single restrained white metal color,
have correctors arrayed along its sides. How-
with no blued screws, yellow engraving or
ever with the new Villeret Perpetual, Blanc-
other contrasting colors), with even the gold
pain has achieved elegance and a purity of
winding rotor finished in rhodium, so as to
line when the watch is viewed “sideways”
not draw too much attention to itself.
by completely removing the customary and
Would it not seem natural to carry these
necessary correctors from the visible flanks
principles out to the correctors ordinarily set
of the case. The meaning of the title
into the sides of the watch? How fitting then
“Sideways” may forever be obscure when
to refine Blancpain’s most understated line
applied to the popular film, but shifted to
by taking what is normally seen in a calendar
the Villeret perpetual fits perfectly!
watch, the correctors, and making it no
Neatly tucked away, the calendar
It is rare that the innovation of a new
correctors are nestled under the lugs
watch lies in what is not seen rather than
longer seen. This is refinement by removal of
complication.
W
ant purity of line? Just erase the
correctors. Notionally it is appeal-
ing. Trouble is that one brutal reality appears bringing freezing rain. Correctors are
a fact of life for complex calendar watches.
They cannot be simply removed leaving the
owner to fend for himself otherwise. There
must be some means afforded to set the
day, date, month, leap year and moon
phase of the watch. Since the era of calendar pocket watches, the solution has been to
place correctors into the sides of the case.
With a push of a setting tool (which is a
small cylindrical metal tool supplied with the
watch; it should be said, however, that really knowledgeable collectors prefer to use a
simple wooden toothpick, because if one’s
hand slips while using it, the watch will
never be scratched) the correctors, connected internally to the calendar plate of the
watch movement, advance by one day,
month, or date each calendar indication.
Taking care to read the owner’s manual to
be sure when it is “safe” to set each of
these indications, correctors supply the
necessary means to take a watch which is
new or has been stopped for a period and
36 | 37
set it to the current day, date, month, leap
year position and moon phase. Thus,
Blancpain’s hopes to enhance the elegance
of the Villeret line by removing the correctors from the side of the watch depended
upon finding an alternative location for
them.
If not the sides, where?
The possibilities were inherently limited; only the
dial and back of the watch
remained as choices for corrector
locations. Obviously, the only hidden location would be the underside of watch. But
how could correctors be placed there and
still manipulate the calendar plate of the
movement, which is located just under the
dial?
B
lancpain’s solution, now the subject of
patent, was ingenious and a first for
watches. The correctors are placed under
the lugs, completely out of sight when the
watch is worn. The general idea for this
innovation came no less than from one of
the 1735 watchmakers in Le Brassus. The
correctors push as well upon movement
Detail of the corrector
Blancpain 1735 is the world’s most compli-
components, but they do so by means of a
and its integrated spring
cated automatic wristwatch: minute re-
lever arm. Look closely at the photo of
peater, perpetual calendar, split-seconds
prototype case showing the corrector. The
chronograph and tourbillon. This watch-
knob of the corrector, which is hidden
maker, one of but two who build the
under the lugs, is attached to a rotating
1735, had the inspiration that correctors
shaft, which in turn has a small arm that
IT IS RARE THAT THE INNOVATION OF
A NEW WATCH LIES IN WHAT IS NOT SEEN
RATHER THAN WHAT IS SEEN.
could be placed under the lugs, requiring
actuates the movement. That small arm
no changes in the movement, but cleaning
provides leverage. Whereas previously cor-
up the lines of the watch.
rectors required a small tool to make a
But even more was gained than cleanli-
change, now with the aid of the small
ness of line. Traditional correctors push
knob and the lever the owner can use the
directly upon movement components in
correctors with but a push of the finger-
order to accomplish a change in an indica-
nail. There was more than a little magic
tion (day, date etc.). Blancpain’s hidden
and subtlety involved in the development
IN
TIME
BLANCPAIN’S SOLUTION, NOW THE SUBJECT OF
PATENT, WAS INGENIOUS AND A FIRST FOR WATCHES.
THE CORRECTORS ARE PLACED UNDER THE LUGS,
COMPLETELY OUT OF SIGHT WHEN THE WATCH IS WORN.
of this first in the world innovation. For
a bow to tradition, Blancpain does furnish a
example, Blancpain did want to make the
small tool for actuating the correctors, if the
watch adjustable without use of tools. But
convenience of doing it by hand seems too
on the other hand, it did not want to make
great a departure from the inconvenience of
actuation of the correctors too easy. It would
the past.
not do to have the correctors move when
taking it on and off. Thus, considerable
N
effort was devoted to designing a spring
easier than ever to use, a few words are in
system that was neither too weak nor too
order about how to use them. With any
strong, so that corrections would only occur
watch it is always critically important to
when they were deliberately commanded. In
read the owner’s manual before setting or
the owner was simply wearing the watch or
1
2
ow that Blancpain has made the correctors not only more discrete and
2
1
push
A
push
3
4
4
3
There are four calendar correctors. 1: date corrector, 2: year and month corrector, 3: day of week corrector, 4: moon phase corrector
38 | 39
using the watch. It is uniformly the case
against making changes with the correc-
This section of the case
with calendar watches that the manual will
tors for several hours. During the time
shows how the corrector
contain very specific warnings against
changes are occurring, gears, cams or
changing the calendar settings (using the
levers of the movement are engaged to
correctors) when the watch is set between
move an indication to the next day. If a
certain times of day. Why is that? What is
corrector is pushed during the time of a
the reason that for certain times using the
change, that is to say when a gear, cam or
correctors is forbidden?
lever is engaged, there is a danger that
these components may be damaged with
T
his is because of the way calendar
the force of a corrector push. For similar
mechanisms are constructed. Changes
reasons, adjusting the time of the watch
in day, date, month and moon phase occur
backwards during the change cycle risks
over a period of several hours generally
damaging engaged components for many
grouped around midnight. Be careful!
watch designs (this is not the case for the
Depending on the calendar mechanism
perpetual calendar mechanism used in the
design, sometimes indications, such as the
Blancpain Villeret Perpetual With Correc-
moon phase, occur near noon; read the
tors Under the Lugs; it uses a calendar
manual for your watch! Because the
plate that is tolerant of backwards time
change of an indication absorbs power
changes. However, other Blancpain perpet-
from the movement, the changes do not
ual calendars do not permit backwards
take place all at once, but instead take
time corrections around the midnight date
place one at a time. As well, again to mini-
change time. The universal rule, Read the
mize power drain, each change takes place
Manual, applies!).
over a span of time, sometimes a period of
many minutes. Thus, the warning period as
given in the owner’s manual cautions
I
is installed. The finger
actuates the movement
CLOSE
UP
40 | 41
THE PRODIGY
#
EACH BLANCPAIN WATCH IS A PERSONAL CREATION.
MEET ONE OF BLANCPAIN’S RISING YOUNG WATCHMAKERS.
BY JEFFREY S. KINGSTON
CLOSE
UP
The world of a
watchmaker exists in
small dimensions
W
from a university, end a
forecast for Patagonia. On the other hand,
businessman’s climb up the cor-
if we can all agree we are here among
porate ladder, extract approbation even
friends and we harbor no ill will towards our
e live in a time of
all-consuming political cor-
rectness. Such is the power of the polit-
from one’s children. This we all know. It
fellow men and women, inclusive of all
sake, don’t call them that!) who oversee and
is STRICTLY forbidden to speak a stereotype
communities, sensitive and insensitive
enforce its imperatives that some violations
aloud. We are not even supposed to think
(which embraces all races, creeds, religions,
are more soundly condemned and punished
them. So what are we about to do here? We
ages, ethnicities, persuasions, proclivities,
than, for example, mere murder (for as we
are going to exploit a loophole and write
heights, circumferences, hair colors, tastes
know some circumstances excuse murder as
about stereotypes.
in music, and willingness to eat animal
being politically correct). At the very top of
Naturally there must be ground rules. If you
products), we can have a little fun off
the politically correct list of malum per se
are a high priest of correctness (or involved
the record (which means I never wrote this
offenses are stereotypes. In this age where
in a close personal relationship with one),
article; you never read it and it rains a lot in
every group is “a community”, and one must
perhaps it would be a good idea to close
Patagonia).
at all times be “culturally sensitive”, the
the magazine, go to your computer and with
Ground rules settled and mice unclicked,
utterance of a stereotype is a crime. It will
a simple click of your mouse transport your-
let’s dish the dirt with a few wicked (but not
ruin a political career, justify an expulsion
self to a web page with the 15-day weather
insensitive) stereotypes.
ical correctness priests (and for heavens
42 | 43
1. Strong-willed effective politicians, with the
2. Muscle men may “pump you up” but be-
3. Great chefs are all fat, out of shape, rolly
mettle and backbone to change the course
yond their pecs, abs, delts and lats have no
polly men.
of a nation or history itself must be MEN.
other abilities, much less a brain.
Ooops. Don’t say that to Margaret
Well, not exactly. Arnold may have flexed
Again not quite. Does Philippe Rochat look
Thatcher. She was strong-willed enough
at the start of his career, but since then
fat and rolly polly to you? (See page 24)
to be nicknamed “La Dame de Fer”, by
it has been his intellect that has made
Philippe is one of only two Michelin three star
the French press. Strong enough to go
him not only a successful actor, but a
chefs in Switzerland and is widely esteemed to
toe to toe, eyeball to eyeball with burly,
hugely successful business man. Now in
be in that incredibly select group of the ten
brutish, scowling coal mine union lead-
his fourth career (muscle man, actor,
best chefs in the world. By the way, don’t even
ers and make them be the first to blink.
businessman, and politician), he has
try and keep up with him skating up hills or
She had enough mettle systematically to
shown himself to be mentally nimble
climbing them on a bike. On a good day, Lance
yank the economy of her nation forward
enough to outmaneuver and beat back
Armstrong can outclimb him. But you can’t!
transforming it from morbidity to the
a pack of hostile legislators as governor
One more thing. Don’t intone the other
most powerful engine in Europe at the
of the sixth-largest economy in the
part of this stereotype, the part that insists
time.
world.
that great chefs be male, in front of Alice
CLOSE
UP
44 | 45
Waters. This stereotype also trespasses on
over a bench (or if you are building your
her turf. This woman chef not only is one of
French watchmaking vocabulary “etabli”)
the most celebrated in the world, but she
upon which was perched a tourbillon. Freely
transformed restaurant cooking in the
confessing to age prejudice, I lurched to halt,
United States. More than that, she com-
mouth gaping with the same disbelief as if I
pletely revolutionized food production and
had seen Paris Hilton sliding into the cap-
food markets. Remember spam in the US
tain’s seat of a 747. Summoning my most
actually is a food made up of meat parts of
diplomatic French, I muttered something
je ne sais quoi. Thanks to Alice, markets now
sotto voce to the senior watchmakers squir-
brim with artisanal, organic, sparkling fresh
ing me around about le jeune homme in
ingredients.
the atelier with a tourbillon! “Of course!”
Had enough? So far our stereotypes seem
they replied he is one of our most talented
not to be holding up very well. Maybe there
young watchmakers. Two days later, attend-
is a reason these things should never be
ing the Blancpain summer picnic in
spoken. It’s because—to put a fine point on
Lausanne, along the shores of Lac Léman I
it—they are so often wrong. But living
struck up a conversation with him. After
dangerously, let’s spin another one.
amiably chatting the usual cocktail party
… AND OF THOSE THREE GRADUATES FROM
WATCHMAKING SCHOOL TWO CHOSE BLANCPAIN
TO BEGIN THEIR CAREERS.
4. Watchmakers who work on the most
fluff, I mentioned that I had seen him the
complicated watches are grizzled gray old
other day up in Le Brassus working on a
men.
tourbillon. I might as well have thrown a
switch. Immediately his eyes sparkled and
Well, we seem to have put a false foot down
his demeanor became all business. Indeed,
again. And to demonstrate that point, enter
that was the first tourbillon upon which he
Blancpain’s 22 year old prodigy. In a little
had worked and making that unmistakably
over two years of working at Blancpain, his
Gaullic gesture of thumb and forefinger
first and only employer since graduating
brought to the lips, it was working “sweet-
from the Ecole Technique du Vallée de Joux
ly”. At once, I concluded I must write a story
(Switzerland’s most prestigious watch-
of how this 22 year old has achieved so
making school), he has sprinted up the lad-
much in his profession.
der of his profession to work in Le Brassus
on Blancpain’s complicated watches. I first
met him during a visit to the atelier to learn
about the plans for the renovation (now
Manually calibrating
completed) of the farmhouse. Accustomed
the balance spring
as I was to seeing if not grizzled, at least
of the tourbillon.
senior watchmakers working at the
This traditional
benches in Le Brassus, I gazed in
hand-craft method
is still practiced
and saw this unmistakably young,
by Blancpain
(could this even be a teenager?), hunched
CLOSE
UP
H
is story begins, as it must, with his
Technique is nonetheless demanding and
And of those three graduates from watch-
schooling. Born in Crissier, he has lived
competitive. Only a very small percentage of
making school (all of whom enjoyed offers
for the past 14 years in the Vallée de Joux
the applicants gain a spot.
from throughout the industry) two chose
Blancpain to begin their careers.
near Le Sentier. Originally pushed by his
The curriculum consumes four years and
parents towards a career in medicine, he con-
culminates with the CFC Diplôme (“Certificat
Why Blancpain? Because Blancpain ap-
cluded early on that was not to be his profes-
Fédéral de Capacité de Horlogerie” Federal
proaches watchmaking holistically. Watch-
sion. Intrigued by things mechanical, and par-
certificate of watchmaking competence). If
makers learn from day one how to build
ticularly pleased by solving mechanical prob-
admission to the Ecole was difficult, staying
watches from A to Z. This stands in contrast
lems, he took the entrance exam to enter
till the end and achieving the diplôme was
to the practice of many others in the industry
watchmaking school. Places in the Ecole
also not a cakewalk. Of the 14 students in
who compartmentalize the tasks. Elsewhere,
Technique de la Vallée de Joux do not come
his class only eight survived the examination
young watchmakers may spend long periods
easily. While it may be the case that young
process. Of the eight, five chose not to pursue
of time doing only watch regulation or mount-
Swiss are spared the schemes and games,
immediately a watchmaking career, prefer-
ing of movements into cases.
professional application counselors, essay
ring instead to be technicians, either work-
Of course, A to Z, did not begin with tour-
coaches, parent manipulations, and phony
ing in laboratories designing watches or
billons. It began with building the 1150
“hooks” that have now become de rigueur
working on old watch restoration. Thus, at
movement, Blancpain’s superb 100 hour
for admission to prestigious US colleges and
the end there were only three graduates who
power reserve work horse. Soon thereafter, he
universities, securing a spot in the Ecole
entered the classical watchmaking world.
graduated to working upon 1150 powered
46 | 47
Blancpains with complications such as the
triple date moon phase and GMT.
Along the way, he gained experience in the
He had a very
Already he had set
clever method
his sights on new
950 base movement, which is used in the
ments on new things.
Blancpain Lady Bird.
When he saw another
Next came the perpetual calendar. As he
ground: split-seconds
for gaining assign-
chronographs!
In-
deed, working beside
him—the neighboring
watchmaker working
recounted this progression of ever more
on a complication on which he had yet to
bench, if you will—was a watchmaker
complicated watches, I interrupted. How
gain experience, he devoted time to observ-
devoted to the Blancpain, Le Brassus
did it come to pass that he had become
ing the new techniques and asking ques-
Collection, split-seconds flyback perpetual
experienced in so many different move-
tions. Never once at Blancpain was he turned
chronograph. The observations and ques-
ments and complications in such a short
down in these requests.
tions had begun and he was certain that the
split-seconds was to be his next stop as he
period of time, when his peers from the
So step by step, he has moved up the lad-
Ecole Technique might still be stuck working
der to tourbillons. It is clear that tourbillons
on their first movement, or perhaps even
please him a great deal. He appreciates the
And what of life in the Vallée de Joux.
just a few elements of that movement? His
delicacy of the tourbillon cage and the nearly
How can we put this delicately? As romantic
answer was simple and insightful: it is all a
microscopic components contained within it.
as the notion of the cradle of watchmaking
question of motivation. For him watchmaking is not a job, it is a passion.
climbs the ladder.
He clearly is proud that he quickly master-
may seem to collectors, this remote lake val-
ed the level of concentration on the details
ley perched in the Jura mountains, has never
of this delicate mechanism which is demand-
been described as offering the throbbing,
ed of any watchmaker who works upon it.
pulsating scintillating night life of London,
IMMEDIATELY HIS EYES SPARKLED AND HIS DEMEANOR BECAME ALL
BUSINESS. INDEED, THAT WAS THE FIRST TOURBILLON UPON WHICH HE HAD
WORKED AND MAKING THAT UNMISTAKABLY GAULLIC GESTURE OF THUMB
AND FOREFINGER BROUGHT TO THE LIPS, IT WAS WORKING “SWEETLY”.
This then provoked another question. When
Paris or New York. So is there at least one
working on something this difficult, does he
night spot? Indeed, there is. A discotheque.
ever find himself cornered and frustrated
Which he has visited but once, and then only
and forced to put down the task? My
to humor his sister who insisted he go.
question clearly had stumbled into territory
Instead he seeks out the pleasures in which
familiar to every watchmaker who works
the Vallée excels, nature, sport (did you
upon taxing complications. “Yes”, he con-
know that Blancpain has a small ski lift but
fessed, there are times when a technique
50 yards from the Le Brassus atelier, which
“makes his head feel two times its size”, but
on a perfect Friday afternoon, with fresh
rather than put the task aside to resume it
powder snow empties the etablis) and quiet
later (when presumably the swelling will
evenings with friends over fondue.
have subsided), he prefers to stick with the
problem until it is solved.
Careful inspection of
a Tourbillon Grande Date
So where does he go from here? What is
to be the next challenge after the tourbillon?
I
IN
TIME
SHORT STORIES 2005
FOLLOWING THE BASEL FAIR FROM 2005 WE TAKE A SHORT TOUR
THROUGH SOME OF THOSE INTRODUCTIONS NOW IN THE SHOPS
BY JEFFREY S. KINGSTON
FLYBACK GRANDE DATE
AQUA LUNG GRANDE DATE
near vision abandons us making the reading of lovingly finished dials ever more difficult.
Our savior is the Grande Date, a feature
There are trends we deplore and those we
Now that we have that off the chest, at least
prized not only by those with the near vision
applaud. To deplore (a personal top 10):
one trend to applaud:
affliction but as well by those, vision per-
1.
1.
fect, who appreciate dial harmony.
2.
3.
4.
5.
6.
7.
8.
9.
Bigger and bigger SUVs
Large date watches
Longer and more outrageous football
This year Blancpain introduces two new
Grande Date models, the Flyback Grande
“touchdown dances”
It is one of life’s cruel ironies that as many
Wasabi in French Haute Cuisine
of us advance in age and gain the stature
Increasing numbers of impossible to
and means to acquire fine time pieces our
Date and the steel Aqua Lung Grande Date.
Flyback Grande Date. Long one of the
find and use “features” in Microsoft
icons in the Blancpain collection has been
software
the Flyback Chronograph. In a new larger
Too many megapixels, particularly those
40 mm size, the new Flyback Grande Date
that come out just after you shelled out
carries over all of the core elements
for that new camera
that have distinguished the Flyback and
Photo radar on every millimeter of Euro-
made it a must for connoisseurs of
pean roads
chronographs: column wheel design for
The incredible shrinking snow skis,
supple smooth control of and creamy
now tiny little jobs that make teeny little
button feel for all chronograph start/
moguls. Call them “mini-me” skis
stop and reset functions; vertical clutch
TV cable “news” programs where
actuation of the chronograph for flaw-
everyone yells at once
less, jump-free starting and stopping; fly-
People who scream into their mo-
back capability, which, with a single push
bile phones in restaurants, particularly
of the return to zero button automatically
London restaurants
stops the chronograph, resets it to zero
10. Fewer and fewer flights with boarding
and restarts.
gates at European airports. Let your first
Now with the Grande Date, legibility is
class flight begin pressing the flesh,
emphasized. To maintain harmony of the
Tokyo subway-style, with your fellow air
dial, the date disks are black to blend subtly
travelers on a boarding bus, the knap-
the display into the rest of the dial.
sack toting bunch troweling trenches in
visages of the unlucky victims pressed in
A classic of the house refreshed,
from behind
the Flyback Grande Date
48 | 49
IT IS ONE OF LIFE’S CRUEL IRONIES THAT AS MANY
OF US ADVANCE IN AGE AND GAIN THE STATURE
AND MEANS TO ACQUIRE FINE TIME PIECES OUR
NEAR VISION ABANDONS US MAKING THE READING
OF LOVINGLY FINISHED DIALS EVER MORE DIFFICULT.
Aqua Lung Grande Date. For many years
reserve. Viewing the movement through the
the Aqua Lung in its several versions has
clear case back, all of the finishing motifs of
been one of Blancpain’s most popular diving
the Léman series are visible: traditionally
watches. It, together with its other diving
produced (heat method) blued screws,
siblings, the Fifty Fathoms, Anniversary Fifty
rhodium-plated solid white gold winding rotor,
Fathoms, and Concept Fifty Fathoms, is
blue engraving, and hand decorated and
unique in the world of diving watches in
polished components. The case in brushed
that they offer an extraordinarily long
steel is water-resistant to 100 meters.
power reserves in their derivations of the
Caliber 1150.
As 2005 was the 270th birthday for
Blancpain, in remembrance of that date, the
The Aqualung Grande Date is powered by
Aqualung Grande Date has been issued in a
the Caliber 6950 (based on the 1150) whose
series limited to 2005 examples, each indi-
283 components deliver a 70 hour power
vidually numbered.
Dial Side of the Aqua Lung
Grande Date. Note the mirror polish
on the edge of the plate
Aqua Lung Grande Date
IN
TIME
LE TOURBILLON TRANSPARENCE
Lingering, lurking, lying in wait in the back
the components which do not reveal them-
of every savvy watch collector’s conscious-
selves through a clear case back is the same
ness is a rarely asked, almost never answered
as those which do. Wonderful articles have
question: “Yes. I can see the finishing
been written and published on the Internet
through the clear case back of my watch.
by exceptionally talented watch collectors
The bridges with delicately applied côte de
who have themselves dismantled their
Genève. The plates with perlage swirls. The
Blancpains and examined the finishing of all
gleaming anglage polish on the sides of
the parts, even the most hidden from view,
plates and bridges. But … what about the
such, as for example, the components of the
finish on the side of the movement hidden
keyless works. (For the less experienced col-
behind the dial?” Occasionally, the question
lectors, the keyless works of a mechanical
turns somewhat dark, maybe even with an
watch, deeply buried in the movement, is
edge of menace. “What if … there is decep-
attached to the crown. These components
tion here? What if … the watchmakers who
allow the crown to wind the watch in one
produced my watch dolled up the side of the
position and change the time when the
watch I could see, the parts exposed to view
crown is pulled to a different position.) One
by the clear case back, but followed some
particularly experienced collector concluded
lesser standard elsewhere?”
in his Internet article that the finishing of the
WITH THE SPECIAL EDITION TOURBILLON TRANSPARENCE,
BLANCPAIN PARTS THE MISTS AND MYSTERIES OF
FINISHING ON MANY OF THE PARTS WHICH OTHERWISE
WOULD BE HIDDEN FROM VIEW.
Of course watchmakers, from whom
Blancpain was impeccable throughout,
nothing is hidden, know that for every
including the keyless works (and sadly came
Blancpain watch, the quality of finishing on
to a very different conclusion concerning
another brand where the visible parts displayed elaborate finishing flourishes, but the
hidden parts, particularly the keyless works,
were a disappointment). That conclusion is
also born out in the hands of many
knowledgeable collectors who with an
accomplished sensitive touch can feel the
finishing of a Blancpain when they wind the
watch, pull the crown, activate a pusher on
a chronograph, change time of a GMT
function or otherwise manipulate a control
on the watch.
50 | 51
With the special edition Tourbillon
Transparence, Blancpain parts the mists
A piece for connoisseurs:
The Tourbillon Transparence
and mysteries of finishing on many of the
parts which otherwise would be hidden
from view. Now in addition to watchmakers and the 1 in 10 million watch collector who dares to disassemble his
watch, everyone can be treated to the
delights of the normally hidden from view
dial side of a Blancpain Grande Date
Tourbillon movement.
Blancpain summoned art and science to
achieve front side transparency. The dial is composed of a sapphire plate a mere 0.40 mm
thick. Precision drilling produces the mounting points for the diamond polished, baton
faced and faceted hour markers.
Of course all of this effort was expended
for what lies below. Now from two sides
the owner can gaze upon the handiwork of the movement. Not only is
all the polishing done by hand, so
individual is the decorating and
finishing of many of the components
that the cognisenti can recognize tiny
details which reveal which particular
artisan in Le Brassus finished the watch!
The Grande Date movement composed of
307 parts and offering a 7-day power reserve is housed in a 38 mm platinum case.
As befits a haute horlogerie piece, the Transparence is equipped with a deployant (or
folding) clasp.
The Transparence was made part of Blancpain’s 270th Anniversary and in homage to
that occasion is offered as a limited edition
of 27 pieces.
IN
TIME
THE LIMITED EDITION REVEIL
Whether you covet them or denounce them,
as anything other than one of the world’s
only the most isolated of Tibetan hermits has
most gorgeous timepieces whose every
not remarked on the evolution of the sports
detail was conceived and carefully executed
utility vehicle from a purely utilitarian trans-
to fit perfectly all of the tasks given to the
port conceived to go about its appointed
“ultimate travel watch”. So the first half of
tasks with, at best, the grim resolve of a
my SUV rant can be dispensed with as irrele-
party apparatchik during the Soviet heyday
vant. Not so the second half since I most cer-
into vehicles with the flash, pizzazz, and
tainly DO want to draw an analogy when it
verve of the most exotic sports cars. In draw-
comes to the subject of adding spice and
ing an analogy here by no means do I sug-
pizzazz because THAT evolution has most
gest that the Blancpain Reveil be considered
certainly come to the Reveil.
BLANCPAIN TAKES THE REVEIL AND LIBERALLY APPLIES A DOSE
OF CHILI, DASH OF CAYENNE AND SOUPCON OF JALAPENO.
Detail of the
alarm hammer
52 | 53
Introducing the Limited Réveil GMT
(which moves forwards and backwards as
The reveil movement.
Anniversaire. Blancpain takes the Reveil
the local time is moved through midnight),
Two details to note:
and liberally applies a dose of chili, dash of
an alarm function with a musical large dia-
cayenne and soupcon of jalapeno. This
meter sounding ring, automatic winding of
Anniversary edition features a 5N brushed
both the alarm and main barrel of the base
red gold case, special black dial with
movement, and an alarm power reserve
applied markers and numerals, a highly
display. The movement finishing featuring
flexible and conforming to the wrist rubber
blued screws, a solid gold rhodium-plated
bracelet, and a gold deployant buckle. It is
18 kt gold winding rotor, hand polished and
a Reveil with special pizzazz.
finished components and free sprung
balance carries over as well.
Of course, all of the features of the non-
Another watch from the celebration of
limited edition Reveil are replicated in the
Blancpain’s 270 years as a manufacture,
Anniversary Edition including two time
this Limited Edition Réveil is available in
zone displays (home time and local time),
only 270 examples, each engraved from
an advancing and retarding date display
1/270 to 270/270 on the caseback.
I
the free sprung balance
and repeater-like
sounding ring
ART
DE
VIVRE
THE BLANCPAIN
WINE LETTER
LUCIEN
LE MOINE
BY JEFFREY S. KINGSTON
This inaugural issue of Letters From Le Brassus introduces
wine expert Dr. George Derbalian. Dr. Derbalian is the
founder of Atherton Wine Imports located in Northern California.
Not only has he become one of the United States’ premier
importers of fine wines, but he has acquired a well-deserved
reputation as one of the leading and most respected wine
connoisseurs and expert tasters in the world.
Each year Dr. Derbalian travels the wine circuits of Europe and
the United States meeting with producers, owners of the finest
domains, chefs de chai, and other key figures in the world
of wine. Throughout the course of each year he tastes literally
many thousands of current production
and vintage wines.
In this issue, Dr. Derbalian shares
with us one of his latest discoveries,
the burgundies of Lucien Le Moine.
54 | 55
The Corton
Corton Hill,
Côte de Beaune
ART
DE
VIVRE
NO ONE PERSON FULLY MASTERS
THE VEXING COMPLEXITY OF THE
BURGUNDY REGION.
Mounir Saouma “Lucien Le Moine“
W
inston Churchill, always one to turn a
sadly in a few cases, thin and mediocre. And
tion of others. The negotiants with their sub-
phrase, conjured the description “a
this is the complexity reflected in just one of
stantial commercial size performed a valuable
mystery wrapped in an enigma”. He was not
the dozens of vineyards that comprise the
service for small wine producers. They re-
speaking of wine, but he easily could have
Côte de Nuits and Côte de Beaune.
moved the distribution and sales burdens
been describing the world of French burgun-
Finding great burgundy is a quest to unravel
which many small producers felt unable to
dy. No one person fully masters the vexing
the complexities of the region and to latch
bear. With their purchases of much of the pro-
complexity of the burgundy region. Take for
onto producers dedicated to quality. Over the
duction of the entire region, the negotiants
example the famous Grand Cru vineyard of
last 30 years, this quest increasingly has been
became the principle source of burgundy for
Clos de Vougeot. There are nearly 100 differ-
a search for domain wines, that is, wines
the consumer.
ent owners of separate parcels within this
whose origins exist entirely under “one roof”,
Unfortunately, the negotiant business
single vineyard, producing wine under differ-
so to speak. These are wines where the owner
model often did not result in wines of distinc-
ent names, and, most importantly, no two of
of the vines, raises the vines, controls the har-
tion. Their identity hidden and, by reason of
these wines, each bearing the same vineyard
vest, conducts and controls the vinification
often long-term purchase contracts, insulated
name, are exactly alike. To the diversity of pro-
and, then finally, bottles the finished wine. The
from substantial commercial risk (or reward),
duction (each producer reflecting the style,
emergence of such domain wines represented
the vintners who actually made the wine had
approach and talent of the wine maker and
a
burgundy.
reduced incentives to excel. Also contributing
caretaker of the vines) adds the year to year
Previously the region had been dominated by
to mediocrity was a risk averse predilection of
vintage variation, and one confronts an exceed-
large houses called “negotiants”, who pur-
the negotiants. Many did not want wines that
ingly complex matrix of wine quality and styles
chased wine already in barrels, trusting in the
excelled. They wanted “safe” wines that
ranging from profound, ethereal, earthy to,
raising of the vines (“élevage”) and vinifica-
could be easily sold. Finally, the negotiants
remarkable
revolution
in
56 | 57
muted whatever individual expression might
became a world of wonderfully diverse
the opposite route, seeking to bring forward
have been found in a particular wine from a
artistic expression. Burgundy lends itself to
their own wine making style, de-emphasiz-
particular producer by blending all of the pro-
creativity as the pinot noir grape, used exclu-
ing soil characteristics. The knowledgeable
ducers’ wines from a single vineyard together
sively for the reds and the chardonnay
consumer is the winner, able to choose
in the final bottling.
grape, exclusively for the whites, both may
domains according to style. With some very
be vinified in a multitude of ways—should
limited exceptions, over the past decade, all
his began to change 30 years ago as
the wine stay long on the lees before fer-
burgundies of distinction have been domain
T
ambitious, creative, talented vintners
mentation is begun? Should vinification
wines and the quantities of negotiants’ wines
one-by-one began breaking away from the
temperature be depressed? How much stem
have diminished and their appeal to wine
negotiant cocoon in order to express them-
should be allowed? Should grapes be sorted
connoisseurs has largely disappeared.
selves with their own hand-crafted domain
bunch by bunch? How much new oak? How
The wines of Lucien Le Moine improbably
wines. They did not want their handiwork to
much stirring in the barrel? You get the idea.
turn this now accepted truism on its head.
be lost in a blend. They wanted their wines to
There is no set formula, no single recipe so
Doubly so. These are wines of great breed
make a statement about their wine making
to speak, to be followed. This variability
making powerful personal style statements—
philosophy and represent the best that bur-
allows talented wine makers to extract differ-
wines which critics have already called “wor-
gundy had to offer. More than that, many of
ent expressions and emphasize different
thy of a special search in the market place”. Yet
these domain owners were willing to take
qualities from the grapes from a single vine-
contrary to the current catechism that wines
risks in the name of uncompromising quality.
yard. Some domain wine makers seek to coax
with strong personalities and great definition
What formerly had been a rather bland world
out of their harvests an expression of the soil
can only be domain wines, these are techni-
of commercially produced negotiant wines
of each particular vineyard. Others follow
cally speaking negotiant wines, because the
ART
DE
VIVRE
raising of the grapes and vinification is done
As the monks in Israel were of the same order
riveting wines. In a word, it is a philosophy of
by individual growers who sell their wines in
as those found in the Abbaye de Cîteaux,
non-intervention. All too often, wine-makers
barrel to Lucien Le Moine. But as we shall see,
located 16 kilometers east of Vougeot in the
manipulate their wines seeking to avoid risk.
these are not factory blended and bottled high
Côte de Nuits, Mounir, on arrival, looked to
Sadly, however, wines manipulated to be safe
volume wines, as produced by the big negoti-
the Cîteaux monks to open doors for him in
are wines lacking character. According to his
ant firms, but artisanal specialties specially
the region. Through the help of the monks,
policy of non-intervention, Mounir does not
selected and available in only small quantities.
Mounir was introduced to a wide range of
believe in fining, racking or filtration. Fining is
Lucien Le Moine is a micro negotiant, if you
small domains in both the Côte de Nuits and
a process of clarification to stabilize the wine.
will. Second, and equally running contrary to
Côte de Beaune.
A substance, often egg whites, is put into the
conventional wisdom, the geniuses behind
The monks were also the source of his name
barrel where it may bind with solid particles
this enterprise far from being native French are
“Lucien Le Moine”. The link to the Abbey is
suspended in the wine. The solids are then
Lebanese and Israeli in origin.
easy to spot in that the words “Le Moine”
filtered out producing a wine which is clear
One basic to put to the side. There is no per-
mean “monk” in French. The first word is
and unlikely to have sediment. As many con-
son named “Lucien Le Moine”. Instead this
somewhat less obvious. In Arabic, Mounir
sumers wrongly consider sediment as a flaw,
micro negotiant firm is the inspiration of
means “light”. The rough translation of that
the resulting wine is unlikely to raise hackles.
Mounir Saouma (Lebanese by birth) and his
became “Lucien”. Hence, Mounir the Monk
It is also unlikely to have depth, character or
partner Rotem Brakin (Israeli). Mounir’s entrée
became “Lucien Le Moine”.
personality. Safe, but bland is the result. The
into wine making came in Israel where he
Acting as a wine-making consultant, Mounir
very particles filtered out of the wine possess
worked as the wine-maker for Christian
preached his wine-making philosophy dedi-
remarkable flavors and give the wine depth
monks. In1995, Mounir relocated to burgundy.
cated to fashioning distinguished, intense,
and dimension.
LUCIEN LE MOINE IS A MICRO
NEGOTIANT. HIS WINE MAKING
PHILOSOPHY DEDICATED TO
FASHIONING DISTINGUISHED,
INTENSE, RIVETING WINES.
IN A WORD, IT IS A PHILOSOPHY
OF NON-INTERVENTION.
The “line-up“ of an
evening’s tasting
58 | 59
A
fter preaching his non-intervention
slightly creamy quality. For the whites, a
can such a delicate living thing be pushed
beliefs for four years to a wide range
gentle stirring of the wine (called “baton-
through the vanes of a pump?
of small high quality domains, Mounir de-
nage”) is done three or four times a month.
In a further nod toward tradition, Mounir
cided to embark on his own venture. Through
Mounir uses only the highest quality
uses special heavy glass bottles with a very
his consulting, he met domain owners who
Seguin Moreau barrels with oak from the
deep (or seen from the other side, high) inden-
were single-mindedly dedicated to quality
Jupilles forest. His attention to detail does
tation at the bottom (if you want to dazzle
and to crafting wines of distinction. He then
not stop there. He insists upon fine grain in
your friends with your mastery of wine termi-
convinced these domains to sell him small
the oak and upon a slow toasting, varying in
nology, the indentation is called a “punt”). Of
fractions of their production. Sometimes this
degree depending upon which wine will be
course it is entertaining and practical to pour
meant settling for but a single barrel—25
aged in the barrel. Unusual today, when re-
the wine with ones fingers firmly docked in
cases—of a particular wine. Upon delivery of
use of barrels for two or three vintages is
the indentation, but there is another more
the wine in barrels, Mounir adheres to his
common, 100% of his barrels are new.
substantive reason for bringing back this tradi-
non-intervention credo. In addition to abjur-
When it comes time to bottle the wines,
tional bottle shape. The deep trough that is
ing fining, racking and filtering, he barrel-
Mounir does it the old-fashioned way, by
created becomes a good trap for sediment. As
ages the reds and whites on 100% of their
gravity. By contrast, one large negotiant in
experienced burgundy collectors know, far
lees. Indeed, Mounir demands that his pro-
Beaune, once pointed me with great pride
from revealing a flaw in wine, the accumula-
ducers supply the wine with a large quantity
to his newly installed system of pumps,
tion of sediment as the wine ages is the sign
of lees depending on the vintage. Lees are a
meters and pipes with which he could auto-
of a wine that is alive and evolving. The con-
source of CO2 which helps the wine age and
mate the bottling process. Great wines are
trary is also true, wines without sediment
in certain vintages like 2000 can bestow a
living things which evolve in the bottle. How
generally get that way because the elements
Mounir Saouma and
Rotem Brakin
DE
VIVRE
© THIERRY GAUDILLÈRE-ECRIVIN
ART
that produce sediment are filtered out—
come first, followed by “villages” wines (that
this one. It had a full-blown chardonnay
unfortunately, these same elements are the
is an appellation of the village region, but not
character in the nose melding notes of
ones that allow the wine to grow and gain
of a rated vineyard), then premier crus, then,
melon and butter, followed by a rich body
depth during aging. No sediment—sterile
finally, the stars of the show, the grand crus.
yielding up butter and nuts. While this wine
wine. Mounir’s wines, all unfiltered, do have
After hundreds of tastings, it is easy to skate
would never be mistaken for a grand cru, it
sediment so that the bottle shape serves a
through the preliminary rounds, so to speak,
has the potential to shame many wines of
dual purpose, grip and sediment trap.
waiting for real heavy weights to show them-
higher appellations.
Mounir and Rotem recently came to the San
selves. This tasting did not depart from pattern
While the Bourgogne Blanc gave a hint of
Francisco Bay Area for a tasting of their wines
as the grand crus were in fact stunning rivet-
the across the board quality of Mounir’s
at Jardiniere Restaurant. Sommeliers from
ing wines. But where the pattern was broken
wines, the Pernand Vergelesse added an
several restaurants gathered to taste through
was in the tasting of lesser wines. These were
emphatic exclamation point. Pernand is an
a range of reds and whites from the 2003 vin-
not wines to be overlooked, not merely step-
often overlooked appellation which sits adja-
tage. Experienced tasters single-mindedly
ping stones waiting for the big boys to arrive.
cent to the very famous Grand Cru vineyard
focus on the “top of the ladder”, the wines
In their own right, the lesser appellations were
of Corton Charlemagne. Despite its proxim-
highest in the pecking order. Trade practice
distinguished wines of character.
ity, Pernand is not noted for producing wines
takes account of this so that every tasting is
The lowest white appellation was the
of distinction. Mounir’s Pernand from the
organized from bottom to top. If the most
2003 Bourgogne Blanc. Generally an appel-
Sous Frétila vineyard was outstanding. Dis-
prestigious wines are tasted too soon, then
lation this low will be an utterly forgettable
playing the citrus mineral character of its
lesser wines will be overshadowed. In burgun-
wine, suitable perhaps for stuffing into a
neighbor Corton Charlemagne, this Pernand
dy, this means that lesser generic appellations
knapsack for consumption on a picnic. Not
had admirable richness and length.
60 | 61
The Hospice de Beaune.
The elaborately decorated
tile roof is a signature
architectural flourish of
the Côte d’Or
N
ext up the white ladder was the
should have a citrusy steely exterior which
ally speaking, Les Amoureuses is “only” a
Meursault Perrières. In a word, this was
hides the strength and richness of the under-
Premier Cru vineyard. Yet burgundy cognos-
a lovely text book example of great Meursault.
lying wine. Mounir’s again fit the appellation
centi know that in the hands of great wine
The opulent nose exploded with a nutty apri-
perfectly. The depth and concentration of this
makers (such as Christophe Roumier or Robert
cot note. The mouth had a rich roasted butter
wine was extraordinary, so was its steel, citrus,
Groffier), stunning Grand Cru quality can be
character followed by a long-balanced buttery
mineral sheath.
found there. Mounir’s offering placed his wines
finish.
The reds were stars as well. Like its generic
in that same stratosphere. This Amoureuses
There was an interesting contrast with the
counterpart, the Bourgogne Rouge was a
had remarkable depth and concentration of
other Premier Cru white in the tasting, a
wine of character, displaying sweet pinot fruit
fruit. It also had the wonderful velvet softness
Puligny Montrachet Les Folatières. The
with touches of oak. Mounir explained why it
in the mouth that devotees of the Chambolle
Folatières vineyard is one of the most distin-
performed so well. It was a blend of grapes
Musigny commune crave in those wines.
guished in Puligny, lying along the same road
from Fixin, Marsonnay, Hautes Côtes de Nuits
(and the same side of the road as Le
and young Nuits St. Georges.
One caution about Lucien Le Moine wines.
The quantities produced of each appellation
Montrachet itself), across from and slightly to
The Premier Cru Gevrey Chambertin Les
can be miniscule. In some instances but a sin-
the north of Les Pucelles. The Folatières was
Cazetiers showed extremely well displaying
gle barrel, 25 cases are available for all the
more restrained than the Meursault, with a
very sweet cherry fruit, backed by Gevrey
world. A special effort, therefore, is needed to
nice balance of peach and butter and mine-
earthiness. It would clearly outperform many
find them, but that effort will be rewarded
rals, followed by a spicy finish.
Grand Cru Chambertins.
with wine of uncompromising quality.
At the top was the Grand Cru, Corton
At the top of the red ladder was Mounir’s
Charlemagne. A great Corton Charlemagne
Chambolle Musigny Les Amoureuses. Technic-
© FOTOS BY KOBRAND CORPORATION
I
NEWS
A NEW TRADITION
THE OCCASION OF BLANCPAIN’S 270TH ANNIVERSARY FURNISHED
A REASON TO REFLECT ON THE MANUFACTURE’S PAST TRIUMPHS
62 | 63
IS BORN
BY JEFFREY S. KINGSTON
rilled into every successful business-
D
had lost track of just how long a list of world
man, athlete, politician or artist, is a
firsts and world records was embedded in its
keen sense of the present and a blocking of
past.
the past. We are taught never to dwell upon
Gathering this history together, provided
either past accomplishments or failures,
an inspiration. What more fitting way to
instead to look ever forward. However, the
mark an important anniversary for the
occasion of Blancpain’s 270th Anniversary
Manufacture than to produce an exhibit
furnished a reason to break from discipline
celebrating these achievements. Thus the
and reflect on the Manufacture’s past
exhibit “A Tradition of Innovation” was
triumphs. What Blancpain found was aston-
born. Consisting of more than 19 pieces,
ishing to even the longest term employees.
this exhibit and an accompanying special
Living in the present, the entire organization
edition hard cover book presented such
NEWS
But the theme of the Exhibit and the
book was seen to have a deeper significance. It represents the core values of
Blancpain—a single-minded quest to expand the frontiers of haute horlogerie
by undertaking new challenges while at
the same time remaining faithful to the
most honored watchmaking traditions.
This Blancpain ethos is now reflected in its
new advertising motif, bearing the name
“Tradition of Innovation”.
These new advertisements which will be
rolling out over the coming months highlight the innovations and inspiration embodied in the Blancpain collection. Of
At the heart of Blancpain’s world
record thin chronographs, the column
wheel and vertical clutch mechanisms
course, the watches are shown, but so are
key components of the movement that
bestow
the
special
personality
that
records as the world’s thinnest automatic
watch, the world’s first perpetual calendar
connoisseurs expect of a Blancpain watch.
chronograph, the world’s first modern diving
with hidden correctors and the world’s thin-
As well the ads feature photos of hands
watch, the world’s first automatic winding
nest perpetual calendar. After debuting at
and tools of the watchmaker as he or she
tourbillon with 8-day power reserve, and
the re-opening ceremony for its Le Brassus
works bring the watch to life.
carrying forward to the very recent past, the
workshop, the Tradition of Innovation Exhibit
world’s first running equation of time wrist-
has now embarked on a world tour.
I
64 | 65
SHORT TAKES FROM THE BLANCPAIN NEWS-WIRE
PRINCE ALBERT II REWARDS
THE WORK OF ARTIST
JEAN-MICHEL FOLON
This year, the theme of Blancpain’s 6th participation in the Monaco Yacht Show was a celebration of Monaco’s maritime heritage. In
honor of this partnership, Prince Albert II of
Monaco personally rewarded artist JeanMichel Folon with an exceptional watch, the
Blancpain Léman Aqualung Monaco Yacht
Show 2005.
A multi-talented artist, Jean-Michel Folon
has given a new lease on life to a 1930s boat
that was inexorably degrading into a wreck.
This superb vessel, entirely restored in keeping with the noblest shipbuilding traditions
and christened Over the Rainbow, is moored
Nicolas G. Hayek Sr and Marc A. Hayek
in the Monaco harbor.
BLANCPAIN CELEBRATES THE RE-OPENING OF THE LE BRASSUS ATELIER
AND THE DEBUT OF THE EXHIBIT “TRADITION OF INNOVATION”
Jean-Michel Folon and His Serene Highness
Prince Albert II.
Produced in a limited numbered edition of
150, the Léman Aqualung Monaco Yacht
Show 2005 is distinguished by its case-back
engraved with the legendary Monaco lighthouse and by the Monaco coat of arms
adorning its ebony black dial. Each watch in
this limited series is accompanied by a portfolio on lighthouses illustrated, numbered
and signed by artist Jean-Benoît Héron.
Welcoming more than 300 members of the
complicated watches, the Le Brassus work-
press and collectors from around the world,
shop, lovingly called the “farmhouse” within
Blancpain brought its 270th Anniversary
Blancpain, has become a symbol of the
celebration to a climax with two spectacular
manufacture. Blancpain’s CEO Marc A. Hayek
openings on October 6th and 7th.
accompanied by Nicolas G. Hayek cut the rib-
Long a home to the creation of its most
bon to formally reopen the atelier whose
SHORT TAKES FROM THE BLANCPAIN NEWS-WIRE
restoration has lasted more than a year.
Coincident with the reopening of the
Le Brassus atelier, Blancpain debuted its
exhibit “Tradition of Innovation”. This exhibit, accompanied by a commemorative
book, assembles together for the first time a
chronicle of Blancpain’s many innovations. In
its gallery, the exhibit includes many world
firsts and world records which Blancpain has
created and pioneered over its history.
Following the formal ceremonies and tour of
the exhibit and farmhouse, Blancpain’s
guests were treated to a gala evening of
champagne, dinner and dancing until the
early hours of morning.
OFFICIAL BLANCPAIN PRIZE AWARDED AT THE
WORLD ARABIAN HORSES CHAMPIONSHIP 2005
Inspired by a shared love of beauty and the
equestrian world to that of the Manufacture
tireless pursuit of perfection, Blancpain was a
in Le Brassus.
partner in the World Arabian Horses
Blancpain presented Mr Jerzy Bialobok, direc-
Championship held in Paris (France), from
tor of the Polish Stadnina Koni-Michalow
December 9 th to 11th, 2005.
Breed and lucky owner of Emandoria, a grey
The Official Blancpain Prize rewards an
mare yearling filly, with an 18-carat red-gold
exceptional purebred Arabian horse and
full-calendar “Hunter” watch, featuring a
The grey mare Emandoria, winner of the
highlights the constant search for perfection
100-hour power reserve, a blue dial and gold
Prix Blancpain delivered to Jerzy Bialobok
and the philosophy of excellence binding the
applied facetted hour-markers.
66 | 67
BLANCPAIN OPENS ITS FIRST
BOUTIQUE IN SWITZERLAND
Following on from Cannes, Paris, New York,
and Munich, Blancpain has set up its very first
Boutique on Swiss soil, located on the corner
of the Rue du Rhône and the Place de la
Fusterie, Geneva. The collections of the
world's oldest watch brand are showcased in
a 53 sq.m. boutique which opened on
December 16th. Reflecting the philosophy
prevailing in the Manufacture in Le Brassus,
Blancpain boutiques convey the same spirit
that pervades the workshops of its masterwatchmakers. Crafted by a skilled cabinetmaker from the Vallée de Joux, the interior design
of the boutique is imbued with the flavor of
the traditional watchmaking country side.
Cherry wood is the predominant theme, clothing the walls and furniture with its warm
amber tones. Comfortable leather chairs welcome visitors, who can thus savor a “lounge”
atmosphere in which to discover Blancpain’s
hand-finished and decorated timepieces.
At the back of the boutique, an authentic
antique solid oak and pewter bar found in a
Parisian brasserie provides an area conducive
to “watch talk” with collectors.
GENEVA, PARIS, NEW YORK,
CANNES AND NOW A
NEW BOUTIQUE IN MUNICH
December 9th, 2005 marked the much anticipated opening of Blancpain’s first boutique in
Germany, located at the prestigious Maximillianstrasse in Munich (no. 14). This address
is where the celebrated artist Rudolph Moshammer had his studio, and it is here where
Blancpain has outfitted the space with the
warm wooden décor recalling its Vallée de
Joux roots. Blancpain has taken two floors.
The ground floor is home to the cases displaying Blancpain’s Haute Horlogerie collection of timepieces. One floor above, is the
reception area and workshop for Blancpain’s
German after-sales service.
NEWS
SHORT TAKES FROM THE BLANCPAIN NEWS-WIRE
BLANCPAIN HONORS WORLD CHESS CHAMPION
VLADIMIR KRAMNIK WITH A UNIQUE WATCH FOLLOWED
BY AN EVENING OF CHESS FOR COLLECTORS
The Moscow luxury goods speciality boutique
they want to see. He paints”. For many years
Mercury played host to a very special day of
the art on Vladimir Kramnik’s wrist has been
watches and chess on November 24th. The
a watch from the Blancpain Villeret series. To
guests of honor were World Chess Cham-
honor his continued successful defenses of
pion Vladimir Kramnik, Blancpain CEO Marc A.
his world title, Blancpain created a special
Hayek and thirty privileged watch collectors.
watch which was presented by Blancpain
CEO Marc A. Hayek. Given a choice from
the Blancpain collection, Vladimir Kramnik
selected a Villeret Time Zone in white gold.
Kramnik has long been drawn to the classicism of the Blancpain Villeret series which is
personified in the Time Zone, ref. 6260.
In recognition of Vladimir Kramnik’s achievements and his many years devotion to Blanc-
Marc A. Hayek presents Vladimir Kramnik
pain, the model presented by Marc A. Hayek
his special Villeret Time Zone Watch
featured a unique winding rotor bearing the
Publisher
BLANCPAIN SA
Le Rocher 12
1348 Le Brassus
Switzerland
Tel.: +41 21 796 36 36
www.blancpain.com
pr@blancpain.com
Editors in chief
Christel Räber
Jeffrey S. Kingston
Concept, Graphic Design, Realisation
thema communications ag, Frankfurt, Germany
Vladimir Kramnik challenged by thirty simultaneous chess matches
The most celebrated name in all of
image of Vladimir Kramnik in a contemplative
chess, Vladimir Kramnik has
chess pose. This special time piece was
been reining champion since
created by Blancpain’s master
2000 when he defeated Garry
engraver in Le Brassus.
Kasparov in London. At times,
Following the presentation of
Champion Kramnik likens his
this unique Blancpain watch,
chess to a “fighting game”
Vladimir Kramnik played an
but more often to an art that
exhibition chess match simul-
is simply “felt”. Drawing an
analogy to a painter, he has said
that “A painter never asks people what
taneously against 30 watch
collectors.
Art Direction
Frank Dillmann
Pre-press
DigitalRepro96, Frankfurt, Germany
Printing
Caruna Druck, Kleinheubach, Germany
Photographers
Blancpain, Claude Bossel, Corbis,
Pierre-Michel Delessert (Flaveurs),
Getty Images, Thierry Gaudillère,
Alban Kakulya, Jeffrey S. Kingston,
Kobrand, Wolfgang Oberle, Christel Räber,
Mark Shaw, Johann Sauty,
Vallée de Joux Tourisme
Blancpain wishes to thank the photographers
for the Arabian Horses Championship and
for the Kramnik events.
BLANCPAIN. TRADITION OF INNOVATION. SINCE 1735.
The idea of a chronograph mechanism that can be operated by a single push-piece goes back to
the time of the pocket chronograph. Its refinement and elegance is appreciated as much today as
when it was invented. It inspired us to produce the “Villeret Single Push-Piece Chronograph”
(Ref. 6185-1546-55). A reminder of the origins of the house of Blancpain.
All chronograph commands
– start, stop, reset – are made
by a single button
BOUTIQUES BLANCPAIN
GENEVA • PARIS • NEW YORK • MUNICH • CANNES