What does it mean to be Director of the Watchmaking Creation Studio?
At Chanel in particular, the position is ultra-creative. The idea is to translate Gabrielle Chanel’s vision into watchmaking, from initial concept to preliminary sketch, all the way up to production. Since 1987, when the house began making watches, our creations have satisfied two key words: style and excellence.
What qualities are required for this position?
They can be summed up in the phrase: “the stuff that dreams are made of.”
How far can you play around with a brand’s DNA while still remaining faithful to it?
I understand your question, but you don’t play around with DNA. There’s nothing worse than going round in circles with your so-called DNA and constantly reliving the past. This attitude shows a lack of respect. Freedom of creation was always one of Gabrielle Chanel’s primary values. You can’t dwell on the past; it doesn’t work. Goethe’s phrase: “Make a better future with the expanded elements of the past” is an excellent summary.
What, in your opinion, is the most creative horological complication?
The term complication has always bothered me a bit. I prefer to speak of horological clarity. Gabrielle Chanel’s essential tenets were simplicity, quality and comfort. That’s why I’m partial to complications that are elegant and discreet, and can be understood at first glance. That said, I’m fascinated by the kinetics of automata.
Does design follow mechanics, or is it the other way around?
At Chanel, technique is employed in the service of creation. That’s a fact, but I’m also incredibly lucky to be supported by some remarkable technicians who have no fear of creative boldness.
Why did you choose to present a Pink Edition?
(Laughs). It’s crazy, everyone is asking me about it, and it was only a very small showcase. Pink is one obsession among many others. It was Chanel that reconciled me to this colour, which has been a regular feature of the house’s collections. Pink amused me, and this year enabled me to indulge in an entertaining exercise.
In terms of design, do you design a pendant watch as a piece of jewellery or as a timepiece?
As a timepiece, of course. I refuse to let watches be defined by a single way of wearing them. Let’s not forget that women used to wear their watches as châtelaines, and men in their pockets. Bracelet, ring, necklace, belt, glove – it doesn’t matter where the watch is, as long as it’s done with style.
What watch are you currently wearing?
None, I never wear one, but I do collect them. I don’t like the idea of an artist who displays his own works in his living room. That’s what it would feel like if I were to wear a Chanel watch. On the other hand, I give them to my friends, my wife – they’ve almost had enough! (laughs). It’s also a good way to maintain a certain distance from my work, a genuine objectivity, without the risk of losing my imagination.
In your opinion, which of the 2024 new releases would Gabrielle Chanel have worn?
The only answer I can give you is that, knowing her excellent taste, she would not have asked for my opinion!
