Tag Archives: Villeret

Leaps And Bounds: The Alluring Green Dial of Blancpain’s Villeret Quantième Perpétuel Ref. 6656

How often do you think about a leap year? The seemingly innocuous phenomenon that happens once every four years, adding a single day to February. For most of the world’s population it is probably just “oh, there is a February 29th this year” as they see the date on the screen of a smartphone, smartwatch or Google calendar. But, for us watch enthusiasts, on the other hand, February 29th is the day when we finally get to see the perpetual calendar complication go to work. The day when your mechanically driven timepiece can intuitively understand that in 2024, February doesn’t end on the 28th and therefore can automatically compensate for the extra day, and subsequently the arrival of March.

Put to a non-watch person, it may seem that all the research and development and investment from the brand side, along with the hefty asking price of a perpetual calendar, to see it in action once every 1,460 days is probably not justified. However, this is the reason you buy a perpetual calendar. Not an annual calendar or a complete calendar, which is comparatively much cheaper. You buy a perpetual calendar so you can set it once, and if continuously powered, will keep the date until 2100 whereby many of us reading this would no longer be alive.

In honour of the year that will see the Perpetual Calendar complication put to good use, for our Spring 2024 issue, we take a closer look at this complication from Blancpain. More specifically the Villeret Quantième Perpétuel Ref. 6656, a model that represents the confluence between the trifecta of complexity, functionality and design. This model from the manufacture is not new per se but for 2024 it has, for the first time, been given a deep green dial inspired by the fir forests of the Vallée de Joux and paired with an elegant red gold case, giving us the perfect opportunity to revisit the perpetual calendar complication, a complicated that many collectors would probably have on their grail list.

THE DIFFERENCE A DAY MAKES

To understand what makes a perpetual calendar so special, one must first go back to the basics of the date function. At its most basic level, the date mechanism simply follows the advance of the hour hand. For every 24 hours that pass, the date wheel is advanced one day forward. If all months had 31 days this complication wouldn’t have a problem because mechanics thrive on repetition (I recommend playing the video game Opus Magnum to better understand what I mean). However, as we know, some months have 30 days while others have 31. If this was the only variable in a calendar, then, still a perpetual calendar wouldn’t be too difficult to make as the mechanism only has to compensate for two variable factors. Adding on yet another layer of complexity is the fact that February has 28 days which makes this month out of the 12 yet another anomaly which has to be mechanically adjusted.

For each layer of ‘rule’ added to a calendar the mechanics inside have to increase exponentially in terms of complexity to comply. For example, the traditional date complication is simple to manufacture because it follows one rule, and the human (wearer) will manually compensate for the discrepancies between the different days of the month. This means that the date wheel will just automatically advance to 31 every month and five times a year this must be manually corrected.

The next layer of complexity is a movement that can discern between the months that have 30 and 31 days and automatically advance the date as such. This is the function of an annual calendar complication. To achieve this, engineers devised a special cam that takes into consideration the pattern of days in the month within a 1-year cycle. But, as the name alludes, the Annual calendar still requires one manual adjustment to the date every year which is in February, regardless of whether it is a leap year. Interestingly enough, even though the perpetual calendar was invented by Thomas Mudge around the 1760s it was only in 1996 that the simpler annual calendar was invented.

For a perpetual calendar to work, the mechanism within the movement has to be capable of not just ‘understanding’ the patterns of 30 and 31 days within a year, it also has to ‘remember’ that February has only 28 days. And the most important of which, is it has to keep track that every four years, during a leap year, there is an extra day on February 29th. Explaining the mechanism to achieve this would probably take more pages than we have for this article so for the sake of brevity, the ‘memory’ of a perpetual calendar can be boiled down to a cleverly designed cam that records the length of months in a four-year cycle. For this Ref. 6656 specifically, the cam is based on an 8-year cycle recording two consecutive leap years, which can clearly be observed on the subdial at 12 o’clock. On paper, it may seem simple enough to add one day to February every four years, but in reality, the Perpetual calendar is even more complicated than the fan-favourite tourbillon and is probably closer in number of parts to a minute repeater.

Within this new version of the Villeret Quantième Perpétuel Ref. 6656, beats the calibre 5954 automatic movement with its integrated perpetual calendar complication. It is capable of offering a power reserve of 72 hours when fully wound and offers the same anti-magnetic properties thanks to its silicon hairspring.

Even though the word perpetual suggests that the watch need not ever be adjusted, Blancpain’s perpetual calendar, and for that matter almost all perpetual calendar complications are not perfect because they still must be manually adjusted in 2100. If you take the rule that a leap year happens every year divisible by four, then technically 2100 should be a leap year. But it’s not. This is because the exact time that Earth makes a full rotation around the sun is not exactly 365.25 days but rather 365.2422 days. By this logic, if we continue to apply the leap year rule, after a couple of hundred cycles, our seasons will start to get out of sync. Therefore, when the Gregorian calendar (the one we use today) was invented it stated that century years would have to be divisible by 400 for it to be a leap year. Thus 2100, 2200 and so on, will not be leap years to compensate.

BETTER SAFE THAN SORRY

On the subject of manual corrections, the perpetual calendar complication can be notorious when it comes to its adjustments. In perpetual calendars of the past, it has been said that manipulating and adjusting the watch at certain times could easily damage the watch earning it a round trip home to Switzerland and along with it, a large bill for the repairs. And this forbidden period was between the few hours before midnight and the few hours that followed. During this time, the calendar indications are changing, and any manual correction applied could easily damage the delicate gears.

With the Villeret Quantième Perpétuel Ref. 6656 from Blancpain, this is no longer an issue as the watch designers at the manufacture have managed to eliminate this risk entirely. When the user tries to make the adjustment while changes are happening, a clutch disengages the system to prevent any damages from occurring. But the ability to do this doesn’t come without its cost, and according to Blancpain, they needed 40 per cent more components compared to a traditional complication to achieve this. Of course, all of this is hidden beneath the dial so all the wearer sees, is a clean and elegant design on its top side.

Another testament to the usability of Blancpain’s perpetual calendar movements is the fact that since 2005 they have introduced a patented system of manual adjustment – under-lug correctors. Traditionally these manual adjustment mechanisms have always been built into the sides of the cases. In fact, most other perpetual calendars still use these correctors, which appear as small dimples on the case of the watches. The clever use of under-lug correctors by Blancpain enhances the watch in two ways.

The first of which is purely functional where instead of needing a tool to depress the dimples on the case, the lever on the underside of the lugs can be manipulated using one’s fingernails. Secondly, the discarding of these dimples can now allow the watch case to have an entirely smooth surface, adding heaps to the elegance of the watch. This is especially prominent in the case of the Reference 6656 where the beautifully minimalistic dial is complemented by the blemish-free red gold polished case.

MOON FACE INDICATOR

Okay, before you grab your pitchforks protesting this sub-heading, it is indeed quite a literal reference to the little face present on the moonphase indicator on the dial. The moonphase has always been a significant part of Blancpain’s history; One could even say that it is the perfect representation of Blancpain’s ethos as a watch company.

As the story goes, the legendary Jean-Claude Biver said when he bought Blancpain in 1982: “There has never been a quartz Blancpain, and there never will be.” Back then, even the Swiss watch brands were starting to dabble with quartz technology during the era of the quartz crisis. But Blancpain took an opposite stance, instead, doubling down its efforts to cement the mechanical watch’s place in contemporary times by demonstrating how quartz could never replicate the complexity, craftsmanship and history of traditional watchmaking. One of the first complications they decided to make in its modern era was a moon phase indicator in 1983.

Looking at the moon phase indicator on the new Villeret Quantième Perpétuel Ref. 6656, I feel like the face on this moon is portraying something akin to an all-knowing smirk. Perhaps it knows that Blancpain’s choice to make a statement with this complication basically predicted the role of the mechanical watch for contemporary times, not just for Blancpain, but arguably for the entire luxury watch industry that exists today.

The design of the dial is the same Ref. 6656 that was first launched in 2018 which also served as a replacement for the Ref. 6057 which offered a similar design, day, date, month and leap year indicators in three subdials, but in a smaller 38mm case. The new Ref 6656 on the other hand is housed in a 40mm red gold case complete with the collection’s signature double-stepped case. Last but certainly not least, the new look is also defined by the mesmerising, deep green of the dial. The colour along with its sunburst pattern was inspired by the fir forests of the Vallée de Joux that surround the Grandes Complications workshop where the watch is meticulously crafted by its master watchmakers.

Mapping Paths With Montblanc’s 2019 Novelties

Montblanc 1858 Automatic Chronograph Limited Edition and Montblanc 1858 Automatic Limited Edition, both in bronze

In our editorial discussions, the subject of our current cover caused considerable consternation. To be clear, no one disputes the virtues of the Montblanc 1858 Geosphere, in any material; the Luxuo editor even rocks one on his wrist quite frequently. No the difficulty emerges in what we have to say about the Geosphere, since we have been covering it in one form or another since 2015. It first appeared as part of the very impressively named Montblanc Collection Villeret
Tourbillon Cylindrique Geospheres Vasco da Gama. What happened was that the Geospheres part of this complication found a new lease of life in 2018 in a much more accessible line, with an easier to manage name. Happily, it then exploded in popularity.

One consequence of that success was a consistent desire on our part to feature the watch. Every time the conversation rolls around to what Montblanc watches deserve our attention, the Geosphere inevitably comes to mind. What we have never done though is put the watch on our cover – we do not recall any magazine that has, since 2018. When we looked at it that way, it seemed we had to act.

To be fair, this particular issue was not a likely candidate, given that we have already gone in-depth on bronze watches in issue #53, going so far as to put a time-only bronze watch on the cover then. That means we will not be getting into the material heart of the 1858 Geosphere in bronze – it was indeed a part of the aforementioned story on the contemporary bronze watch.

Montblanc 1858 Geosphere Limited Edition in bronze

Having said all that, we did have an amazing image of the 1858 Geosphere in bronze, shot earlier this year, and we simply had to use it while it had currency. The issue you are looking at, #55 which is technically our Festive issue for 2019, has the good fortune then to be blessed by a cover shot by the always-amazing Ching. We are deeply grateful to have such accomplished and reliable collaborators around us, and we get more into this in our segment on the cover watch itself, right upfront in the book.

Getting back to the issue at hand, #55 is actually our deep dive into the madness that grips watch lovers and watch brands at the present moment – the steel sports watch. In that regard, the 1858 Geosphere presents an alternative vision and future for the contemporary sports watch. For a touch of that angle, we turn to the editor who happens to own the Geosphere (not this bronze version), who continued his adventure with Montblanc after attempting to summit Mont Blanc itself last year.

On Point

Montblanc has two watch manufactures, the main facility in Le Locle and a more specialised atelier in the old Minerva facility in Villeret. Best-known for its writing instruments, increasingly for its leather goods and more recently (perhaps most ambitiously) for its watchmaking, Montblanc still endures some scepticism in the latter genre.

Le Locle Manufacture

That said, neither watchmaking nor mountain climbing (explored by this writer in #50) has ever followed a particularly linear path – there is a start and an end but there are many forks and branches. In short, there are plenty of roads not taken, allegorically speaking, so the journey is what matters, not the destination.

The firm’s Le Locle factory has been producing fine timepieces at relatively large, quality-controlled scale since 1997, but that is not the whole story. Montblanc’s nascent watchmaking ambitions can be traced back to the noughts, when they incorporated the Institut Minerva de Recherche en Haute Horlogerie in 2007.

For the past 12 years, Montblanc has been keeping the legacy of Minerva’s incredible heritage alive in the Villeret manufacture, finding inspiration in a vast cornucopia of design codes and historical references. Had Montblanc not intervened, we would not today be enjoying 160 years of uninterrupted production of exceptional and traditional mechanical objets d’art.

Villeret Manufacture

Founded in 1858 by Charles and Hyppolite Robert, the manufacture has itself ebbed and flowed with the economic realities of each era. Beginning as H & C Robert, to Robert Freres Villeret, the company began registering brand names, usually named for a milestone movement.

This began with “Mercure” and then later moved on to “Minerva”, so-named for the goddess of craftsmanship and growth in 1887. Though each collection had its own name, a common leitmotif was shared – a barbed arrow, a symbol whose significance would be apparent as our trek through the caverns of time unfolded.

Going Under

The area of Tú Làn and the cave network that lies beneath and within the mountainous region, is 70km away from Phong Nha – Ke Bang National Park; even the journey to these caves is an adventure, crossing untouched jungles and fields dominated by buffalo. Surrounded by looming limestone mountains, the 10 caves were discovered within the last 10 years.

Stalactites and stalagmites characterise the maw of the Tú Làn system, specifically the Song Oxalis Cave. This is the oldest of the 10 caves, and it took tens of millions of years to cultivate some of the most bizarre, UNESCO-protected limestone and granite formations. Our guides take us through a leisurely if perilous swim through the dark waters of the labyrinthine caverns. Advised to caution – an errant underwater stroke could send a limb into hidden jagged rocks and there is wildlife to consider – our intrepid adventure recalls the careful navigation and adroit manoeuvres typical of a firm which has survived the better part of two centuries.

Initially an “etablisseur” of pocket watches using third-party movements, Robert Frères Villeret only began making its own watch movements in 1895, a vital step on its journey to becoming our beloved manufacture. Calling the Bernese, Jura, home since 1902, it would start forging its reputation in chronographs from 1908, eventually debuting the name “Minerva” for its series of specialist timing instruments.

Capable of measuring time accurately to 1/100th of a second in 1916, its mechanical stopwatches were part of a new breed of “professional watches”, fundamental to the evolution of modern-day motor racing. A column-wheel chronograph with a Breguet balance spring, the Minerva Calibre 13-20 was designed as a monopusher but was available after 1940 in double-pusher configurations with 30- or 45-minute counters. Given the success of these calibres, the whole company was renamed “Minerva SA, Villeret” in 1929, right at the start of what historians call,’The Great Depression”.

Navigating Arduous Paths

By 1934, veteran employees Jacques Pelot, a watch engineer, and Charles Haussener, a mechanical technician, became new owners of Minerva when the Robert family suffered financially as a result of the economic crisis. Leaning into their reputation for specialist chronographs, the pair got the company appointed as official timekeepers of the Olympic ski events at Garmisch-Partenkirchen in 1936. With commercial success and international awareness, they parlayed this newfound influence and popularity with the introduction of several new movements, among them, the Pythagore. This movement sported novel architecture thanks to mathematically positioned bridges defined by principles of the Golden Ratio. Though calibres of this era were typically unseen, these aesthetic principles would form the foundation of movement design at Minerva throughout the 20th century.

Armed (no pun intended) with the vintage-inspired 1858 Automatic Chronograph at one of the many forked paths we would encounter within the dank caverns of Tú Làn, we are reminded of the costs and rewards of each and every decision taken. It is worth remembering that Minerva faced the threat of being consigned to the history books more than once, but it succeeded in making the right decisions at crucial moments. One might argue that there are no “wrong” decisions, simply those with greater risk-to-reward ratios.

Appropriately priced, the 1858 Automatic chronographs are representative of the Montblanc’s “something for everyone” strategy. It bears the aesthetic hallmarks of its Minerva predecessors but sports the well-made if serially produced chronograph movements of Le Locle. Twin sub-registers sandwich the classic snow-capped mountaintop flanked by “Mont” and “Blanc”, a famous peak we ourselves failed to summit just over a year ago.

Back on point though, a true blue Minerva chronograph, a Grail watch in many a collector’s wish list, might be out of reach but the 1858 Automatic Chronograph is its descendant. It bears all the pedigree of the Villeret watchmaker and has inherited all the know-how and competence of Minerva. Yes, the Minerva calibre is missing but the case work itself from Le Locle bears details and finishing unexpected of a timepiece at this level. Robust yet exquisite, the 1858 Automatic
Chronograph is itself a reminder of the bygone era of ‘gentlemen explorers’, summiting mountains and traversing jungles in tweed blazers, bow ties and caps.

Executed in 42mm bronze, the mix of brushed and polished surfaces create a distinct and compelling chronograph suitable for urban or literal jungles, complete with domed sapphire reminiscent of old school plexiglass. Though not specially rated for the great outdoors, Le Locle’s zero tolerance, 500 hours quality control process has created a breed of timekeeping instruments in a league of their own.

Before the battery of tests are applied to timepieces departing Montblanc’s Le Locle factory, corresponding watchmakers in charge of dials, casing, assembly, each conduct their own specialised checks, pinpointing errors to the micron. While not COSC-certified, Montblanc does offer comparable standards of precision timekeeping through its own in-house regulation and chronometric tests beyond industry benchmarks. Davide Cerato, Head of Watchmaking at Montblanc is keen to explain that the industry basically tests the movements, but people wear the watch, not the movement. Hence the 500 hours of quality control tests the watch in its entirety because missteps in fitting the dial, hands or even during casing might adversely effect the finished timepiece.

Visual controls and rating controls are conducted in all positions; the overall running of the movements with functions activated and deactivated are also examined, along with the absolutely essentially water resistance tests. Hence, here in the water of the caves, and taking glancing blows off rock formations, the 1858 Automatic Chronograph continues ticking even if it was not designed to be an “outdoors” watch. Case in point: the rapid acceleration and impact stop of applause already generates 5 to 20 Gs of force; a golf swing is about 20 Gs and bouncing your wrist off the handrails on the train, that is at least 100 Gs. A timepiece should be rated for living even if not specifically intended for wilderness adventures.

Yes, the Automatic Chronograph without the exhibition caseback revealing the iconic bridges and that distinctive “devil’s tail” or arrow motif feels like a comprise. Given the price point and the financial and horological irresponsibility of taking a work of art like the 1858 Chronograph Tachymeter Limited Edition into the untamed wilds of East Asia, the 1858 Automatic Chronograph seems a prudent choice.

Incidentally, the 1858 Chronograph Tachymeter has another connection to the 1858 Chronograph in this story – it was Montblanc’s first watch with a bronze case, and is thus the direct ancestor of all the firm’s bronze watches.

Out on a limb

Our trek through peaks and troughs off the Tú Làn cave network, along with the accompanying skinned elbows and knees as we indulged in a little rock climbing, was a necessary reminder that even equipped with the knowledge and the resources, there will always be challenges. 

The Montblanc 1858 Geosphere is emblematic of peak performance. Yes, Montblanc is home to two distinct collections, the handcrafted objets in small production runs delivered from the hearts, minds and hands of Villeret and the serially produced, competently finished timepieces out of Le Locle. Where the 42mm Geosphere sits is a nice bridge between the two worlds – “A fine watchmaking calibre with a lot of character but at a more accessible price point,” to paraphrase Montblanc CEO Nicolas Baretzki.

As mentioned in the introduction, few remember this but four years ago, the Geospheres’ complication appeared in the  Vasco da Gama, otherwise known as the Villeret Tourbillon Cylindrique Geospheres. For the 1858 variant, what Montblanc has achieved is every bit as groundbreaking in pushing the boundaries of new frontiers, just as explorers Jacques Balmat and Michel Gabriel Paccard did. Their statues can be found in Chamonix complete with tweed blazers and bow-ties because these are the men who completed the first recorded ascent of Mont Blanc.

Indeed, dedicated to the Seven Summits Challenge, the holy grail of climbers with a club counting less than 500, the dream to reach the highest peaks on each continent is allegorical of Montblanc’s ambitions and its objectives of relevance. The Geospheres is a Villeret complication – two domed globes completing a rotation in 24 hours (in opposite directions – as it would if the Earth was two hemispheres instead of a full sphere) with the accessible pricing of a timepiece from Le Locle.

Furthermore, it is a new take on the world timer – a companion displaying every time zone in the world simultaneously. There was a moment during the Tú Làn trek when I almost took the wrong path and stared down at a crevice with deadly jagged rocks below before the guide yanked my belay, holding me back. Companions are important, even if only as reminders of where you are exactly within Tú Làn, and the consequences of bad decisions.

Furthermore, it is a new take on the world timer – a companion displaying every time zone in the world simultaneously. There was a moment during the Tú Làn trek when I almost took the wrong path and stared down at a crevice with deadly jagged rocks below before the guide yanked my belay, holding me back. Companions are important, even if only as reminders of where you are exactly within Tú Làn, and the consequences of bad decisions.

Where Atlas (of old Greek mythology) held the world aloft on his back, we had a world on our wrist. So how does one decide if an in-house world time complication, once offered only by Minerva, would be suitable in a timepiece produced by Le Locle? Would it negatively impact the mentality or market positioning of Montblanc’s premium line or lift the fortunes of its luxurious albeit wallet-friendly collections? Decision-making does not occur in a vacuum nor does it take the form of a binary ‘yes/no’ but in a contextual environment with lots of nuance. In the darkest heart of Vietnam, the remarkable combination of modern black ceramic bezel coupled with vintage hands and classic 1900s Montblanc logo, beige lume and the textured globes, the Geospheres manages to look equally good on a hike and as it did at the airport lounge.

According to Alexander Schmidt, Business Director, Institut Minerva de Recherche en Haute Horlogerie, Montblanc had the opportunity to work with Minerva not through some twist of fate or luck of the draw. Instead, it was an educated decision based on a panel of presentations from most of the Richemont brands, of which Montblanc presented the most potential.

Here in the depths of Tú Làn, we find that exploration follows a similar process: educated guesses based on experience and instinct. On this occasion, it is the dedication to the paths eventually taken and the determination to see it to successful completion. A journey of 2 days and 12 hours later, we emerged into the daylight of Montblanc’s bright future.

Writing in time

 Montblanc offers two thrilling versions of the world’s favourite timekeeping complication.

In the main section of this story, the star of the piece was the 1858 Automatic Chronograph. As noted, this is just one of a number of great Montblanc chronographs. There are bi-compax and tri-compax tickers, and even one without traditional subsidiary dials. There are also monopushers and standard twin pushers – but certainly more than one version of both. Indeed this might make Montblanc the only manufacture to have both breadth and depth in this area. While we gave the 1858 Automatic Chronograph its due, we would be remiss to not spare a few paragraphs for the 1858 Split Seconds Chronograph and the Star Legacy Nicolas Rieussec Chronograph.

These two models in particular explain the Montblanc chronograph proposition, both offering insights into the Villeret and Le Locle mindsets.

1858 Split Seconds Chronograph

Such a handsome watch hardly needs any words of praise – pictures will do. This is a very special chronograph though, bearing all the aforementioned hallmarks of the Villeret manufacture. That is reason enough to wax lyrical about this split seconds chronograph – a rare function from Montblanc, and relatively uncommon in watchmaking overall. Uniquely in recent years, this split seconds chronograph is a monopusher, which does require a bit of an explanation. You will have noticed that the pusher at 2 o’clock appears to be accompanied by another crown-mounted pusher, and you would be correct. The pusher on the crown controls all the functions of the chronograph (start, stop, reset) while the other pusher controls the split function. Apart from being an unusual configuration, the arrangement of the pushers aligns the watch closely with the other chronograph variants in the range, especially those with in-house calibres.

Another key connection between the 1858 Split Seconds Chronograph and a number of important chronograph references from Montblanc is the use of bronze. This material has defined various connections between the Villeret and Le Locle lines, and was first deployed in the 1858 Chronograph Tachymeter in 2016. The other important connection there is the calibre MB M16.31 that powers the watch, which sports all the excellent finishing of the Villeret manufacture, plus no less than three column wheels. It basically an evolution of the calibre MB M16.29 that powered the 1858 Chronograph Tachymeter. Clearly, Montblanc is being both methodical and deliberate in establishing the genealogy of these chronograph models.

Star Legacy Nicolas Rieussec Chronograph

Montblanc first paid homage to the inventor of the device measuring brief intervals of time by dedicating its innovative Montblanc Nicolas Rieussec Chronograph to the ingenious watchmaker in 2008. It so happens that this Le Locle-developed chronograph was a monopusher from the start. Like the original chronograph from 1821, the chronograph hands do not rotate above the dials. Instead, they remain motionless while the seconds disc and minutes disc turn underneath them. The Star Legacy Nicolas Rieussec continues the heritage of the signature 60-second and 30-minute counters, below a fixed double index much like the original desktop apparatus. The mechanical chronograph with the automatic winding system of Calibre MB R200 now features a new going train with special toothing for more efficient power transmission. There is minimal disruption to the balance’s amplitude whether the chronograph is running or not.

Montblanc has taken great pains to ensure utmost practicality, showcasing rapid reset of the hour hand and quick set date display either forwards or backwards, contrary to most modern timepieces where the date should only be set forward to avoid damaging the mechanism. Hence it is designed for global travellers with its robust ease of time and date adjustment, maintaining a connection to the broad travel theme that undercuts Montblanc’s timepiece collections. This is important when you consider that the Nicolas Rieussec chronograph marked a pivotal milestone for Montblanc, as far as its watchmaking pedigree goes.