Gentlemen,
As I
promised when I posted my first pictures, here is the review of my
Kari Voutilainen
"Vingt-8".
INTRODUCTION
As
you know, I love the independent watchmaking world. Their watches are unique in
design, style and their company's structure and flexibility is also very
different from traditional brands. Their independence allows original technical
and aesthetical orientations because their goal is not to please the largest
market share possible but because their pleasure is to introduce more daring
objects they often dreamt of creating in their past
career.
They can simply decide to go further in one way
instead of balancing all the areas.
Aside from what we see,
there is what we feel and the personality of the watchmaker; its role is
something quite essential in the choice of a brand or another. These aspects
usually don't leave room for apathetic feelings: you like them or you
don't.
The interesting part is that you can find a kind of
personalized choice depending on what you're looking
for.
This brings me back to what I was looking
for.
WHAT I WAS LOOKING
FOR
I like perfection and you already know I pay a
very close attention to a perfect finishing as it represents for me the highest
degree of talent in the handcrafting work. It is highly time-consuming work and
requires years of practice to master. It is hence rare.
The
more you dive into finishing perfection, the fewer people can perform the work,
as the skill requires more and more experience and
talent.
Aesthetic choices are personal but I like daring
style; I like what is elegant and what will not go out of fashion too soon (one
of the meanings of the word "classical"). Whatever side I choose, it
mustn't be boring and neutral.
I don't like putting someone
on a pedestal or behaving like a dumbstuck fan. Nevertheless, based past
experience, I've been closely looking at Kari Voutilainen's work. Currently his
watches really speak to me in the ways explained above, to say the
least.
He must be one of the most talented watchmakers today
and he shows his will to move on every time he can, aiming at better accuracy,
better efficiency and better reliability.
This being said, let's talk
about the watch.
A BIT OF
HISTORY
Its predecessor, the
Observatoire (3 hands 38mm watch, manual wound, awarded
Geneva Grand Prix d'Horlogerie in 2007), was the first regular wristwatch KV
has launched from an existing limited batch of Peseux 260 ebauche. At this time
he created a watch style that we recognize him for up to today: teardrop lugs,
unique classic and gorgeous case shape, "big apples" hands, dial
design DNA, applied numbers' shape etc...
This first step allowed him
to move on with his own in-house caliber in 2011.
Previously, having the plates or bridges outsourced was troublesome because of
high delivery time and inertia when dealing with handmade and personalization
work. He could not perfectly control any of the cost, delivery time or quality
issues. He wanted something reliable and able to be serviced by any
professional watchmaker in the future.
He also would take into account
future complications. Thus, there is no "exotic" component or coating
technique either (silicon, diamond reinforcement
etc...).
After several tests and as he wanted something
accurate and energy efficient, he came to the conclusion he should choose a
double wheel with direct impulse escapement (a kind of natural escapement
display) in order to gain up from 30% to 40% more power compared to a
traditional Swiss lever one.
The figures are difficult to
verify of course but anyone who has met him and has been following his work
know he always tries to use the wide experience he gathered in his carrier to
improve timekeeping.
(As an aside, during the last Belles
Montres 2014 in Paris, he showed me a Tourbillon version equipped with an
unusual metal that he was testing to see if it brings such improvement or not.
That's his philosophy and, I guess, a part of his pleasure in the pursuit of
perfection as a watchmaker.)
The sketch of the in-house
caliber 28 was born and designing it from top to bottom is
truly a great achievement.
THE
VINGT-HUIT ORIGIN
The Vingt-8 (Twenty-8)
presented in 2011 is the watch following the Observatoire. The watch
is his first one fully designed, built and finished in-house (except, if I
recall correctly, the jewels, hairspring and barrel spring) and needed 3 years
development, starting in 2008, hence the "Vingt-8" name (28 in
French).
KV
has conceived a movement which features two escape wheels which
deliver a direct impulse to the balance wheel leading in less energy
consumption and less wear and tear. This allows the impulse in two directions
each time, on the contrary to a standard lever
escapement.
Another
aim of the caliber's design was to avoid problems due to lubricant
deterioration (related to the reliability issue) which has always
been a main concern of watchmakers.
Furthermore, the
hairspring is a mix of two worlds: a Grossman curve for the
inner side (keeps the gravity balance point centered) and a Breguet
(Philips) overcoil at the outer edge for the spiral, which
"breathes" in a concentric motion (less pressure on the pivots),
resulting in a better chronometric performance.
Some
statistics: it's a 39 x 11.5 mm case size with a 65
hours power reserve and 18,000 vph
movement.
THE
CASE
The case is in white gold and
fully polished in a wonderful way.
The classical case and
lugs shape are not subject to fads, and remain discreet and wearable every day,
on any occasion.
I
thought about adding a "cabochon" in Onyx to the crown but decided
finally to leave it simple and purer, in the same way as I chose the dial. I
can still add one in the future: a blue sapphire that would match with the
hands' blued parts could be very nice
too...
THE
DIAL
The dial was a long issue to cope with. KV
has a lot of talent in making them. He is an expert in "guilloché"
decorated dials but he also created the lacquered dials we could see for
instance when he launched his V8-R line in 2013.
He acquired
his own dial factory not long ago and I'm sure this mastery will then be
reinforced.
The good thing with an independent watchmaker is
that you can suggest some personalized details and the dial's decoration is of
course the more important. I had to choose the one that spoke the most to me
without drowning in the details at a point where I wouldn't be able to make a
decision.
Of course, I knew that one of KV's manufacture
talents is the mastery of working Guilloché dials with the original machines he
has purchased in the past. Did I have to choose the Guilloché decoration I
found sometimes nice but not a 100% to my taste? I have a hard drive full of
examples I could study but wasn't fully satisfied with this
possibility.
The other available option was to get a
lacquered dial (it was my first one in fact). I couldn't see it in the flesh,
but read quite many testimonies of the deepness and beauty of this finishing
and I could see one great video of how it looked like. It happens to have
exceeded all my expectations.
What makes the dial look so
deep and beautiful is that the lacquer is applied in several
layers and then polished. In fact the dial is in silver and shaped
like a 0.20mm deep basin. This basin is filled with 0.02mm layers of lacquer
which have to dry between each step. When the basin is fulfilled and dry, it is
treated alternatively in a high temperature oven and at ambient temperature.
After this process, it is very finely polished.
The result
is fantastic and, as you can imagine, has to be seen to be
appreciated.
From
what I understand from Mr Voutilainen when he explained this work, it is more
time consuming and there is not many people able to perform this polishing work
on lacquers anymore.
The choice of a pure white (not grey nor creme)
is exactly what I was looking for.
What then remains
particularly difficult when dealing with such a dial is to make the holes for
the central axle and for fastening the markers, numerals and nails without
damaging the lacquer.
In the end, this dial is exactly what I wanted
and I think it is better than enamel (aesthetically speaking).
A
reason this dial color and technique was the right one was the way it matches
with the white gold case and that it exudes a very appealing "snowy"
and bright aspect.
I knew I couldn't go wrong with either
choice and I also knew I could order an additional one in the future if I
wanted some change.
Thus, after a while I confidently choose
the white lacquered dial.
I also decided to add a cartouche
(frame) around the printed "Voutilainen". It balances the small
second subdial at 6 o'clock. Without this cartouche, I would have felt that
there is too much weight on the bottom of the dial and not enough on
top.
The
hands, very characteristic of Kari’s DNA, are made in white
gold with blued steel parts and need 3 days work. The figures are
applied numerals in white gold at 12, 3 and 9 and I chose to
add simple "baton" markers for the other 5-minutes steps. The dial
needs to be pierced to introduce the pins which are then fastened and this is a
very delicate move as the polished dial can be damaged. Here again the result
is of the highest precision.
I felt the Arabic numerals were
fitting better than Roman numerals with such a dial. I love his Roman numerals
without serif but it wouldn't do for me here. A completely subjective feeling
of course.
A little detail I love is the small second hand's
counterweight: the circle is thinner at the end side and looks like a
"moon" that way. It is a very romantic touch
IMHO.
Visually,
the bezel flange is very thin and the hands are very close to the sapphire
glass. The impression is very nice.
THE
MOVEMENT
The
movement is 30 x 5.6 mm. It is quite thick as it is made of
3 levels and is conceived to be able to receive additional complications and
not being able to bend over time.
For this watch, I had to
choose which decoration to pick.
It is not unusual to see
the Côtes de Genève and I felt I wanted to have something different.
Furthermore, with a white gold case I'm not keen on having a yellowish
movement: it happens with aging Maillechort patina and with the white gold
"frost" coating as well, which is a little more yellow than the
case's colder color or the steel rochet and crown wheels for
instance.
I really liked KV's movement frosted
finish (made with a brush technique). I find it an appealing
finishing from what I saw in some G&F, KV, Lang & Heyne or R.
Smith watches for instance. Then, I had to choose which kind of coating color
(Ruthenium grey, WG, RG, YG) and it was Rose gold straight
away: warm and beautiful.
Another reason why I chose the
frosted finishing is the legibility of the movement parts.
From
the pictures shown below, you can see that the movement is composed of a
beautifully shaped and polished main bridge and 5 small bridges underneath the
balance wheel, nicely placed as "steps" going deeper into the movement's
structure. When the Côtes de Genève is decorating the upper bridge, the lower
plate is usually decorated with a "perlage" pattern. Though the
latter is very nicely carried out by KV (very rare signs of scratches which are
usually an inherent flaw of this kind of work), it shines quite a lot in every
directions and you don't see clearly the details as the little individual
bridges' shape or the two escapement wheels etc... With the frosted pattern you
can visualize the different elements more clearly and admire them better. Each
detail comes out.
The
gear train is composed of rose gold wheels strengthened by a
"laminage" process and of course the screws are mirror polished with beveled
slots.
The beautiful central wheel (second wheel?) is
laminated and hence made harder than brass for instance. it is then beveled and
black polished over and under.
The
large free-sprung balance wheel, in stainless steel (13.6mm
of diameter) to allow a very fine finishing, is not something you can miss when
admiring the movement. The steel material is used for longevity purposes and
for its inertia qualities compared to softer gold.
It is fun
to hear the very low "tic-tac" noise from the movement as I realize
that I was really used to hearing much faster
beat.
Concerning the technical aspect of the escapement I
talked about earlier, here is what Kari told Joseph Flores when he made his
research about the two wheels escapement with direct
impulse:
"...the two plates are separated and
the impulse is hitting rubies directly which I find to be a better solution as
we can position each plate in the optimal way, as well as the anchor which
stops the wheel.
The positions of the plates and anchor prevent the
escapement wheels from skipping a tooth in case of a
shock.
The second wheel is "free" but I find it
doesn't disturb the movement's functioning when adjustments are made in the
right way. In a wristwatch, we have to keep a security margin in order to
behave correctly when it is submitted to shocks (anti-shock absorber systems
can move by several 1/100ths of a millimeter).
We have
tested our movement and compared theoretical data to notice we can use a 30 to
40% weaker barrel spring."
This last element
has of course an impact on the wear and reliability of the parts (and
especially the pivots).
The
efficiency is improved as the impulse acts in two directions each time. This
requires more energy, hence the effort from KV to improve each part's design
involved in the gear train in order to keep the energy consumption as low as
possible.
Oil
aging is a significant issue when considering escapement regularity over time.
The natural escapement was conceived by Breguet to try to solve a part of this
problem. The oils move from parts to others and may disappear from the
locations it is meant to protect from frictions. This phenomenon is very well
explained in KV's book.
You can have an idea of KV's
experience and dedication to create a caliber that would be as elaborated and
as well engineered as possible.
By the way, you'll notice
the two gears which transmit the movement to the gear train and hands are
hidden on the other side of the plate, thus remaining invisible. Of course, we
may think it is always nice to see the wheels KV has been finishing but this
layout visually separates the escapement part from the rest of the movement and
it is quite nice looking as it seems to work independently (magically?) from
the rest.
Of course, in the end, the movement is very finely
finished, like a very few watches on the market. Finishing is not just a
question of look and shine, it also limits the proportion of irregularities and
hence the wear and friction issues. It also limits the porosity and thus the
corrosion of the pieces as time goes by. That's why hidden parts may also have
to be finished.
Finally, the caliber is equipped with a
Stop-second feature.
STRAP
AND BUCKLE
The strap is equipped with
retractable stems, much easier to manipulate than regular
ones (hence less risky for the lugs finishing) as you don't need to squeeze the
bracelet to have access to the stem.
The Ardillion buckle is
really nice too, with the engraved Voutilainen name on the
inside.
The
charm that exudes through this watch is fantastic and shows an elegance I
rarely have had the chance to handle in a
watch.
THE
BOX
Well,
even if they usually take room in our closets and that their cost is included in
the overall price of the watch, I love watch boxes. This is a way to show fine
craftsmanship in every detail and can be appealing to
admire.
When
I saw Patek's wooden box with their top-notch lacquered finish, I really said
to myself this was certainly the best one out there, at least that I might know
of.
However, the box used for KV's watches has reached
another level. In fact, the box is crafted by a Swiss cabinetmaker: Vichard. It
is a marvelous and nicely shaped wooden box (it reminds me of a plane wing),
with a very nice marquetry work in the inner side of the top. The box's hinge
and all the visible metallic parts (opening buttons and inside parts) are in
brass and galvanized.
The
mechanism which maintains the watch still is quite clever and well designed
too.
When you lift the cover, there is room for the
guarantee and usual papers. There is also a little booklet concerning the box
and the Vichard manufacture.
It
simply looks amazing and I think it will perfectly sit in my living
room.
While I was reading the usual booklets, I found funny
to read that KV suggests winding the watch in the morning, but also in the
evening, to maintain its accuracy. It seems of course logical as it will
maintain the watch in the upper part of the efficiency curve and thus improve
the watch's accuracy but I personally never thought about doing it before going
to bed.
CONCLUSION
Beginning
from the book about his carrier written by Theodore Diehl (texts, testimonies
and especially photographs and colors' choices...) to the box (metallic,
leather and marquetry work, booklets...) and of course to his watches, Kari Voutilainen
reveals an exquisite and exemplary taste and skill.
To me,
Kari Voutilainen's pieces are a perfect example of understated elegance with a
high finishing standard all the way from the dial side to the movement, with a
classic and romantic excellence.
We can easily feel the kind
of experience needed and the relentless watchmaker's endeavor in making
absolutely no compromise, from the first drafts to the final
piece.
An exit watch? I don't think so, but a fundamental
one for sure.
I hope you had as much pleasure in reading
this review as I had in writing it, even if it is a "wee bit long". I
thought that, as we don't talk about these very much, it could be enlightening
and entertaining and could also open new doors for those who share my interest
in independent
watchmaking.
Cheers,
Mark
-
Special mentions -
I would particularly like to
thank Kari Voutilainen for his tremendous work, his dedication and his
availability as well as Ekaterina Sotnikova for this marvelous
experience.
I would like to add also a word for Theodore Diehl for his
work on Kari Voutilainen's book and to people who contribute on the net to help
understanding watches.
________________________________
This message has been edited by Mark in Paris on 2015-10-26 15:58:11