Magic time

THE horological conjuring tricks in Cartier's famous "mystery clocks" were inspired by a 19th-century illusionist.

FINE watchmaking and a sense of humour don't usually go hand in hand. As you would expect of a craft that involves working with very small instruments, pinpoint precision and, literally, split-second accuracy, watchmakers take the business of creating timepieces very seriously.

But when they decide to have some fun with their craft the results can be amazing. Take Cartier's famous mystery clocks as an example. The first mystery clocks date from the middle of the 19th century but Cartier revived the art in 1912 with its first so-called mystery clock (pictured). These clocks were the result of a collaboration between Louis Cartier and the watchmaker Maurice Couet, who was inspired by the work of illusionist and watchmaker Jean Eugene Robert-Houdin. The latter, who died in 1871, is said to have invented the concept of the mystery clock.

The mystery is in how they work as the hands of the clock appear to have no connection to any sort of mechanism. In fact, the clocks are a horology conjuring trick. While the explanation is quite simple - more on that later - when they were first exhibited they caused a sensation. And they continue to enthral. Even Cartier's chief executive officer, Bernard Fornas, can't escape their allure. "I love the mystery clocks," he tells WISH. "I look at these clocks like a baby because there is just so much mystery. You see these hands floating in the air and although there are a lot of technical things that go into them the end result is amazing. I never stop looking at these clocks, they're just so intriguing."

While the mystery clocks appear to have floating hands, each hand is fixed to a clear rock crystal disc with a toothed edge that is driven by a hidden gear train at the base of the dial. The clocks, such as the one pictured here, were often made in elaborate designs and decorated with enamel work, lapis lazuli, gold and onyx. They are now highly collectable and attract six-figure sums when they come up for auction.

A selection of Cartier mystery clocks are included in a travelling exhibition, which so far has been shown at the Museum Bellerive in Zurich and the Art Science Museum in Singapore, called Cartier Time Art. The exhibition is the largest collection of Cartier clocks ever displayed in public and is made up of 159 historical timepieces as well as 17 of its newest innovations in watches. Cartier has been making and selling watches since 1853 and one of its earliest designs is included in the exhibition. That piece, a chatelaine watch in yellow gold, pink gold, enamel and pearls was created in 1874 and is pictured on the following page.

While the exhibition is made up entirely of Cartier pieces, the evolution of horology is also on display. In 1904, at a time when pocket watches were de rigueur, Louis Cartier, according to the exhibition notes, made a bespoke wristwatch for Brazilian aviator Alberto Santos-Dumont so that he could tell the time and keep both hands on the controls of his aircraft while doing so. In 1911, the watch was put into production and made available as the Cartier Santos, a line that is still in production today. One of the brand's most famous watch designs, the Tank, which dates back to 1919, is also on display in various incarnations and, like the Santos, remains in the collection to this day. "What this exhibition shows is the creativity and expertise of Cartier in the world of timepieces and that we have done almost everything over the years," says Fornas. Other classic Cartier designs such as the Tonneau from 1906, the Baignoire from 1956 and the Pasha from 1943 are also on display. Then there are such fanciful creations as the Crash watch from 1967 (redolent of Salvador Dali images) that appears to have melted or been run over by a car.

The Time Art exhibition ends with the Cartier ID One concept watch. This piece, which is displayed in a white, cloud-like room of its own, is a bit like a concept car at a motor show. Not destined for commercial production, it is an embodiment of Cartier's ingenuity in watchmaking. The ID One watch is a self-winding movement that, according to Cartier, will never need to be adjusted throughout its life.

The analogy between cars and watches is not lost on Fornas, chief executive of Cartier since 2002. He thinks the future of the watch industry lies in taking some cues from the automotive giants. "Twenty five years ago when you bought a car, after 1000km you had to go to the garage and have the oil and the brakes checked and so on. Now you don't have to do that until 20,000 km. I think in the watch business this is what we should target. Durability, quality and reliability are the three key words I want to further introduce into Cartier's watchmaking."

According to Fornas, Cartier has one of the lowest returns on warranty in the watch industry. "Today we are 4.2 per cent and a lot of watch companies have a 10, 20, 30 per cent return on warranty," he says. "So when you see concepts like the ID One, which has no adjustments, - and we will show the ID Two soon and it will advance watchmaking even further - it's not just for the pleasure of marketing, it's because those discoveries in the concept watches should be implemented into our basic lines within less than five years.

"Just like with the car business, that's the game. And when I say five years, I actually think that's too much. I think apart from the move to more complicated watches and all the things we can do, durability, quality and reliability have become even more important. Just because you have a complicated watch it shouldn't mean that you have to return it every year to be lubricated and adjusted, there should be no reason for that."

The exhibition is drawn from the Cartier Collection, which was started in 1984 and now comprises about 1400 pieces that spans the house's history. Items include archive documents, jewellery items, watches and clocks as well as objects and accessories. An exhibition drawn from the collection is due to open at the Thyssen-Bornemisza Museum in Madrid in October. Cartier Time Art is unique in that it is the first time the company has exhibited watches without jewellery.

It's also not a coincidence that the first place the exhibition has been shown outside of Switzerland is Singapore, often descibed as a "watch hub" when it comes to sales. "There are a number of connoisseurs in Singapore and there is a very good culture and appreciation of fine watchmaking there," says Fornas. Increasingly, however, the focus of the watch industry, like that of all luxury goods companies, has shifted to China. And, says Fornas, to survive as a watch brand today you need a significant presence in mainland China.

"There is no doubt we are in a difficult market environment at the moment," Fornas told WISH at the Singapore opening of Cartier Time Art. "Some brands are doing well and some are suffering, and those brands that are doing well are the ones that have been preparing for the worst when things were good."

And there are many ways to be prepared for the worst, he says, but the best is to be where the money is. "There are brands that are not yet doing business in mainland China and these are the ones suffering," he says. "When you are strong in China the Chinese will buy your brand when they travel to other areas and, in some cases, that can compensate for a lower local business."

While Cartier is strong in China, Fornas says the company is also focused on South America, in particular Brazil, as well as the Middle East, which, he says, "continues to be very strong and growing fast. The only thing is that you have to keep an eye on the equilibrium between all the regions and to not be too reliant on one."

One area where Fornas says Cartier has been weak is here. "We are going to expand further in Australia because, to be frank, we were late in Australia," he says. "We were late because we couldn't be everywhere at the same time. We have done a good job in many places in the world but the potential for Australia, let's be clear, was not as big as China.

"But I was just telling my team that now we should accelerate in Australia because there is a lot of potential and the clientele has changed and matured a lot. It's time for Cartier to be one of the main players there, as we are in other regions in the world."

The exhibition catalogue Cartier Time Art:Mechanics of Passion by Jack Forster is published by Skira and is available on amazon.com.