L’Épée 1839 was selected for the GPHG for the third time, what does this bring to the manufacture in your opinion?
It is a good thing that the GPHG introduced a Clock category, even if it only appears every other year, it is encouraging for all those who still make them because this activity almost disappeared. The impact is mostly measurable among watchmaking enthusiasts, and it reassures the clients who already know us in their choice. As we take part in many events, the public realizes that clocks can take the form of magnificent creative objects. This is also what the GPHG contributes to.
Last year, L’Épée 1839 joined the LVMH group, how has this changed your way of working?
Moving from entrepreneur to employee did not change my way of working but my way of seeing things, especially regarding the hundred or so collaborators. We are the last ones to make this type of object in Switzerland: if we were to disappear, it would be the end of mechanical clocks. Belonging to a group makes it possible to limit risks and benefit from its expertise and network, even though I remain in charge (as long as I don’t make too many mistakes!) and Bernard Arnault asked me to keep my entrepreneurial spirit. The CEOs of the group’s brands remain independent and can seek help; it is more like a gathering of independent companies and I think that is what gives LVMH its strength. We remain autonomous while receiving additional orders from other companies within the group. For me, it remains essential to continue external collaborations and to work with other entities that challenge us, in order to fuel creativity, learn from the outside, and avoid becoming ossified by always doing the same thing. It is also for this reason that we make clocks for other brands outside the group, which it actually encourages.
Precisely, you carried out a collaboration with Vacheron Constantin around La Quête du Temps, what did it consist of?
It is an extraordinary creation, initiated by Vacheron Constantin, which required seven years of development, during which we were very closely involved in the entire process. We were truly considered as partners in the creation of this automaton clock of more than 6,000 components that was exhibited at the Louvre, we worked hand in hand for years, to the point that I became friends with their project manager. I loved this challenge, which involved both the movement and the casing, and in general, my teams are passionate about challenges that allow us to push our limits.
You have been participating since the beginning of 2025 in the LVMH Watch Week, is that an advantage?
The LVMH Watch Week made us known through international general-interest media such as the New York Times or specialists from other sectors than watchmaking, which brought us recognition among new clients in search of beautiful objects. Our clients are divided between lovers of watchmaking, art, and interior design. The LVMH Watch Week therefore shone a spotlight on our small brand, still unknown to many.
How do you see 2026 in terms of creation?
Much more dynamic than in 2025, since we had taken a pause in developments in order to highlight the partners and artists who personalize our objects. We will continue to surprise, that is indeed my goal. You will discover new objects and very complex pieces, one per quarter, it will be a fireworks display!
What will be the other highlights of 2026?
Our major project is to launch the new production site, as we are already cramped despite the second building we have just occupied. We will therefore bring all production together under one roof by 2027, in order to facilitate creativity while streamlining our methods. The goal is not to significantly increase L’Épée’s production capacity, which must remain exclusive, but to be able to produce clocks for the whole world, both within the group and outside. I aspire for clocks to become sought-after products by as many people as possible again.
