TRANSLATION | Eugenia Yang
始於 15 世紀，恣意把玩手中，口袋裡掏出的古董懷錶，意味著上流社會的紳士品格，經典設計呈現了美學與工藝的追尋之旅，縱使指針無暇轉動，古典主義的人文精神依舊深植人心——當下即永恆。
追溯 18 世紀末，一種被稱為「逆跳」的顯示系統如雨後春筍般，被廣泛應用於懷錶界，指針在錶盤刻度上的作動加入逆行功能，指針在刻度上畫出圓弧後，立刻返回初始位置、重新開始，如持續不斷的雙指針芭蕾舞，創造出既新穎又壯觀的視覺饗宴。直至 1929 年，江詩丹頓開發出第一款「bras en l’air」懷錶機芯，隨之歷經裝飾藝術主義的鼎盛時期，錶款也逐漸被視為時尚配飾的一員，珠寶元素的添入使得懷錶產生了不同的神秘面向。
Ever since the fifteenth century, the antique pocket watch had been a symbol of the upper class, a testament to a gentleman’s dignity. The classic design takes us on a journey to discover aesthetic and craftsmanship. Even when the hands stop, the humanistic spirit of classicalism is already deeply rooted in our hearts—the present becomes eternal.
Back in the late eighteenth century, the retrograde display was widely used in the pocket watch industry. With an indicator that returns to its starting point and begins running again after a hand moves across the arc of a circle, the display system runs gracefully like a ballet, presenting a visual feast that is innovative and grand. In 1929, Vacheron Constantin gained its fame with the “bras en l’air” pocket watch featuring a double retrograde display. Soon, following the rise of Art Deco, the pocket watch was gradually considered as a fashion accessory, with the addition of jewelry elements creating a distinctive, mysterious allure for the timepiece.
When the simple, minimalist shape of the original Breguet Tourbillon is infused with classicism, the timepiece is instantly made more charming. In an engraved gold case and with an enameled dial, the constant small seconds and independent stop-seconds can be activated as required, while its 36-hour power-reserve makes sure no precious time is lost. From the natural-impulse escapement, three-hand double metal balance wheel, free-sprung overcoil spring, to the four minute tourbillon, everything was crafted by hand. Having undergone two centuries, the pocket watch is a testament to the ingenuity of Breguet craftsmen and their impeccable skill sets.