At the head of Chronode, Jean-François Mojon has participated in the design and production of dozens of watches that are regularly singled out for awards by the Grand Prix d’Horlogerie de Genève. Cyrus holds a place of its own among his activities.
How are Chronode and Cyrus connected ?
The link has existed since 2011, by virtue of our shared financial partner. That means we’re connected but independent. Chronode has complete autonomy in terms of how we work with third-party clients, but we have a special relationship with Cyrus.
How does your collaboration with Cyrus work ?
We’re involved from the very beginning of the design and development process. We take responsibility for the whole product, meaning we work directly with the designers on the whole of the external casing of the watch. These are products that we don’t make every day ; they require specific solutions and have structural demands that we have to re-evaluate each time. We like a challenge, we thrive on the unknown, and this brand offers us that dynamic. There’s really nothing standard about it.
It’s very rare to see a vertical tourbillon.
How did that come about ?
This is the first time we’ve put a vertical tourbillon in a central position, with a movement articulated entirely around it. Previous approaches have been to create an entirely vertical movement, or to put a vertical tourbillon on one side. By placing it in the center, it gives the watch a symmetry that is part of Cyrus’s identity. The brand already uses two crowns, positioned on either side of the case in the Klepcys collection, and here we also have retrograde hands on each side of the dial.
What are the advantages of a vertical tourbillon ?
The tourbillon was designed for pocket watches, which were worn in a vertical position. The tourbillon helped to average out the errors that occurred. When the tourbillon is flat, it no longer has any effect. In the case of a wristwatch, we noted that the typical position is more horizontal than vertical, so for it to make any sense the tourbillon ought to be in a vertical position. But these considerations of accuracy aren’t the only attraction of a tourbillon. A tourbillon is a symbol of horological mastery and, in this particular project, it represents an aesthetic goal. It spans the entire movement, it’s visible from all sides, and it gives volume to the domed crystal. Its position determines an entire aesthetic, a completely different approach. It has given us new possibilities for expression.