Hands, hand-made: the Voutilainen Observatoire

Does Hand Finishing Matter? A Collector’s View Of Movement Decoration

Many of you are likely to have come across at least a few heated discussions of “finishing,” a topic that seems to fascinate, and divide, watch enthusiasts. Like many people, my starting point for serious watches was with a well-priced brand long known for its expertise in developing movements, justly viewed as offering good value for money – but not necessarily for the refinement of its movement finishing, at least on its less expensive pieces. What have I learned since then?

Dial of Margot in white gold by Christophe Claret

Aiguille d’Or: Round Table Discussion Of The Grand Prix d’Horlogerie de Genève 2014

Now we get to the real nitty-gritty at the Grand Prix d’Horlogerie de Genève.: the Aiguille d’Or. There are no ifs, and or buts any more, just a decision on which of the 72 pre-selected watches is the best overall timepiece of the year. It is the most prestigious of the awards given.
Which could be our panel’s favorite to win? The Margot by Christophe Claret? Urwerk EMC? Perhaps the De Bethune DB29 Maxichrono Tourbillon? Or will it be something else entirely?

Karin Voutilainen 28 Sarasamon with dial from Unryuan studio in Japan. The Saiei Makie and Somata zaiku lacquering of this dial takes months to complete and uses gold dust), gold leaf, great green turban (a snail) shell and abalone shell from New Zealand

Kari Voutilainen Wins The 2014 Gaïa Award For Artisanal Creation

In the world of complicated watchmaking, that which might appear simple when seen from the dial may often be quite complicated when you turn a watch over and peer into its depths.

In Kari Voutilainen’s case, not only does his style comprise an uncommon sort of complicated simplicity, it is also riddled with the thing that eludes many watchmakers: near perfection.