Sylvain Berneron, Breitling’s Creative Director On The Debut Watch From His Eponymous Brand

Five years since being appointed as Breitling’s creative director, Sylvain Berneron has been cooking up a project of his own. All set to be revealed in October, Berneron’s  first-ever timepiece, Mirage, encapsulates his passion for artistry, technique, and the desire to break free from the constraints imposed by big brands. Berneron dedicated two years to the creation of this masterpiece, which stands out not only for its asymmetrical design but also for being the timepiece with the thinnest gold calibre currently in production.

We caught up with Berneron to talk about his design philosophy, inspiration and the challenges he faced in bringing his vision to life.    

 

Excerpts from the interview:

How long have you been with Breitling and what have been your most challenging projects so far?

   
It’s been five years now. I handle the entire product development cycle, from marketing design and movement development to technical development and prototyping. The most challenging aspect, without a doubt, has been the transformation that Breitling has undergone over the past five years. Not only has the brand's image evolved, but its product portfolio has also undergone significant changes.   

This continuous challenge began when Georges Kern took over Breitling. Initially, we had a product portfolio consisting of around 600 references, with an annual turnover of approximately 400 million Swiss francs. All the products were primarily focused on the aviation segment of the market. We have put in a lot of effort to unlock Breitling's heritage and potential.   

To my knowledge, Breitling is one of the brands with the widest range of offerings. We have traditional dress pieces like the Premier collection, as well as pilot watches, divers, and professional watches such as the Endurance and the Emergency.   

What made you launch your own brand?   

After working for big brands for 15 years, I reached a point where I felt the need to do something for myself. My mother, who was a painter, instilled in me a strong foundation in fine art, which has given me a deep appreciation for artistry and technique. This feeling was basically the base of why I wanted to start my own brand.   

Especially in big brands, there are often constraints related to high quantities and competitive pricing. You typically have to follow established paths. In contrast, with Berneron, I take great pleasure in exploring all the things that I couldn't do within the confines of a big brand. Berneron allows me to venture into the unknown and explore a broader creative spectrum.

Now, I have dedicated two years to developing my first piece, which I named Mirage. It stands out for its unique characteristic: the movement is neither round nor symmetric. I have constructed the movement from scratch, and the entire watch is made of gold. This will be recognized as the thinnest gold movement currently in production. As far as I know, it is also the first time where the movement directly influences the exterior of the watch.

The design of your watches, particularly the hands, is fascinating. What’s the philosophy behind the very Dalí-sh watches?

It all started with the movement, which is asymmetrical because I didn't want to make any compromises. When you make very delicate movements, you often have to compromise the barrel, resulting in a very short power reserve. In my case, I placed a large barrel, allowing for this symmetrical movement. When I flipped the watch around to start designing the dial, hands, and the case, I wanted to reflect that mindset on the face of the watch as well. The goal was to have no axes of symmetry, no straight lines, and as little text as possible. It's almost like sculpting, if you will. So, to put it another way, let's imagine you haven't seen the product yet, Mirage, and I describe it to you. I could say that I made a manual wind watch with three hands on the dial, a small second at six o'clock, and a sector dial layout. If I only tell you this, you might envision a very traditional architecture, like the Patek 96 reference, for making a watch. But when I show you the product, you'll see that it is a result of the architecture I started with, and this is where the Berneron DNA shines. I deliberately chose to begin with a very simple watch because I believe it is the most challenging exercise for a designer. There are no complications to hide any design weaknesses, so to speak. I have very little leeway to work with on this product.

At every step, I chose to create my own elements. I drew my own logo and font. Every hand is completely asymmetrical. Technically, this also presents numerous craftsmanship challenges. For example, these hands for the hour and minutes are not only asymmetric, but they are also faceted. Typically, when creating faceted hands, you would use machine milling machines with a diamond-cut tool to achieve that polished diamond look. When the end is bent, it would leave milling marks on the hands. So, the only way to make these gold hands is to hand-bevel them, similar to a movement bridge. Once again, these are the kind of components that can only be built by an independent watchmaker because no established watch brand would dare to venture into such things.

What inspires you when it comes to designing watches?

I have two distinct influences, both of which I greatly appreciate. I am drawn to the classic and traditional styles of dress watches, such as the early Patek Calatrava, Lange, Vacheron, and Breguet models. I admire their timeless round designs, the quality of their craftsmanship, and the watchmaking innovations they brought to the industry. In terms of styling, I find them a bit rigid in the context of the 21st century. When I wear these classic yellow gold Breguet watches, for example, on a regular workday, it feels somewhat out of place. They no longer resonate with contemporary aesthetics.

I hold a deep appreciation and respect for tradition, and I wanted my own work to be rooted in watchmaking heritage. That's why I utilize manual wind movements and incorporate small seconds on the dial, as it is the purest way to display seconds without adding unnecessary components. It reflects the pocket watch style of timekeeping. Thus, the architectural design of the Mirage is firmly grounded in tradition.

From an artistic standpoint, I also admire the bold designs of visionary creators such as Rupert Emmerson of Cartier, who collaborated with Jean Jacques Cartier in London during the 1950s, 60s, and 70s. Another designer whose work I greatly admire is Gilbert Albert, of course.

The design philosophy for Breitling is very different from Sylvain Berneron. Do you find it challenging to switch between the two brands?
 

Let's imagine you are a runner who trains for both long-distance and sprinting. You can excel at both. Berneron is comparable to a long-distance exercise, as it is challenging. The difficulty lies in persisting with that uncomfortable feeling when you have an unsolved problem. The struggle with Berneron is enduring that discomfort for months on end because I keep drawing and drawing. There are nights when I think, "Okay, I'm happy with it; I'll sleep on it." But when I revisit it later, I realize I have to make changes again. For months, I have to accept that it will take time, but eventually, it will come together.

In recent years, sustainability has become an important focus for many industries. How do you approach sustainability in the design and manufacturing of Breitling and Berneron's watches?

For Breitling, as we produce a large number of watches, our efforts mainly focus on material sourcing. We have made significant progress in using sustainable and ethically sourced gold, although it has slowed down considerably due to the challenges and costs associated with finding such materials. We have, also, recently ventured into lab-grown diamonds, which was a relatively easier decision for Breitling since we are not a jeweler, by history.


At Berneron, I take a different approach to sustainability. Speaking as an individual and setting aside my Breitling affiliation, I believe that we don't need to produce an excessive amount. Personally, I prefer producing fewer items of the highest possible quality and all our components are manufactured in Switzerland. Apart from the spring bars, every component is built within a 50-kilometer radius of my house.

If you could design a watch for any fictional character, who would it be and what would the watch look like?
 

One idea that comes to mind is creating a watch for someone like the Flash, you know, the superhero who can run incredibly fast. It's an intriguing concept. I would explore the possibility of designing a watch that either captures the essence of slow motion or can withstand the incredible power and speed associated with the Flash's abilities. When you think about it, if someone can run as fast as light, theoretically, they could have the power to travel back in time. So, perhaps the watch could be linked to this concept of time manipulation.

Lastly, what advice would you give to aspiring designers who are stepping into the luxury watch industry?

My advice remains the same: there are no shortcuts. I've noticed that many students are eager to progress quickly, but speed is what kills it. By taking shortcuts, you miss out on opportunities to strengthen your abilities.

For instance, when I visit design schools, I see students creating watches on computers using 3D models. I often ask them to show me the pen sketches they've done for their projects, as I notice proportion mistakes that could have been resolved on paper. They tell me they haven't made any sketches and prefer to start directly with 3D models because they will eventually have to create them. In response, I explain that they are mistaken because architects don't construct houses by simply bringing bricks to the site and assembling them. They first create drawings that make sense and then proceed with construction.

My advice to young individuals is to avoid shortcuts and dedicate time to drawing and honing their skills. This holds immense importance, especially during their studies. I often emphasize to students that while pursuing design education, whether in car design or watchmaking, they should spend a minimum of 40 hours per week sketching. I stress that hand sketching is a craft like any other and requires practice to achieve perfection. Repetition is key.

I often compare being a designer to being an athlete. Whether it's writing, singing, sketching, running, or any other pursuit, if you want to excel, you must invest the hours.