Katia Jundi Interviews Gregory Bruttin, Product Strategy Director at Roger Dubuis, during his visit to the region to launch a very special timepiece only available in the Dubai Mall boutique.

Gregory Bruttin has consistently pushed the limits of watchmaking. With graduate degrees in microtechnology and watchmaking microelectronics, a Master in Watchmaking Design from the University of Neuchatel, and a career spanning nearly two decades in various capacities at Roger Dubuis, he has contributed to the development and marketing of twenty movements and fifteen patents.

[KJ] Hi Gregory, lovely to see you and thanks for taking the time to share this exciting news with us. Can you tell us more about it?
[G] Thank you, Katia. We’re very happy to share with you the new Platinum Edition timepiece as part of our iconic Excalibur Monobalancier series, exclusively for the Middle East. Our new timepiece comes in a unique stimulating vivid mint green colour that is associated with platinum material and showcases our daring and extreme craftmanship.

In the fact with color was created with Arsenic originally but as it was dangerous we had research other ways to find the right color so we found another way to create the color without arsenic.

[KJ] So this is not going to kill you (laughing)?
[GB] No (laughing). This is the provocative side of Roger Dubuis, we like to present ourselves with this kind of story. Actually the color was very interesting because its something never seen before in the watch making industry. It’s a green yes, but a very specific green.

[KJ] Why this color green? What made you gravitate towards this shade? I have not seen this shade of green on any timepiece so far.
[GB] The choice of green was important for us because platinum is a quiet matter, high end material, so it was necessary to have the color match the metal so it won’t be too flashy.
We also like to be unique in how we create our timepieces, so this was another reason why we wanted a unique shade. The main challenge was to match the color with the other elements of the watch, not only the dial.

[KJ] Was this the most challenging aspect of producing the watch? To match the perfect green on all the components?
[GB] Exactly.

[KJ] I just found out that this is a Dubai Exclusive, not just a regional exclusive. Why Dubai? And is this the first time that Roger Dubuis does something like this for the Middle East?
[GB] This is a boutique exclusive, our biggest boutique is in Dubai and that’s why really it’s a Dubai exclusive per say. This market is very important for us, we want to develop our platinum offering and this metal is popular in the region. This why we are focusing here for this specific launch.

[KJ] In a way you are showcasing a commitment to the Middle East collectors by bringing something unique only for them, what do you think?
[GB] Yes, we feel its a market that appreciates this type of timepiece so hence why are launching it here.
Also if you notice there is a small diamond which is specific to the platinum watches, this is a signature touch that we like to include and keeps our signature element surprise going.

[KJ] Wow, that so beautiful actually. How many pieces do you have available?
[GB] This is not a limited edition, however we have capped the production at maximum 10 pieces per year. This is how we can maintain the quality, producing slowly and taking the time that each piece needs and deserves.

[KJ] Do you think you will be focusing more on platinum in the future? Is this a direction that you’re going for as a brand?
[GB] We love using platinum but in the bigger pieces the case becomes very heavy and it’s not comfortable on the wrist honestly. On the 42 mm diameter it’s ok, not too heavy and some clients appreciate the feeling of a solid case.

[KJ] I love how you are pushing boundaries with the color and you always keep that element of surprise. This is something your clients have come to expect from you and you always deliver on that, even with this new launch.
Which watch are you wearing today? Is this your go-to watch?
[GB] This is the same timepiece {Excalibur Monoblancier} but in ceramic. To be honest with you, I don’t wear watches! I never wear a watch. This helps me to stay creative and make space for inspiration for new timepieces to come in the future – to keep pushing the boundaries.

[KJ] That’s so interesting! And a good reason not to wear one. Does this watch cater to both men and women?
[GB] Anyone can wear our timepieces! We don’t limit ourselves to gender, we use this 42 mm case for this reason. It’s comfortable for both. We do have 36 mm available in other models.

[KJ] I’ve heard that you’re fascinated the most by the tourbillon complication, can you tell us more why this is?
[GB] It’s gravity. Gravity is the quest for a watch maker. Compilations are a mix of gears and elements -this is a physical approach, as well as philosophical, and the most well known solution to offset this is the tourbillion but it may not be the best one. The solution came about two centuries ago and today we have a different approach to compensate gravity. For example, the tourbillion only compensates gravity in vertical position and in fact today the tourbillion is a statue complication, an incredible mechanism. We are still searching for better solutions to offset the effect of gravity to keep on improving, it’s an obsession that we have as do many watchmakers. It’s the most challenging thing for us.

[KJ] This seems to be the biggest quest in watchmaking for sure. I heard that you love traveling, adventure – you seem to be very active! Does this active lifestyle give you inspiration or motivation towards your work and your watchmaking journey?
[GB] Yes and also I’m producing my own wine this year as well. (laughing). For sure yes, the traveling is very important for me to meet people, to study culture – this helps in my creativity. I love the philosophical aspect of exploration, stepping into a different kind of mind set and approach to life. And the best part is the food! For example in Japan, the complexity and detail in the cuisine gives you insight into the rich culture they have.

[KJ] Did you use your previous experience traveling to this part of the world to inspire you to create this new timepiece you’ve launched?
[GB] The process is creative and can be hard to structure. At Roger Dubuis, we take on lots of feedback and information after which we can crystalize that into a product. Our process can be very different than other brands. Everyone from the team will share their ideas and input to finalize the prototype into the final product – what you see in store today.

[KJ] You’ve been in Roger Dubuis for 20 year now, do you see this as a positive point? Or had you moved around could this have provide a more well rounded outlook on the industry?
[GB] I will share with you what my colleagues say, “you live the brand.” So I feel and live the brand completely, it’s a natural process for me. My job is to continue the vision and story of Roger Dubuis himself, I worked a lot with him and he gave me plenty of advice in terms of philosophy and vision. My plan is to continue on that path.

My favorite quote from Roger Dubuis is, “Continue to be creative but respect the traditions.” I have a lot of creative people around me, I take the creativity but I manage to respect the tradition.

[KJ] What’s coming up in the pipeline? What can you share?
[GB] I love to share, but I change my mind all the time. (laughing) It was important for us to ‘clean the room’. For the past 10 years we tried lots of things, some elements were successful and some not as much so it was important for us to ‘clean the room’ and clarify the vision of the brand.

For this timepiece, we have very clear assortment, the base in terms of product, it’s in line with the DNA of the brand, it’s technical, it’s design, it’s high watch making, and it’s very current.

Now, that will be important for us to come back into the roots of the brand. The company was created around four big complications- tourbillion, perpetual calendar, split second, and the minute repeater. This is the way we want to move forward for the future, to come back to the creativity and reinterpret the traditional compilations but in modern way. That is the vision of the brand, to come back with very strong movement, surprising movement. We’ve been playing around with the design of the material during the last few years and now we will play with movement to come back with crazy complications.

[KJ] Gregory thanks so much for your time, this was brilliant. Congratulation on your new launch and I’m sure it will be a huge success.

Ahmed Seddiqi & Sons, the region’s leading retailer of luxury watches and jewellery and Patek Philippe are pleased to announce the opening of two new flagship boutiques in the UAE.

Located in The Dubai Mall and The Galleria Al Maryah Island Abu Dhabi, the boutiques at 2,000 sq. ft and 1,133 sq. ft respectively, highlight the brand ethos, and values that truly represent Patek Philippe. Founded in 1839 and with a strong emphasis on the tradition of innovation, Patek Philippe constantly tests the frontiers of watchmaking artistry though its avant-garde achievements at the cutting edge of technology.

Chopard Alpine Eagle 33 mm

The story of Chopard’s sporty-chic Alpine Eagle watch continues with a new case size joining the collection. As with all models introduced since 2019, the 33 mm versions combine adventure and performance with technical and aesthetic excellence in a design which is rapidly becoming one of the most recognisable silhouettes in the luxury sports watch category. As with previous iterations, both the watch and the Chopard 09-01.C movement were developed and manufactured in-house. The new case size will be available in six references crafted in Chopard’s exclusive Lucent Steel A223 and ethical 18-carat rose gold – including bi-material options – and complemented by dials in colours inspired by Nature.

Chopard Alpine Eagle 41 mm

The Alpine Eagle collection of sporty-chic timepieces has been enriched by two 41 mm-diameter models adorned with a dial in an original “Pine Green” colour inspired by the Alpine biotope. Available in versions featuring either Chopard’s exclusive ultra-resistant and highly luminous Lucent Steel A223 or ethical 18-carat rose gold, this timepiece beats to the rhythm of the Chopard 01.01-C movement, whose high-precision timing is authenticated by chronometer certification. In keeping with the Maison’s commitment to the preservation of the Alpine environment and its biodiversity, part of the proceeds from sales of these models will be donated to the Alpine Eagle Foundation, whose programmes have already enabled the reintroduction of the white-tailed eagle in the Lake Geneva region.

Alongside the unveiling of two new Alpine Eagle timepieces whose aesthetics are inspired by the power of Nature, Karl-Friedrich Scheufele has pledged to dedicate a portion of the profits from their sale to fund the Foundation’s programmes. As the Co-President of Chopard and co-founder of the Alpine Eagle Foundation explains: “Given that I personally find refuge in the pleasures of hiking and skiing, I appreciate the calm of the mountains, which are conducive to inspiration, reflection and serenity. Preserving this environment is very important to us, and I am extremely proud that the beauty of our Alpine Eagle timepieces pays tribute to the Nature that inspired them and enables the funding of concrete actions to support the conservation of this fragile ecosystem.”

Maximilian Busser needs no introduction. As founder of MB&F, short for Maximilian Busser and Friends, in 2005 he singlehandedly changed the face of modern watchmaking. MB&F brought in much needed transparency to the world of horology and remains one of the most creative and exciting independent watch brands ever created. In addition to watchmaking, MB&F also owns four M.A.D. Galleries and several Co-Creations under their umbrella. It is a real privilege and honour to have the opportunity to interview Max Busser for Katsbling.

[Kunal Khemka] Hi Max, welcome to Katsbling. A huge thanks for this opportunity to interview you. I first learnt of you in the mid-2000’s, when I came across MB&F adverts and articles in the Robb Report -US Edition. But I only truly understood what ‘Max Busser’ and ‘MB&F’ were about when I lived in Singapore from October 2014 until June 2017. I remember attending a Franck Muller event at a major AD, where in walked this tall collector, wearing two MB&F Horological Machines (HM), one on each wrist. It was certainly a remarkable sight! And I remember attending one of my first ever GTG’s, where this well-known collector arrived carrying a special briefcase, which when he opened it, had the most amazing collection of mainstreams (quite a few A. Lange & Sohnes) and independents (several MB&F’s) I had ever seen. Both you and MB&F were always spoken about with much affection and respect during such encounters. I must day that my curiosity piqued and have since followed your journey with MB&F.

[Kunal Khemka] You are truly a Rock Star in the world of Horology, with MB&F as your Rock Band. So which Rock Band would MB&F be?
[Max Busser] Maybe Genesis, because in a certain way we at the beginning of a new artistic current in high-end watchmaking.

[KK] You singlehandedly changed the face of modern horology by bringing in transparency where there was little or almost none, with the inclusion of ‘Friends’ in MB&F. The brand gave public credit to the creators of the various aspects of a watch, such as the case, dial, hands, numerals, screws, movement components, balance springs etc. Even today, most large mainstreams (I understand only few are completely vertically integrated so all under one umbrella) do not give this level of credit to their suppliers. What inspired you to do so?
[MB] A simple phrase my parents told me all the time when I was growing up “treat people the way you want to be treated”. In a way it’s one of the fundamentals of karma. Many people have helped me during my life and it has been important for me to pay it forward.

[KK] You worked at Jaeger Le Coultre (JLC) and Harry Winston (HW) prior to starting MB&F. What was your greatest ever learning experience, either at JLC or HW? Also, you had the opportunity to work with the legendary Gunter Blumlein (of JLC-IWC-Lange) as your boss at JLC. It must have been interesting to say the least. Any memorable incidents that you can share?
[MB] That question deserves a long answer! At JLC, I learned how to actually work, I deepened my love for watchmaking and it engrained the culture of creating great products for incredible value. At HW, I learned that I was actually capable of saving a company from bankruptcy and growing it, and more importantly who I really was and what was crucial for me as a creator and human being. Little did I know that these two different seminal 7-year experiences were going to foster the birth of MB&F.
Mr. Blümlein was, alongside Henry-John Belmont, the most important mentor figure in my professional life. During my seven years at Jaeger-LeCoultre (1991 – 1998), I was constantly in awe. His super sharp strategic thinking, his unquenchable passion for high-end watchmaking, his capacity to reinvent himself and the companies he was heading as well as his aptitude to explain the most complicated ideas into simple words. I will always remember the day he told me in a meeting “Mr. Büsser, creativity is not a democratic process!”. And, of course, how he recreated the 20th and 21st century A. Lange & Soehne from scratch. Such a masterclass on reinvention never equalled in our industry since.
He could be very tough, especially on those who had not garnered his respect, but let me share an anecdote which happened 23 years ago. It is Baselworld 1999, and I have just taken over Harry Winston Timepieces, which was in a very dire situation. I’m 31 years old, feeling completely inadequate, battling to try to save the company against extreme headwinds. The only person who came to see me from my JLC days is Günter Blümlein. To my great surprise, he took a few minutes of his insane schedule to walk up to the first floor and say hello. I was a desperate train wreck, and his words, “I am sure you will do great. If someone can save this company, it’s you “, probably saved me from falling off the cliff. Blümlein had never given me any particular praise in my seven years at JLC – and he could not have chosen a better timing for his words. It was, very unfortunately, the last time I would see him. I still sorely miss him today, twenty years later, and I unfortunately never got to say thank you.

[KK] The Harry Winston Opus series was your creation, and the first Opus 1 was based on FP Journe’s Tourbillon, Resonance, and Reserve de Marche. Was the Opus series the precursor to founding MB&F? And given how far MB&F and FP Journe have reached in the pantheon of horology these past years, is there a possibility of an MB&F – FP Journe collab? I think it could be particularly exciting.
[MB] Opus was initially a small idea created to help a friend, François-Paul Journe. March 2000, he launched his brand during Baselworld and it was not that easy. Not only were independent creators not an interest to anyone, but he was not allowed to explain what he had created in his previous life due to many non disclosure agreements. One day during Baselworld while we are talking, I suggest that we should create a product together so that Harry Winston can tell the world what a brilliant mind he is and how incredible his pieces are. The next Baselworld 2001 we presented Opus One together.
Opus is a first step in the direction of MB&F in a way: it helped me meet for the first-time independent creators like François-Paul, Vianney (Halter) or Felix (Baumgartner) who never saw their company as a business. It was an emanation of them, it was a life decision because that is the only thing that fulfilled them and allowed them to create. They showed me a life I aspired to have.

MB&F is nevertheless very different from Opus in the creative process itself. In the case of Opus, I was scouring independent watchmakers looking for movements or ideas, and then we would finance and “Winstonize” them. At MB&F all the ideas are my creations and then I find the dozens of incredible specialists in all domains who will transform them into reality.
As for working with F.P. Journe again, of course I would love to. Let us hope that the opportunity will arise again!

[KK] I am aware that you have collaborated with some great independent watchmakers towards MB&F pieces. Names like Peter Speake-Marin, Kari Voutilainen, Stephen McDonnel, to name a few. Do you recall any memorable experience with any of these or other personalities towards the creation of an MB&F timepiece?
[MB] There are literally hundreds of stories and even more incredible moments. There were of course many very tough moments also. I thought when I started MB&F that our goal was to create great products, but 17 years later I realize the goal was the journey itself, and the products are actually just the consequence or even the medium necessary to write these stories.
At the end of the day, Peter, Kari and Stephen for example are extraordinary human beings on top of being incredibly talented in their respective fields. Together we wrote chapters which I do not think any one of us could have written alone.

[KK] If you had to pick one MB&F creation, either a Horological Machine (HM) or Legacy Machine (LM), which one would you be most proud of? I know this is a difficult question, because each MB&F creation must be ‘like one of your children,’ and it is hard to pick favorites.
[MB] The question has been asked many times and I finally set my decision on the… Hm4 Thunderbolt.
The piece which most terrified me in the first years of MB&F. We had barely escaped bankruptcy in 2007 and 2009, and in 2010 we unveil HM4, the craziest 3D piece of watchmaking art in history. I was wondering if anyone would actually buy one. We had put all our resources in it, so if it did not find an audience, it was “game over” for the company. A miracle happened! Customers started lining up and to my knowledge virtually no HM4 was virtually ever in a store over the 4 years it took us to deliver the 100 pieces.
This in turn liberated me: if watch-lovers were ready to follow us into the Thunderbolt, they could probably follow us into even wilder territory.

[KK] In addition to MB&F’s watchmaking, the four MB&F Galleries (Geneva, Dubai, Hong Kong, and Taipei) and MB&F Co-Creations are phenomenally impressive. I read once that with the Galleries, you aim to create an ‘orphanage’ for these artists, who would have a particularly tough time trying to exhibit and sell their works. Given that creating watches and selling them is difficult enough, what made you go down this path of the Galleries and Co-Creations? It is hard not to love your co-creations with L’Epee, Reuge, Caran Dache and Loupe System.
[MB] The first M.A.D. Gallery in Geneva was originally created as a decoding system for our brand: if you could understand and love the amazing kinetic and mechanical art we were curating, maybe you would understand our MB&F pieces. Over the years, it has evolved into, not only creating an incredibly interesting conversation with our clients but, more importantly a way to give back by helping passionate artists who usually struggle to find Galleries to represent them.
The Co-Creations were initially created to populate our first M.A.D. Gallery. They were also a new path of creativity for me. Creating an MB&F watch & movement is horrendously long, from 3 to 5 years, and expensive – millions of dollars! By creating for other brands and manufacturers, I could enjoy myself immensely and not take any resources from my MB&F team. Along the way, our Co-Creations were also a way to help these companies to profile themselves with new ideas and in some cases to actually survive.

[KK] There is immense Aviation, Space, and Automotive influences in all your creations, especially the Horological Machines and Co-Creations. Are these childhood interests of yours? Any other inspirations? And do they continue to inspire you?
[MB] The first decade of MB&F was indeed very influenced by my pretty lonely childhood. I wanted to be a car designer. I used to assemble model airplanes for hours and hours, and I often dreamt of myself as Han Solo or Captain Kirk.
Over the years I believe my “psychotherapy”, revisiting my childhood, has morphed into a more contemporary observation of my life and passions. You will for example see a completely new influence on next year’s HM1.

[KK] The ‘entry-level’ M.A.D. 1 has been a sensation and taken the world of horology by storm. Given its success, do you plan to expand this line?
[MB] M.A.D. 1 was initially created just for my friends and family. We finally decided to first give access to those who had helped me created MB&F: the Friends (suppliers), the Team and the Tribe (our MB&F customers). It was another way of giving back but then we frustrated the fans. Hence why we decided to do the lottery in March. We never anticipated that over 22’000 people would register to get one of the 450 pieces available.
Next year we will launch another raffle on the red M.A.D. 1 with higher numbers to be had – but still at the best a tenth of the demand.
We have many other ideas for M.A.D. Editions. Now that we know there is a real public for them, we will be happy to come out in the next few years with new ideas and products, but this part of our creativity is not intended to be a business. And they do not need to be watches by the way!

[KK] You are half-Indian. As an Indian myself, I am (and I am sure many others) quite proud that one of the greatest independent watch personalities and independent brands on the planet has ‘Desi Roots.’ Does anything about Indian culture or values helped in shaping MB&F into what is today? And while we are at this question, favorite Indian food?
[MB] By growing up in the 60’s and 70’s as a half-Indian half-Swiss allowed me to escape a pretty normal scenario in old Europe: expecting to end your life where you started it. From a very young age, I considered the world as much more accessible, and had a meta point-of-view on what was happening around me.
I believe my Indian side is the more emotional part while the Swiss one is the more rationale. But that is only maybe because my parents were very much on those different spectrums.
And if you want to see a big smile on my face, let’s share a vegetarian thali with a big masala dosa.

[KK] With MB&F watchmaking, Co-Creations, and the four Galleries, I wonder how you get any sleep. But you are a watch collector as well? What attracts you to a watch? And how much of ‘in-house’ is important to you when you appreciate a watch or collect for yourself?
[MB] I did not sleep much between 2013 and 2020 – mostly due to having had our two children and travelling around the world at the same time! Then “luckily” Covid struck, and I could not travel anymore which gave me a few more hours sleep.
I am a crazy watch collector. I buy way too many watches all the time. Mostly weird and eccentric pieces from all eras (luckily the watch industry has not always been as boring as people think), and of course pieces from the independents I love and respect.
“In house” is not a debate for me. The “Why” of the company is way more important. Most independents create because that is their calling. Money has never been an option or a goal. When you wear one of their pieces, you can feel their soul and realize all the incredibly difficult times they had to overcome to bring these pieces to life.

[KK] Which would be your favorite mainstream brands? And favorite independent watchmakers?
[MB] Rolex and Patek Philippe remain for me the two beacons of our world. Independent, great integrity and very long-term thinking.
As for smaller independents, all the people I have been fortunate to work with, such as Kari Voutilainen, F.P. Journe, Urwerk, Stepan Sarpaneva and Alain Silberstein (as you can see not all are watchmakers) but also those I have not (yet?) worked with like Ressence or the Grönefeld brothers.

[KK] What advice would you give a collector, either starting out today, or someone with a collection who wishes to enhance or expand it? The past few years have mostly been about ‘artificial scarcity,’ ‘having a purchase history,’ ‘long waiting lists,’ huge premiums,’ ‘impersonal brands,’ ‘unfriendly AD’s, and ‘Fear of Missing Out’ (FOMO). In this environment, how does the novice or amateur collector navigate and still be able to put together a collection he or she can be proud of?
[MB] You indeed just mentioned all the wrong reasons to consider a watch!
The first step is to understand our industry through a historical lens and as an ecosystem. There are dozens and dozens of great watches out there at all budgets. For the lower budget mostly in vintage. From a JLC, Futurematic as a classic or an Amida Digitrend for crazy, the choices are enormous.
As a collector, I believe it is crucial to understand what makes us tick (no pun intended) and to experiment based on that. Do not try to compete with your friends. Do not try to emulate what you see on social media. Make up your own taste, your own reasoning. Whatever is your collecting journey, it will be one of enlightenment. I sometimes look at pieces I bought 20 years ago and shake my head, but those were the pieces which were interesting or important to me then, and I must respect that. They are who I was. I have changed, my tastes have changed, and my knowledge has increased…

[KK] Thank you for your responses. I aspire to own an MB&F one day. For now, I am a proud owner of “MB&F: the First Fifteen Years, a Catalogue Raisonne of MB&F Watches” by Suzanne Wong and William Massena. The world of horology should be grateful that Max Busser and MB&F exist. You just make it better, more interesting and a great deal more exciting. Although we have never met, you have always come across as a very friendly and likable person, and, this permeates to the entire world of MB&F.
[MB] Thank you so much! As much for your kind words as for all the research and thoughtfulness you put into these questions!