An on-site report on Chanel's own workshop! Masamasa Hirota, editor-in-chief of Chronos Japan, takes a look behind the scenes of watchmaking

Chanel made its full-scale entry into the watch business with the launch of the Premiere in 1987. At the heart of this is its own workshop in La Chaux-de-Fonds, Switzerland. This workshop not only manufactures highly resistant ceramic exteriors, but also sets diamonds and designs and assembles in-house movements, with the aim of producing unique creations.

Further evolution of Chanel's in-house workshops, unleashing its creativity

G&F Châtelain, the predecessor of Chanel's own workshop in La Chaux-de-Fonds, was originally a manufacture that produced exterior parts. The quality of its work has improved year by year, and the majority of parts are now produced in-house. The further evolution of the workshop is behind Chanel's ability to produce amazing new products.

　At the heart of Chanel's watchmaking is its own workshop in La Chaux-de-Fonds, Switzerland, formerly G&F Châtelain, founded in 1947. After manufacturing bracelets made from precious metals for many years, the company began producing cases for the Chanel Première watch in 1987 and became a Chanel subsidiary in 1993. Since the 2000s, the company has produced ceramic cases and now also designs in-house movements. Accordingly, the size of the factory has expanded. The workshop, which was 8000 square meters in 1997, was expanded to 14,000 square meters in 2012.

　However, despite expanding its factory and production system, the workshop has deliberately distanced itself from becoming an extreme manufacture. A company insider explained to me that "we develop and assemble products, and manufacture key components in-house, but we purchase other parts from suppliers." The reason is that "if we produced everything in-house, it would actually reduce creativity." It is interesting to note that the most important thing is to stick to the creativity that is unique to Chanel.

　Chanel has consistently evolved its manufacturing process for exterior components such as cases and bracelets. The company manufactures the metal and ceramic exterior components for almost all of its models in-house, and in recent years has further improved their precision. One example is stainless steel parts. While parts are usually cut while fixed to a jig, Chanel processes stainless steel bars directly into parts. Eliminating the fixing jig is an unconventional method, but Chanel says, "We simply repurposed the technology used to make bracelet links and buckle clasps." As a result, not only is the effort of mounting the parts to the jig eliminated, but processing precision has also improved. This approach, unique to a workshop originally focused on bracelet manufacturing, has further improved the exterior.

　The manufacturing process for the ceramic, a specialty of Chanel, has also evolved. Previously, the J12 cases were finished using extensive machining after firing. However, starting with the new J12, this has been replaced by injection molding, which has now enabled the case back to be molded as a single piece.

　Let's review the manufacturing process. Ceramic particles imported from Japan are processed into a fine powder at an external factory, then mixed with a binder and molded into granules. They are then injection molded to form the case shape, the binder is removed, and the case is formed by firing at 1300-1400°C. The manufacturing process itself has not changed much, but the difference is that the cutting process has been largely eliminated. Now, cutting is only done on the inside of the case, and cutting after firing is no longer necessary at all.

The raw material, a mixture of ceramic particles, resin binder, and additives, is filled into a mold at a high pressure of approximately 2000 atmospheres. The raw material is injected from a thin needle. Because the raw material can now be filled into the fine details of the mold, it is now possible to mold the case back as a single piece.

The state after filling with raw materials. The binder is removed with water and steam, and then completely removed by firing at high temperatures. The meticulous resin removal process is one of the reasons why Chanel ceramic does not discolor. The ceramic raw materials used by Chanel are exclusively for Chanel. After this, the prototype of the case is completed by firing.

　These advancements can be seen in the case of the new J12. The difference from previous models is that the steel case back has been omitted, and the ceramic middle case and case back are molded as a single unit. In addition to having the technology to apply heat evenly to the ceramic, "the grains are filled into every corner of the mold at a pressure of 2000 atmospheres and a temperature of 150 to 200 degrees Celsius. As a result, it has become possible to mold the case and case back as a single unit," says an insider.

　The sintered case is then sent to the polishing process to complete the process. As always, the case is placed in a solution of abrasives and water, and the surface is polished for around 12 hours. Other companies use the same process, but Chanel apparently has 100 polishing recipes. The reason is "to make the appearance of the various parts consistent." Chanel won't reveal the details, but they use different finishes to give the case and bracelet the same look.

　In addition, Chanel has begun to control as much of the ceramic manufacturing process in-house as possible. This includes the production of the particles and the management of the ceramic. In addition to using special ceramic particles, they polish these particles with abrasives and water for several hours, and then refinish them into even finer particles. When you hear about this meticulous process, it's no wonder that those involved boast that "Chanel's white ceramic will never discolor."

The polishing process involves simply immersing the material in abrasive powder and water, but Chanel has its own unique know-how to give the ceramic a perfect mirror finish.

Final check. Previously, cutting was performed after sintering, but this is no longer necessary. After checking for scratches, the exterior parts are completed.

　Chanel's confidence is exemplified by its extremely rigorous testing. In its in-house laboratory, the ceramic case is hammered from the lug side with a force of 5000 G/ms. "Because ceramic cases are vulnerable to shock, we've deliberately changed the hammer from plastic to metal," says Chanel, making this the most rigorous test for ceramic cases. The shock test involves 15,000 impacts at 25 G, the same as when riding a motorcycle, and 2750 impacts at 100 G, roughly the same as a golf ball, for a total of 18,000 impacts. In addition, the watch undergoes abrasion resistance testing using a ceramic ball, bracelet opening and closing tests up to 5000 times, and humidity and UV testing, all of which are conducted to the same rigorous standards as major manufacturers.

The Haute Horlogerie department, which produces in-house movements

　Chanel's manufacturing process has evolved significantly, and the changes brought about are not limited to the appearance of the J12. As a result of eliminating the need for screws to secure the case back, the frame that holds the movement has been changed from plastic to a non-magnetic metal material. As a result, combined with the Kenissi automatic movement, the magnetic resistance of the J12 equipped with an automatic movement has improved to 48,000 A/m. At first glance, the new J12 looks the same as before, but the evolution of ceramic processing has resulted in a dramatic improvement in its basic performance. To be honest, I never expected that the renewed J12 would be even more practical.

　While the J12 emphasizes practicality, the Haute Horlogerie model, equipped with an in-house movement, is even more distinctively Chanel. At the very back of the large workshop building, staff wearing white coats bearing the lion logo design and assemble the in-house movements.

　Chanel established its own Haute Horlogerie department in 2011. Its first in-house watch, the "Monsieur de Chanel," featured the Caliber 1, an astonishing movement that combined a jumping hour display with a 240-degree retrograde minute display. Chanel broke the conventional wisdom in the watch industry that only experienced manufacturers could achieve this combination. Since then, the company has perfected five core movements and 25 derivatives.

　There are two reasons why Chanel has been able to develop such capabilities in such a short space of time. One is its excellent suppliers, all of which are top-notch, such as Romain Gauthier. It's no wonder that those involved boast that "creativity declines when everything is produced in-house." Another important factor is the relationship between the creative studio in Paris and the skilled technicians and artisans working in the La Chaux-de-Fonds workshop. Chanel's philosophy of devoting everything to creation has significantly strengthened the foundations of its Haute Horlogerie division in just a few years.

CALIBER 3
A rectangular movement for boyfriend watches. At first glance, it appears to be a normal three-hand movement, but the screws securing the plate and bridge are not visible, and the gears are made of a single plate without holes, making it an extremely aesthetically pleasing movement. Manual winding. 21 jewels. 28,800 vph. Power reserve of approximately 55 hours.

CALIBER 3.1
A derivative of the Caliber 3. The design minimizes the use of screws, making it ideal for a skeletonized watch. Additionally, the movement is fixed to the dial, which is supported by the case, emphasizing the movement's openness. Manual winding. 21 jewels. 28,800 vph. Power reserve approximately 55 hours.

　An example of an "unreasonable request" from the Creation Studio cited by a workshop insider was the flying tourbillon Caliber 5. The company has been adorning the tourbillon carriage with diamonds since the days when it was using the tourbillon ébauche, which it developed in collaboration with Renaud & Papi (now Audemars Piguet/Manufacture des Seigneurs). When the idea of ​​placing diamonds on the company's own flying tourbillon was raised, the development team recommended placing a diamond with a diameter of 2.25 mm. Adding a heavy diamond would certainly prevent the carriage from turning.

　Creation Studio's response was even larger. A proposal for a 3.5mm size was also rejected, and in the end, a 4.5mm diameter, 0.18 carat diamond was placed on the Calibre 5, a source said with a wry smile. Normally, such a large and heavy diamond would never be placed on it. However, the approach of putting everything in the service of creation resulted in the creation of an unprecedented tourbillon. "It took 378 CAD files, 120 days of development, 18 hours of assembly, and 125 hours of checking to complete," a source said with a smile, no doubt due to the close relationship between Creation Studio and the workshop.

CALIBER 5
This movement highlights Chanel's signature flying tourbillon. The front of the carriage is set with a 0.18 ct diamond. Manual winding. 29 jewels. 28,800 vph. Power reserve approximately 42 hours.

CALIBER 6
This automaton represents the pinnacle of Chanel's work to date. The Mademoiselle and Torso figures move when you press the pusher at 8 o'clock. The UV-LIGA process used in the Calibre 3 was also applied to this movement. Manual winding. 54 jewels. 28,800 vph. Power reserve approximately 72 hours.

　One result of this relationship is Caliber 6, released in 2024. This is an automaton featuring a young woman holding scissors. While one might assume that they received outside assistance, it was developed entirely in-house. Thanks to ingenuity, such as molding the moving parts using the UV-LIGA process, which makes them both lightweight and durable, this unique automaton moves incredibly smoothly. Where else in the world could a manufacturer have created an in-house movement and completed an automaton in just a few years?

Chanel's specialty: gem-setting

　The Haute Horlogerie department embodies the motto, "Everything is for the sake of creation." This motto is taken even further in the gemsetting department, which could be said to be the department's specialty.

　Chanel re-entered the world of jewelry in 1993. Perhaps owing to its success, the brand soon began gemsetting its watches as well. While the initiative began modestly around 20 years ago, Chanel's new creations (particularly haute horlogerie) adorned with extravagant precious stones have now become one of the highlights of watch fairs. While Chanel manufactures its high jewelry in Paris, its watches are gemset in a special atelier within its La Chaux-de-Fonds workshop.

　Chanel has been able to expand the variety of its jewelry watches in just 20 years thanks to the combined use of three techniques. First, the basic technique, in which the base is mechanically prepared. Next, the technique using both machines and handwork, and finally, the technique entirely by hand. Currently, there are approximately 20 jewelers working in the workshop. This atelier has three processes, and the first one we were shown was the setting of stones in a basic J12. Diamonds are directly attached to a bezel with holes cut into it. While this may seem rough at first glance, the reason for the beautiful finish is that the company has an in-house cutting team (!) dedicated to stone setting. Furthermore, three years ago, 80% of the cutting machines were updated, so it's no surprise that the precision of the holes has increased. However, even for a skilled craftsman, it takes at least 30 minutes to set 50 pavé diamonds.

This is the process of setting baguette-cut diamonds into the bezel. The La Chaux-de-Fonds workshop, originally a manufacturer of bracelets, has constantly refined its cutting techniques. By adjusting the cutting machine to fit the stone, the diamond fits seamlessly into the recess. This distortion-free setting is a major feature of Chanel.

The workshop specializes in snow setting. Chanel currently has three techniques for gem setting, all of which result in a smooth surface.

　As an example of the next step in the process, he showed us how gems are set on the dial. The holes are machine-cut, but the prongs that hold the stones are set by hand. The prongs are raised neatly and set so that they cover the stones. This process itself is the same as other companies, but the precision of the holes and prongs is extremely high. This is a finish that can only be achieved at Chanel, which manufactures most of its exterior parts in-house.

　The highlight is the baguette diamond setting. The diamond is set into a beautifully cut setting, and the bezel frame is gently pressed with an electric hammer to secure the stone. The reason the stone is not distorted when it is immediately set in place (there is absolutely no distortion on the surface!) is because the cutting machine is finely adjusted to match the diamond being set in place. An insider says that this "amazing feat" is possible because craftsmen who have mastered stone setting program the cutting. "People who don't know the métier don't touch the machines," he says.

Diamonds are set into the case. Small pavé diamonds are embedded one by one into holes drilled by a cutting machine. The fact that the surface is free of distortion is due to the excellent processing of the base.

Chanel has earned a reputation for the quality of its stones, and the stones used in its watches are no exception. Even the small diamonds Chanel uses are carefully selected to be of the highest quality. Although they are not very noticeable, they are a sign of Chanel's pride.

　The most high-end model is one in which everything, from drilling the holes to setting the stones, is done by hand. This process is used on three-dimensional curved surfaces, rather than flat ones. The reason is that drilling holes by machine is difficult, and more importantly, it preserves Chanel's unique savoir-faire. The stones to be set are specially cut to fit the setting, and the artisans drill the holes to match. The sample shown to us was a Mademoiselle figurine made of 18K white gold. It takes approximately 25 hours, including drilling, to set the 220 diamonds. A source said that the key to this process is "to ensure that there is absolutely no distortion when the watch is set." In any case, by accumulating this know-how, the La Chaux-de-Fonds workshop is now able to perform stone setting for movements, a feat that only a few other companies in the world are able to achieve.

　Additionally, Chanel's jewelry and jewelry watches share a key feature not found in other brands: the use of extremely high-quality stones. Colored stones, especially sapphires and rubies, are all selected as unheated, regardless of size. It's common practice in the watch industry to use heat-treated stones or mix semi-precious stones to improve color. However, Chanel stubbornly continues to craft its jewelry watches using only stones typically used in high jewelry. I asked a source why they use only unheated stones and why they don't publicize it. The answer was, "Because unheated stones are the norm and not something worth mentioning." This attitude is exactly the same as that of the Haute Horlogerie division, which uses parts made by Cadranier Genève, owned by Romain Gauthier and FP Journe, but doesn't actively publicize it. In other words, what's important to Chanel is the creation itself, not the process.

The Parisian studio that inspires Swiss workshops

While visiting the Chanel workshop in La Chaux-de-Fonds, I often heard that this was the result of the wishes of the Parisian creative studio. The collaboration between the Swiss workshop, which boasts highly skilled techniques, and the Parisian creative studio, this unique relationship has given Chanel a clear direction in its creations.

　The Chanel Watchmaking Creation Studio (hereinafter referred to as the Creation Studio), led by Arnaud Chastain, is the brains of the company, responsible for the concept and design of its watches.

　The prototype was created by Jacques Helleu, who also completed the Premiere in 1987 and the J12 in 2000. Helleu, who was originally Chanel's art director and in charge of advertising and image strategy, first worked on watches with the Premiere, and brought decisive success to Chanel with the J12.

　Helleu pursued a beautiful exterior that would become one with the wearer, and also placed great importance on comfort. For example, he sought perfection in the three-dimensionality and shape of each and every link of the bracelet, which requires complex processing techniques. This perfectionism is likely the reason why it took nearly 10 years to develop the J12. However, when you hear the following comment from Helleu, this becomes entirely understandable: "Precision, a term in the watch industry, also represents an element that is carried over to every detail of Chanel products. My job is to strive for precision to be the absolute standard."

　His successors continued to adhere to the "precision" philosophy established by Helleu. There's also an interesting story behind the 2016 "Monsieur de Chanel." In accordance with the Creation Studio's request, the Swiss Haute Horlogerie department somehow managed to complete a movement with a jumping hour display. However, the design was redone from scratch because a different layout would have looked better.

　Arnaud Chastain has led the watchmaking creation studio since 2013. He has been involved in not only the new J12 introduced in 2019, but also all in-house movements since the Calibre 1, as well as new collections such as the Boyfriend and Code Coco. In other words, Chastain has been determining the shape of Chanel watches today.

　What's interesting is his stance on watches. Despite graduating from design school and working for a well-known manufacturer, Chastan isn't particularly interested in the functionality of a watch. Here's a quote from him, though it's a bit long: "I prefer to consider the clarity of a watch, not its complexity. Frankly, I can't understand watches that require advanced engineering knowledge to tell the time. If Mademoiselle Chanel were alive today, she would have rejected such watches. I have a personal vision for watches. It's never been important to me to tell time; it's the style of a watch that fascinates me more. For me, a watch is a way to express identity."

　These are hardly the words of a watchmaker, but considering that neither Jacques Helleu nor Chanel's founder, Mademoiselle Chanel, were experts in the field, Chastain's approach is quite Chanel-like. Incidentally, Chastain and his team have more than ample knowledge of watchmaking. However, just as the La Chaux-de-Fonds workshop deliberately avoids excessive in-house production so as not to shackle creativity, the Creation Studio also maintains an appropriate distance from manufacturing.

　However, this kind of approach would not be possible without a love for craftsmanship. In 2024, Chanel released new works filled with the brand's signature motifs. One of the most eye-catching pieces was its first in-house automaton, featuring a moving Mademoiselle and Torso, powered by the Caliber 6. At the time of the unveiling, Chastan said:

"My job is to come up with ideas. This time, I wanted to add an automaton to an existing watch. I imagine it was a difficult task for the people at the workshop." He also cited the ceramics produced in the workshop as a prime example of savoir-faire. The new J12, released that year, featuring baguette-cut ceramics throughout, should be seen as a sign of respect for the artisans at Chastan's workshop. Otherwise, it's hard to imagine the Swiss teams willing to accept the demands of the Creation Studio, which can be described as demanding. The planning team that commissioned the creation of a unique automaton just seven years after the launch of the company's in-house movement, and the workshop that responded, must have had a special relationship of trust—one that is perhaps similar to the relationship between Helleu and his staff, or Mademoiselle and her staff.

　There are many things to talk about when it comes to Chanel watches. For example, the J12's magnetic resistance of 48,000 A/m, the precious stones that are deliberately unheated, the in-house movement that uses parts from Romain Gauthier, and the Mademoiselle silhouette molded using UV-LIGA. It goes without saying that the ceramic manufacturing technology is one of a kind. However, Chanel does not make any effort to publicize these features. As mentioned above, what is important to Chanel watchmaking is the dream of creation itself, not the process.

　As I pondered the unique relationship between the workshop in La Chaux-de-Fonds and the Creation Studio in Paris, I suddenly remembered Mademoiselle Chanel's belief that it doesn't really matter how one lived their life; what's important is the kind of life they dreamed of. Because dreams live on even after a person dies. The collaboration between the Creation Studio and the workshop in La Chaux-de-Fonds clearly demonstrates that Mademoiselle Chanel is still alive and breathing life into her creations.