How Chanel continues to fuse style and substance in its watchmaking

Featuring a black dial and two hands to tell simple time, it sported an elegant angular case measuring 26.1 mm by 20 mm topped by emerald‑cut sapphire crystal glass, its octagonal shape inspired by that of the N°5 bottle stopper and the aerial outline of Place Vendôme—a view that Gabrielle enjoyed from her suite in Ritz Paris. The double‑chain bracelet in gold‑plated steel, meanwhile, came interwoven with black leather straps—an element derived from the maison’s iconic 2.55 quilted bag.

The poetic christening of Chanel’s debut timepiece asserted the tone of the brand’s approach to design: “Première” is French for “first”, and it was a vision that Jacques Hélleu, then artistic director at Chanel, was eager to materialise. “I fought to make a design that was strong, that was unique, that—more than just launching a single collection—would become an eternal reference,” he said.

With its first foray into watchmaking causing ripples in the watch industry, the maison made a commitment to secure its horological directive. In 1993, Chanel acquired G&F Châtelain Manufacture (known today as the Chanel Manufacture), then a producer of watch and jewellery components in La Chaux‑de‑Fonds, Switzerland. This was followed by minority stake investments in Bell & Ross in 1998 and Romain Gaultier in 2011. More recently in 2018, Chanel similarly purchased a minority stake in Montres Journe SA, in a bid to preserve and develop the expertise of independent watchmakers who share the same values of creation and excellence.

At the approach of the 21st century, Hélleu wanted to create a watch for himself. A lover of automobiles and sailing, he took the geometric chassis lines of racing cars and the grand silhouettes of regatta yachts—specifically, the 12‑metre J‑Class racers of the America’s Cup—and translated them into a timepiece that took seven years to develop: the J12.

Launched in 2000, the J12—described by Hélleu as “glossy black and indestructible”—presented a tangible growth of Chanel’s watchmaking capabilities. Available in 38 mm and 36 mm, it boasted a standout, all‑black body crafted from high‑tech ceramic—a material not often seen on watches at the time. It also had hour and minute tracks as well as a seconds hand—all rendered in contrasting white—for more precise time‑telling.

Rocking a unisex appeal, it quickly rose to icon status and variations were soon released, with the J12 Chronograph launched in 2002 and the J12 in white in 2003. Today, the J12 family includes references set with diamonds, those that feature complications, as well as reimaginations in new materials, such as the J12 Chromatic Ceramic Titanium (2011) and the J12 X‑Ray (2020), which is almost entirely made from transparent sapphire crystal.

Reinterpreting the Design Codes

While Chanel has never explicitly defined its watch audience as female—the J12 being a prime example of a timepiece well suited for both women and men—it was not until the launch of the Monsieur de Chanel in 2016 that the maison had in its line‑up a watch designed specifically for men. This first Monsieur had a face to behold, with an opaline dial that split up the hours, minutes and seconds—the first shown in a jumping hour window, the second in a retrograde display, and the last in a separate seconds counter. This feat, which included two complications, was powered by Chanel’s first in‑house high‑watchmaking movement, the aptly named Calibre 1.

Arguably, the watch was not overly masculine. The case was a comfortable 40 mm and the palette was gender‑neutral—either a white gold case with a silver dial, or a beige gold case with an ivory dial; both with an alligator strap in classic black. The lion emblem, which is representative of the maison’s in‑house Haute Horlogerie movements as well as a symbol of strength and power, was also discreetly placed on the buckle and crown. It was as if Chanel was interpreting masculine design according to its own rogue principles, resulting in an expression of technical excellence with unique style and allure.

The Monsieur is by far not the only watch through which the brand has asserted its innovative take on feminine and masculine aesthetics. Unveiled at Watches and Wonders 2023, the Mademoiselle Privé Pique‑Aiguilles is Chanel’s bold announcement that a ladies’ watch need no longer necessarily be dainty. Inspired by the pincushions used by dressmakers, the time‑only watch, produced in five variations in a limited run of 20 each, is defined by an oversized 55‑mm domed case housing a dial that showcases to brilliant effect the maison’s mastery of various métiers d’art. Paying homage to Chanel’s couture traditions as well as its craftspeople, the gem‑set dials feature house codes—think the camellia, tweed, diamond quilting and pearls—brought to life through artisanal techniques such as beading, hand engraving, grand feu enamelling and traditional decalling.

It is clear by now that Chanel’s horology universe is driven by creativity and technical brilliance that have been fervent since the get‑go. And if history is any indication (the maison has won five Grand Prix d’Horlogerie de Genève awards since Arnaud Chastaingt took the helm as director of Chanel’s Watch Creation Studio in 2013), we can expect more stellar options coming into the fold as the maison continues its journey of watchmaking excellence in terms of both form and function.

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