Cover L’Epée 1839’s CEO Arnaud Nicolas
L’Epée 1839’s CEO Arnaud Nicolas
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While he was in Singapore to exhibit at ART SG, L’Epée 1839’s CEO Arnaud Nicolas spoke to Tatler about how the brand is transforming clocks from mundane objects into extraordinary works of kinetic art, challenging centuries of horological tradition and redefining luxury design for the modern collector
In the world of haute horlogerie, L’Epée 1839 stands as a beacon of innovation, transforming the concept of timekeeping from mere functionality to kinetic art. At the helm of this visionary Swiss maison is Arnaud Nicolas, a man whose passion for redefining clocks has propelled L’Epée into a new era.
The L’Epée chief executive officer was in Singapore in January for the art fair, Art SG 2025, where the brand presented an exhibition in collaboration with leading watch retailer The Hour Glass titled Sculpted Time: The Art of Kinetic Horology. Ahead of the fair, Tatler sat down with Nicolas to discuss the exhibition, the evolution of L’Epée, its artistic philosophy, and its recent acquisition by luxury powerhouse LVMH.
In case you missed it: Art SG 2025: Discover the practices of three artists, from Southeast Asia and beyond, presenting at the art fair
Above L’Epée 1839’s CEO Arnaud Nicolas
L’Epée 1839’s CEO Arnaud Nicolas
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L’Epée has reimagined the concept of clocks. How would you describe your creations?
We’re manufacturing clocks, but in a new way. For most people, clocks are square, boring objects that simply tell time. We’ve transformed them into kinetic pieces of art that happen to tell time. It’s a fully new concept that we’re trying to educate people about.
What challenges have you faced in educating people about L’Epée?
The first seven to eight years were incredibly challenging. People simply didn’t understand our concept. When I mentioned clocks, most would hang up the phone or dismiss the idea. Retailers, collectors—nobody wanted to look twice. But our strategy was persistent: if we could get just five minutes to explain and show the product, people would invariably be intrigued. Now, we spend hours turning down potential partners because our production is so limited.
Above Grenade by L’Epée 1839
Grenade by L’Epée 1839
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What kept you going during that time?
It was both easy and hard. The challenge was getting people to look at our products, but once they did, the response was often, “Wow, I want one.” My goal was always to get that first opportunity to explain and show what we were doing. It was frustrating when meetings were cancelled, but when we did get to present, the reactions were overwhelmingly positive.
L’Epée was recently acquired by LVMH. How has this impacted the brand?
The acquisition has removed a significant amount of risk from the equation. As an independent brand, every crisis and decision carried substantial weight. Now, with LVMH’s support, we have a more secure future. It’s reassuring for our customers too, knowing that L’Epée will likely be around for the next century. We also are not making any changes in how and what we design; we have full freedom to design whatever we want, and manufacture it the way we want. And if we need to increase production or buy new tools, then they are here to help if we need them.
L’Epée collaborated with The Hour Glass for an exhibition at Art SG 2025. What did you hope to achieve with this?
Our primary goal is to show people that clocks have changed. They’re no longer boring objects but kinetic pieces that give time. These events are crucial for us to demonstrate our creations and help people understand what we’re doing. It’s not about personal recognition; it’s about showcasing our art.
Where do you see the brand’s position or role in the world of art?
Art is a big world. Everyone has his own space and intent. Our intent is to express something, to touch people, to evoke, inspire or shock people, to express a message. For example with our car designs, they bring you back to when you were a kid. Then we have, for example, the skull, which we call Vanitas. The presentation of a skull in art is usually a way of expressing that life is short and that we should enjoy it.
Similarly with our grenade, we went one step further—life is short, we should enjoy it, but life can also be stolen. Don’t forget that. And what better way to express that than a grenade? When you pull the pin of a real grenade, that’s when it becomes dangerous. When you pull the pin of our grenade, it’s when you give it life. It’s how you wind it. So it’s just the opposite of what a grenade symbolises and is used for. But our grenade is the same size and weight as a real grenade— between 600 to 630 grams. Details are important. What you want to express is important. And in art, for me, what you want to express is capital.
Looking ahead, what's next for L’Epée?
Our challenge for the next few years is to continue changing perceptions. Within the watch industry, we’re well-known, but for the general public, clocks still often remain a boring object. We need to change that mindset and show that a clock can be a centrepiece in a home, not just a functional item.
Credits
Images: L’Epée 1839
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Annabel Tan is the Editor of Watches and Jewellery at Tatler Singapore, where she covers all things luxury timepieces and fine jewellery across both print and digital platforms. She is also the Editor of Tatler GMT Singapore, a role that deepens her fascination with the ever-evolving world of watchmaking. Outside of work, she’s usually on the hunt for her next favourite watch that she can’t afford, planning her next beach getaway, or catching up on the latest Formula 1 race.
