Chopard CEO Karl Freiderich Scheufele on Diamonds for Men, Ethical Gold, and the Power of Green
We sat down at Watches & Wonders with Chopard’s CEO for a conversation that ranged from the Fleurier-based brand’s impressive new monochromatic digital jumping hour eight-day watch to iced out Alpine Eagles for men. We also touched on the watchmaker’s use of “ethical” gold, its unwavering commitment to the Fleurier Qualité Certification program, and why the average age of Watches & Wonders attendees is encouraging.
So let’s start by talking about what’s on your wrist now, the Alpine Eagle. One I was really intrigued by was the full diamond iced-out version in a larger size. Was that an intentionally larger watch, potentially for the guy? Can you talk us through the thought process behind that? Because that’s a strong statement.
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Well, first of all, we noticed that interest for a stone-set Alpine Eagles is strong. Last year, we introduced some colored stone bezels, and then we had the challenge of producing this really impressive frozen summit Alpine Eagle. Finding all the stones and having cut them and creating the setting is really intriguing. We thought the timing was right, because there is an increased interest from men to wear the sporty type of watch with a touch of diamonds. It’s no longer considered a “No.” And also, ladies are interested in this 41 millimeter size. So in fact, we shouldn’t be saying this is ladies or this is gents. This is small, medium, large, extra large now. And in the 41 millimeter, this iced out look, as they call it, speaks a lot better. Because in 36, the stones will get rather smallish, especially when you talk about baguette [diamonds]. So I think it’s a stunning piece.
It must be quite an exciting period we’re in now for a watchmaker. There is this feeling of anything goes, so you’re not put into categories. Anybody can wear anything. Does it make it easier for your watchmakers to design things, or is it harder?
It doesn’t necessarily make it easier, but you feel kind of liberated because it doesn’t have to stick to certain formats. We introduced our L.U.C. Full Strike with a striking look, I have to say, with the light blue dial and titanium finish. The combination is kind of the opposite from what we set out doing in 2017 when we introduced the first Full Strike, but it’s been very well received because it’s totally different to what we were doing before.
Where do you see the Alpine Eagle progressing? Is that your most popular line now?
In terms of more men-oriented sports watches, it certainly is. And I see it going in basically three directions. There’s the classic Alpine Eagle that was first introduced in 2019. And then there are the specials, which are a combination with haute horology. The flying tourbillon was one of them. The Monte Rosa is another one we introduced last year with the extra-thin L.U.C 96.40-L movement, a watch that cannot be found anywhere right now. Unfortunately, we are very much behind in production. And now the XP TT titanium, which is an open work movement—not quite a skeleton—but a watch we introduced at this time, which has attracted a lot of attention already in the past two days.
Tell us more about that watch, because it’s really extraordinary.
Yeah, it’s the combination of the extra-thin L.U.C. 96 base movement, but in really contemporary finish and openworked. We cut out the bridges, and I think it really fits into the titanium case and bracelet. It’s like it was made out of one piece, and that’s what I really like about it. It’s very modern, contemporary, bold, and yet elegant. And I think that’s the third direction [for the Alpine Eagle series].
I have a question about your [recycled] steel, because you’re one of the few brands really making strides in that area. Does it cost you more money to use recycled steel than regular steel? Do you do it because it sends a message, or does it actually save you money?
No, we do it because we firmly believe that as a luxury brand we should be doing our part, and this is a thoroughly thought-out process. Yes, we chose a supplier that is located in Austria, not at the other end of the world—so within a radius of 1000 kilometers. And is it more expensive? Yes, it is more expensive, but it is proven that our clients really appreciate it. And not only that, the steel itself. . .is harder, it is more shiny, and it offers this good feeling about it: That you know it is made from recycled materials. So, it’s really upcycled, if you wish.
Is it the same for the ethical gold as well, in terms of costing more?
The gold will cost, I would say today, a fraction more, but to us it was less of an investment because we are already independent when it comes to the production of the gold alloys. Everything was already done in-house. So we have a 360-degree approach. And we don’t have to ask anyone outside to provide us with 18 carat gold alloy. And we can also recycle immediately all the leftovers from production. If someone [else] wanted to put all that into place, they would have to build the whole chain of production.
Let’s talk about the L.U.C. collection because I know that’s something that’s very close to your heart as well. The first thing we’ve just seen is the black jumping hour L.U.C., which we fell in love with. The jumping hour is not a common movement, so why did you want to bring that into this collection?
It’s a bit of a selfish approach. I always loved the idea of a jumping hour, and it’s a project we started six or seven years ago. It was kind of always left behind because something else was more important, but I never gave up, and I kept on insisting to bring it to an end. The combination with the full barrels and very long power reserve, and the simplicity, the serenity of the dial: I’m really in love with [those qualities] myself. And then I was thinking of a black piano-like finish. And as you know, we also have an enamel activity in the house, so everything came together.
Do you wear it yourself?
I would love to wear it myself, but the customers come first. I’ll have to wait.
How many will be made?
One-hundred. So it’s limited.
The other one that was really striking was the new green L.U.C. And you see that green dials have been popular for a little while. When you produce something like that, are you ever concerned that you’re coming to the end of the trend, and you find that you produce a dial color that’s no longer fashionable?
I don’t know. I don’t see an end to the trend. I think green has become a bit like blue. I think if you like that color, you will continue to indulge in it. I mean, there are some very striking colors, maybe which you can say are trendy, and then they will pass. Plus, the variations of green are endless. . .I’m very interested in colors. I have a few books at home where I study colors from nature. It’s fascinating, I think. And green, it’s a world, you know.
How involved are you personally with the color choice?
I’m very much involved.
Talk us through the process.
They they’re always afraid when I come back from a trip, and then what is he going to tell us now? I was thinking about this color, or I was walking in the mountains, and I had this idea, you know?
Do you give them photographs, or would you bring back leaves?
I bring back whatever it takes to make myself understood! [laughter]
What’s the strangest thing you’ve brought back to your team?
Well, I couldn’t tell you now, because it’s something that is in the pipeline. But it’s green.
I’m imagining you ripping off pieces of moss from rocks.
Ahh…who knows? [chuckles]
I’m interested in the Fleurier Qualité Certification, and why you guys are the only ones to still be doing it. Why you feel it’s important, and how did you choose that particular time piece?
Twenty years ago—or a little more than that—I sat with Michel Parmigiani, and we were brainstorming about certifications, and we said it would be great to have a real certification that includes not only the precision aspect, like chronometer certification, but also a real test that tests the watch in wear and tear. And so, we came up with the initial idea of Qualité Fleurier together. And we had created the Foundation of Qualité Fleurier, which in turn required us to get someone to conceive these special machines which imitate a day in your life, that kind of thing. Unfortunately, our initial foundation partners pulled out. And Michel Parmigiani himself was very emotional about it. I decided that we needed to continue because it’s a very meaningful thing. We internalize the machines, and they’re now in our premises in Fleurier, and we found a way to be certified from an outside source—so it’s not us certifying ourselves. And the watch you saw is the first one after all these changes. In a way it is sort of a commemorative watch after 20 years of Qualité Fleurier.
And there will be more of these, presumably?
There will be more, and the ideal situation is to certify a whole series of Alpine Eagles, for example, for a particular year. And for this we will have to invest in new equipment, because the equipment is now 20 years in service, and now the possibilities are much wider. You don’t have to build such big equipment to do what we are doing. Now you can rely on different technologies. And so we will enter that phase of exploration and continue.
Can you tell us a little bit about how you see the rest of the year panning out, because lots of people are concerned about how this year is going to play out economically and culturally, even with a billion people voting in elections and the rest of it.
You know, in the beginning of the year I said something like, “everything remains different.” I think that would be my answer. It’s difficult to make predictions. But we could see—despite the difficult situation in parts of the world and many uncertainties—I think our industry has fared relatively well. And we are also coming from 2020 to ’23, which was a bit of a bubble. Let’s be honest: A lot of people entering the watch market are not the passionate collector or the real watch aficionado, but more of a speculator maybe. But now we are heading back to more solid foundations, I guess. That means also a certain slow down. But I think if you look at the people who bought tickets to Watches and Wonders, I was told the average age is 35. So, this year they sold out three days of public viewing, which I think is encouraging.
It must be very encouraging for you that the age is so young. We were just talking to somebody who was saying that 25 percent of the tickets last year went to under 25. If the average age is 35, that’s even bigger.
I think the watch industry, hopefully, has created or has contributed to a younger customer base. And that is the best news that I can [cite].
It feels like you’re quite well set up for that. The Alpine eagle is attractive to a younger client, I would imagine.
Yes, the Alpine Eagle brought us clients that we didn’t have before. And, interesting enough, we’ve discovered that for L.U.C. or the jewelry, there is a new clientele.
Well, thank you very much.
I’m very grateful. Thank you.
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