Each year at the Watches and Wonders fair in Geneva, the Hermès pavilion elegantly blends art with watchmaking. Last year, it showcased a whimsical design by French artist Clément Vieille, who employs cutting-edge technology to achieve remarkable precision in crafting intricate shapes and complex components.
This year, Hermès has outdone itself with a design that matches the beauty of the Hermès Cut collection, which daringly combines sharp-edged profiles with clean, soft lines. Complementing the Hermès Cut timepieces, New York-based artist Erin O’Keefe creates an immersive experience of playful disorientation that challenges perception and unlocks new possibilities. Her installation features optical and sensory magnification, inviting visitors to sharpen their senses and explore beyond the conventional boundaries of perception.
The space invites surprises, prompting visitors to reconsider their observational habits and re-evaluate their perspective. Vision evolves with movement: each step uncovers unexpected viewpoints, and every glance reveals new dimensions, much like the bevel of the Hermès Cut watch, which unveils its beauty from different angles.
Hermès Cut, created by Philippe Delhotal, embodies a spirited feminine and attractive inspiration. Its appeal lies in the geometric shapes and colours that exude sophistication, where Hermès excels. Sharp angles and precise lines lend a distinctive identity to this exquisite watch, making it appealing to a broad audience. The crown, positioned at half past one and adorned with a lacquered or engraved H, is thoughtfully designed to avoid digging into the wrist’s crease.
Beyond its ergonomic design, the timepiece features captivating aesthetics, such as the interplay of light that creates shimmering effects. The bevel-cut bezel elegantly frames a generously sized dial with a curved edge, resembling a circle within a round shape.
The brilliance behind every detail of the watch comes from the Maison’s creative director, Delhotal, who has been with Hermès since 2008. He is a familiar presence with Options, and we have always appreciated engaging with him to explore his insights on timepieces. Once again, we delve into his experience and knowledge to uncover more about his design philosophy and challenges in creating Hermès Cut.
What is the inspiration for this year’s collection?
The Hermès Cut model is somewhat of a sequel — a logical continuation of the masculine collection, the Hermès H08. Thus, Hermès Cut was a natural progression from the masculine collection. When we first presented it in 2021, women wanted a mechanical, automatic collection designed specifically for them.
As a result, we decided to create this new line with a slightly different spirit than the Hermès H08 collection. The H08 was developed, focusing on form, material, and colour. In essence, it embodies the masculine universe, which is urban and robust. Hermès Cut, on the other hand, was conceived through a reflection on simple shapes.
What do we mean by a simple shape? It’s not merely a simple watch; it’s about a simple shape. These are not the same thing. A simple shape conveys strength. Take, for example, a pebble. A pebble is a stone naturally shaped by water and sand. After thousands of years, it results in a beautiful, yet very simple, shape that appears refined but free from unnecessary details.
We began with the idea of a simple shape but aimed to give it a distinctive look by incorporating unique cuts. By shaping the sides this way, we have created a form that is not precisely a circle but rather a very particular shape.
If you observe it from one angle, it might initially resemble a circle, but its unique silhouette becomes apparent upon closer inspection from different angles. We combine a soft outline with sharp edges, creating what we call a “creative cut”. The essence of this watch lies in its relationship with shape and material.
At Hermès, we are surrounded by numerous objects that embody simplicity, and this simplicity is a core element of our identity. I appreciate objects that encapsulate an idea while retaining their essence. I prefer watches that embody simplicity without being overly complicated. I find that watches with too many elements lose their appeal.
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It’s important to differentiate between a simple shape and a simple object. A simple object lacks depth and interest. It often reflects a lack of thought or consideration. In contrast, a simple shape arises from profound reflection. That’s why it’s crucial to be precise when transmitting a message.
It’s not merely about a simple watch; it’s about the form and shape of the watch itself. A simple shape possesses a distinct identity and personality.
You mentioned that the watch’s shape is not round or square. How would you describe it?
The shape doesn’t have a specific name. It’s not oval, it’s not square, and it’s not round; it’s a simple, unique form. You can’t assign a name to it. This kind of shape is unfamiliar. This is the first time anyone has undertaken this stylistic exercise.
That’s why I say it’s not round, but it has found its rightful place in the collection. We have different shapes represented: the asymmetrical Arceau, Cape Cod or Heure H. We truly have a collection where the form is very prominent.
Some brands may only offer round watches, but our collection has many different shapes. Round shapes are easier to represent, which is why you might see many variations on a round design. The Hermès Cut is truly a new collection, a fresh addition. This is something entirely singular. We didn’t take a shape or form that already existed in the past. Many watches tend to seek a revival of shapes that have been used before, but for us, it’s not that at all.
Can you share some insights into the creative process behind developing the new watch collection?
The first step is to tell the story of the object. What story are we going to tell about it? When we created the Hermès H08, I said, “We need a narrative centred around the men’s universe.” Everything started from there — the material, the colours, the shape. Hermès Cut follows the same concept. We took a simple shape and aimed to make that true simple shape express its essence. Our ambition was to create a contemporary watch with a simple, timeless shape that combines the house’s distinctive style with its watchmaking expertise.
But how did you derive the inspiration to position the crown at a certain angle?
I wanted to maintain a beautiful harmony. If the crown were positioned here, it would create a sense of imbalance. However, in this position, it’s almost hidden. It disappears somewhat, and that was our intention.
Are you able to incorporate the brand’s rich heritage into every design you create?
I do my best to do so. When you wear this watch, you should feel, “This is my Hermès watch.” It can’t be confused with any other brand. The fact that this watch brand has endured through the years and is recognized adds to its significance.
When women around the world wear it, I think, “Okay, we’ve succeeded.” It’s not easy to claim that something will be a success. We don’t know for sure. We hope it will be successful. If women appreciate it, it means they’ve found something in this watch that resonates with the essence of Hermès.
Whether it’s in the comfort, the shape, the elegance, or the simplicity — if they truly take ownership of it, then we’ve done our job.
How does Hermès Horloger differentiate itself from other luxury watch brands in design and craftsmanship?
It’s primarily about the shape. Yes, it’s about the shape and the expression we want to convey. There is no identical shape among our competitors. It’s not about copying what others are doing; we follow our own path. I observe the competition out of curiosity, but it has no influence on our creations. We must remain true to our DNA and our own story. The formula for one brand is not necessarily applicable to another.
How mindful are you when it comes to sustainability when you create a watch?
Sustainability is an important topic. We have to think about it since the very beginning of the process of creation. It involves using high-quality materials and recycling gold and metals globally while conceiving, developing and producing our watches sustainably. And make sure, of course, that they can be reparable.
Today, it is a significant concern for everyone. We all need to keep this in mind, the whole industry, people like you and me … because the ecological aspect of the object, the way we produce it, the recycling of materials and the choices we make while designing a new object have a strong impact on the global production process ... Thankfully, people are more sensitive to this topic.
You’ve had a very long career with Hermès. Can you point out some of the highlights of your career?
It has been 16 years. Every year has been a highlight; otherwise, I would have left. When you feel good in a place, and the brand offers you something to contribute to, there’s no reason to change.
I always believe that if you feel good somewhere, why leave? Why change? You can change professions — that’s a different matter. I often ask myself, if I were to rethink what I would do, I would always choose to do the same thing again.
Can you predict upcoming trends?
Unfortunately, I don’t like the word “trend” because it’s ephemeral—it’s temporary. Trends are fleeting; the trend for blue or green may last a year and then disappear. We make objects that we like, that our customers like, and that we appreciate. I avoid using “trend” because it implies something that doesn’t last. It’s temporary and represents a kind of constant renewal.
On the other hand, creativity should be rich and abundant without being restricted to trends. As for trends, I can only observe that brands are moving back to smaller-sized watches. I believe that it’s a good direction. We will keep an eye on it.
Hermès has also engaged in many collaborations and partnerships. Is that likely to continue?
Of course. We always do. Talent exists everywhere — it’s not just within Hermès; it’s also outside. There are still things we don’t do internally, and we don’t have anything to hide. We freely mention when we created a new watch with a close partner. If I identify an external talent, why don’t I work with them? That’s where creative abundance lies.
At some point, relying solely on internal resources can lead to intellectual impoverishment. That’s why it’s beneficial to collaborate with external talents, including creatives, architects, and craftsmen. For instance, think of Erin O’Keefe, who designed the scenography for the exhibition space at Watches and Wonders. This beautiful scenery wouldn’t have been possible without her.
Do you think the future of watchmaking will change because of technology and AI?
I don’t know enough to comment. Technology can help us, but it may not. We always have to remain open and aware of things. Technology allows us to change and evolve, introducing new ways of working with tools. That makes a significant difference. However, the manual work remains the same. When you create a movement, the method is identical to 100 years ago.
