Richt now there are a lot
of discussions about the new Leica Watches.
Some definitely question if it is wise for Leica to enter
the market with something unrelated to Leica cameras and photography in general. However, many don’t realize that a
considerable amount of Leica DNA has gone into these watches.
The designer Achim Heine
is Professor for Product Design at the Berlin University of Arts. In the past, he developed numerous designs
for Leica cameras and binoculars between 1999 and 2008.
Following is an interview with
Achim Heine:
You have previously designed several
cameras and binoculars for Leica. Did you benefit from this experience when working
on the Leica watches?
Being familiar with Leica
and their products certainly gave me a good foundation. The first camera I
designed for Leica was the C1 compact in 1999, followed by the C2 and C3, the
Leica CM and CM Zoom, the Digilux series, the D-Lux and Leica’s Ultravid
binocular models. This has certainly given me an in-depth understanding of the
brand and its different facets.
But of course,
watches are in an altogether different category.
Yes, indeed, Leica
primarily stand for cameras and sports optics. This meant that for this
project, I had to determine a connection between these different types of
products, and find the right inspiration for the design of a Leica watch.
What were your
sources of inspiration?
To my mind, the watches
perfectly complement the Leica product portfolio. For one, Leica as a company
have always been synonymous with supreme excellence and mechanical precision –
which is, of course, also a fitting basis for the development of a very complex
mechanical watch. Secondly, the concept of time plays an important role within
photography. The exposure time, for example, is vital for a successful image.
Then there is the selftimer mechanism in classic Leica models that resembles a
small watch movement; its runtime may only be 10 seconds, as opposed to a day
or a week, but the principle of using mechanics for the purpose of measuring
time is still the same. So you could say that, in addition to technical
excellence, the watch also has some functional commonalities with Leica’s
cameras.
Which design principles do you consider
to be essential in the new Leica watches?
The Leica products of the
past 100 years have predominantly been very purist, with many interesting
geometric details. This has always inspired me, particularly when I was working
on camera designs. When developing the watches, it was always clear to me that
there had to be a close connection between the strong geometry of the cameras
and the exterior aesthetics of the watches.
What role do you
think the watches will occupy in the world of Leica?
Watches represent a new
product category for Leica, so it must be carefully evaluated where on the
market they are to be positioned. A distinguishing feature of this watch is
that we have not simply adapted an existing movement: Andreas Kaufmann
specifically wanted to develop a genuine Leica watch, in order to introduce an
innovative product to the market. He is a watch enthusiast, and was convinced
that the Leica brand with its propensity for technical perfection could
contribute something extraordinary to this field. This means that the watches
represent a separate aspect of Leica, and are not just an addition to the
camera catalogue. Yet at the same time, the watches can’t be too divergent from
Leica’s other products – after all, they are intended to be part of the brand,
with many parallels and commonalities, as well as some clear distinctions.
In your opinion,
what is more difficult to design – a camera or a watch?
Over the course of my
career, I have designed a great many products, and the watch concept certainly
counts among the more demanding challenges. There are so many decisions to make
that determine the watch’s overall appearance: materials, surfaces, colours,
form and texture of the operating elements, hands, indices, numerals,
typography, dial and cover glass, to name but a few. This makes the design
process extremely complex – especially as each of those decisions has a strong
bearing on the overall character of the final product. Andreas Kaufmann and I
discussed at great length which elements, functions and innovations might be
fitting for this new Leica product. And then Markus Lehmann came on board, an
entrepreneur from Germany’s Black Forest region whose company not only produces
top-of-the-range machinery for the watch industry, but also makes its own brand
of exceedingly high-end wrist watches. The two companies entered into a very
close cooperation that enabled those involved to explore new and unusual
options – thereby ensuring that the Leica watch could deliver something truly
special, also in terms of functionality.
Can you give us an
example of these special characteristics?
Together with Markus
Lehmann we refined and evolved the concept of the push-piece crown. With conventional
watches, you have to slightly pull out the crown in order to stop the watch and
set the watch hands. On the Leica watch, however, you actually press the crown
– rather like the shutter of a camera. The moment you push down the crown, the
watch stops and the second hand jumps to zero. Another push, and the watch
starts up again. This is a highly unusual detail which, in my opinion, is very
fitting for Leica.
Has the Leica
watch been developed with a specific target group in mind?
There are, of course, many
Leica fans around the world who appreciate the precision and design of products
Made in Germany. For me, the design process was a continuous balancing act
between the rather functional exterior of a camera, and the aesthetics of a
timepiece that is, after all, also a piece of jewellery. A watch is both a
utilitarian tool to measure time and an analogue masterpiece with
microscopically small, yet robust mechanics – but it is also an ornament that
can express something about the wearer’s personality. Wearing a Leica watch is
a statement; it shows that technical excellence is something this person holds
in high regard.
To what extent
does the Leica brand come into play?
This was an extremely
important question for me, right from the beginning of the design process: just
how closely should the Leica watch reflect the brand and the characteristic red
dot? After a few experiments I quickly decided that I did not want to display
the red dot and classic Leica logo in cursive writing on the dial. I felt that
putting the Leica dot on the watch pushed it too far towards the appearance of
the camera, and detracted from its status as a stand-alone product. I spent a
long time looking for an alternative solution – something that was rooted in
Leica’s history and the foundations of the brand.
I eventually found it on
the top plate of the Leica M6, which features the brand name written in
uppercase letters. Consequently, I adopted the same style and font for all
numbers and letters on the dial – including the added “Wetzlar” lettering below
the “Leica” name – as well as the inscriptions on the back of the watch.
ACHIM HEINE IS PROFESSOR FOR
PRODUCT DESIGN AT
THE BERLIN UNIVERSITY OF ARTS.
HE DEVELOPED NUMEROUS DESIGNS
FOR
LEICA CAMERAS AND BINOCULARS BETWEEN 1999 AND 2008.
For other articles on this blog please click on Blog Archive in the column to the right
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For other articles on this blog please click on Blog Archive in the column to the right
To comment or to read comments please scroll past the ads below.
All ads present items of interest to Leica owners.
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