Louis Erard and Alain Silberstein. Two inseparable names since their first collaboration in 2019, two watches that became collector’s items as soon as they were released. This new diptych continues the trend, with two new variants, Le Régulateur Louis Erard x Alain Silberstein Blanc and La Semaine Louis Erard x Alain Silberstein Blanche. Two times 178 pieces.
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EXCELLENCE PETITE SECONDE GUILLOCHÉ
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EXCELLENCE MARQUETERIE
Louis Erard continues to enliven métiers d’art with a contemporary perspective and an impossible challenge: to make the most exclusive craftsmanship accessible, this time with the extreme practice of miniature marquetry featured on the dial. Each dial is handmade, piece by piece, by an independent artisan, Bastien Chevalier.
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THE COLOURS OF TIME: PETITE SECONDE VIOLETTE, BLEU GLACIER & BLEU NUIT
Louis Erard extends the range of one of the flagship models of its Excellence collection, the Petite Seconde, with three colours inspired by the codes of contemporary high-end watchmaking: midnight blue, purple and ice blue.
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In a new 39 mm steel case. -
STONES AND TIMES: PETITE SECONDE MALACHITE, LAPIS-LAZULI & AVENTURINE
Excellence Petite Seconde natural stones and hand-crafted glass — All the outward signs of luxury in a fresh and contemporary outfit. All the art of Louis Erard, who pursues his mission: to make fine watchmaking accessible.
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Not just in terms of price or exclusivity, but also in terms of design and spirit. -
EMAIL GRAND FEU II
Louis Erard continues its odyssey at the heart of métiers d’art with Grand Feu enamel. A new interpretation of this exclusive craft already explored in 2021, which returns in a contemporary classic with subtlety. With some touches of red and, for the first time, in a 39 mm case.
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EXCELLENCE GUILLOCHÉ MAIN II
Louis Erard continues to reinvent traditional métiers d’art with this second hand guilloché dial.
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Guilloché is no longer a question of decoration; it’s a subject in and of itself: a large diamond, an ace of diamonds, with a kinetic feel. It’s no longer a question of revisiting an old aesthetic, but of putting the technique at the service of a contemporary composition.