{"id":28969,"date":"2026-04-14T09:00:00","date_gmt":"2026-04-14T07:00:00","guid":{"rendered":"https:\/\/www.watchinsanity.it\/?p=28969"},"modified":"2026-04-13T20:39:20","modified_gmt":"2026-04-13T18:39:20","slug":"audemars-piguet-atelier-des-etablisseurs","status":"publish","type":"post","link":"https:\/\/www.watchinsanity.it\/en\/audemars-piguet-atelier-des-etablisseurs\/","title":{"rendered":"Atelier des \u00c9tablisseurs, fine craftsmanship by Audemars Piguet"},"content":{"rendered":"\n

The Swiss watchmaking industry has not always been as we know it today. Until around the end of the 19th century, watch production was characterised by what might be described as a decentralised organisation, operating under a proto-industrial economic system \u2013 developed mainly in the Jura, the Vall\u00e9e de Joux and the mountains around Neuch\u00e2tel \u2013 known as \u2018\u00e9tablissage<\/strong>\u2019. <\/p>\n\n\n\n

\"Audemars<\/a><\/figure>\n\n\n\n

This production system has been part of Audemars Piguet\u2019s<\/strong> history since its very beginnings, as during its first few decades the manufacture operated within its own territory as an \u00e9tablisseur<\/strong>. In the following article, we will explore what the \u00e9tablissage system was and how it worked, what the role of the \u00e9tablisseur was, and we will discuss the new \u201cAtelier des <\/strong>\u00c9tablisseurs\u201d project. Through this initiative, the Le Brassus-based manufacture brings to life contemporary watchmaking creations by combining cutting-edge techniques with traditional craftsmanship.<\/p>\n\n\n\n

WHAT \u00c9TABLISSAGE WAS AND HOW IT WORKED<\/strong><\/h2>\n\n\n\n

The \u00e9tablissage<\/strong> system was, in a sense, a necessity imposed by Switzerland\u2019s particular geographical situation. Due to the harsh climatic conditions, farmers in the Jura region spent the winter months inside their farmhouses, crafting tiny watch components. These were often small workshops specialising in the creation of specific parts such as wheels, bridges or screws. With this division of labour into specialised and independent units, the first phase of the production process came to life.<\/p>\n\n\n\n

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\"Audemars<\/a><\/figure>\n<\/div>\n\n\n\n
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\"Audemars<\/a><\/figure>\n<\/div>\n<\/div>\n\n\n\n

Subsequently, an \u00e9tablisseur <\/strong>\u2013 who coordinated the work of these craftsmen \u2013 would collect the components they had produced and proceed to assemble the watch, or have it assembled, thereby producing the finished product. This allowed for a precise division of labour, giving the entrepreneur complete freedom to define the specifications and enabling the craftsman to specialise in the task he mastered best. For most watchmakers in the Jura, therefore, watchmaking was initially a part-time activity, replacing work in the fields during the winter, which remained their main occupation.<\/p>\n\n\n\n

AUDEMARS PIGUET AND THE \u201cATELIER DES \u00c9TABLISSEURS\u201d<\/strong><\/h2>\n\n\n\n

Drawing on this tradition and its own original vocation as an \u00e9tablisseur, Audemars Piguet launched the \u201cAtelier des <\/strong>\u00c9tablisseurs\u201d project, presented at Watches and Wonders Geneva<\/strong>. Through this initiative, the manufacture\u2019s team collaborates with highly skilled craftsmen to preserve ancient know-how and certain techniques that would otherwise risk being lost, as they are often passed down only orally.<\/p>\n\n\n\n

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\"Audemars<\/a><\/figure>\n<\/div>\n\n\n\n
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\"Audemars<\/a><\/figure>\n<\/div>\n<\/div>\n\n\n\n

\u201cAtelier des\u00a0\u00c9tablisseurs\u201d brings together various traditional crafts \u2013\u00a0engraving<\/strong>,\u00a0enamelling<\/strong>, skeletonising<\/strong>,\u00a0gem-setting\u00a0<\/strong>and\u00a0gemstone cutting\u00a0<\/strong>\u2013 and combines them with more\u00a0modern\u00a0disciplines,\u00a0ranging from design\u00a0to\u00a0engineering. Every expert who masters these skills helps to transform each watch born of this project into a unique creation. Here, creative freedom reigns supreme, drawing on the imagination and expertise of numerous craftsmen, both within and outside Audemars Piguet. In this way, the\u00a0<\/strong>\u201cAtelier des\u00a0<\/strong>\u00c9tablisseurs\u201d encourages boldness and savoir-faire, bringing an innovative and creative approach to design and functionality. The result is watches produced in very limited numbers, linked to a watchmaking tradition that takes the time required to bring exceptional creations to life.\u00a0\u00a0<\/p>\n\n\n\n

\"Audemars<\/a><\/figure>\n\n\n\n

The watches from \u201cAtelier des <\/strong>\u00c9tablisseurs\u201d combine mechanical precision, aesthetic refinement and ergonomics, striking a balance between tradition and modernity. The calibres are modern, specially adapted, hand-decorated, finished and assembled in the workshop located within the Mus\u00e9e Atelier in Le Brassus. Inspired by the categories of watches that have enriched the watchmaking heritage over time \u2013 from miniature timepieces to secret watches \u2013 these creations pay tribute to the many craftsmen who, over the centuries, have shaped the shared history of watchmaking. <\/p>\n\n\n\n

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\"Audemars<\/a><\/figure>\n<\/div>\n\n\n\n
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\"Audemars<\/a><\/figure>\n<\/div>\n<\/div>\n\n\n\n

The first models from the \u201cAtelier des \u00c9tablisseurs\u201d are the \u00c9tablisseurs Galets<\/strong>, \u00c9tablisseurs Nomade <\/strong>and \u00c9tablisseurs Peacock<\/strong>, which embody Audemars Piguet\u2019s commitment to preserving craftsmanship, creative collaboration and technical innovation.<\/p>\n\n\n\n

\u00c9TABLISSEURS GALETS<\/strong><\/h2>\n\n\n\n

\u00c9tablisseurs Galets is a meeting point between watchmaking and Swiss nature. Those familiar with French will know that the word \u201cgalet\u201d refers to a river pebble, a stone smoothed by water. Specifically, the stones smoothed by the undertow of Lac de Joux, a source of inspiration for Audemars Piguet\u2019s designers. \u00c9tablisseurs Galets <\/strong>is presented as a sequence of natural, polished stones, starting from the dial, framed by a yellow gold case measuring approximately 31 mm in diameter and 7.5 mm in thickness.<\/p>\n\n\n\n

\"Audemars<\/a><\/figure>\n\n\n\n

It consists of an irregularly shaped pebble, whose sinuous contours led designers and engineers to specifically shape the Calibre 3098 to mirror that of the case and, consequently, of the pebble itself. The Calibre 3098 <\/strong>is a hand-wound manufacture movement that controls the hours and minutes, indicated by two small yellow gold hands. It is based on the Calibre 3090, which operates at 21,600 vibrations per hour and offers a 48-hour power reserve. Assembled, regulated and fitted into the case by a single watchmaker, it draws on the principles of watches crafted by the \u00e9tablisseurs.<\/p>\n\n\n\n

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\"Audemars<\/a><\/figure>\n<\/div>\n\n\n\n
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\"Audemars<\/a><\/figure>\n<\/div>\n<\/div>\n\n\n\n

Like the case, the links of the bracelet <\/strong>have irregular shapes because they too are made from natural stones, which the stone cutters have shaped and the goldsmiths have set in gold, joining them together with small spherical gold links. Between artisans, designers, master watchmakers, master cutters and other experts, over 15 people are involved in the creation of the \u00c9tablisseurs Galets. For this year, Audemars Piguet <\/strong>is planning five versions of the watch with different combinations of stones.<\/p>\n\n\n\n

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\"Audemars<\/a><\/figure>\n<\/div>\n\n\n\n
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\"Audemars<\/a><\/figure>\n<\/div>\n<\/div>\n\n\n\n

\u00c9TABLISSEURS NOMADE<\/strong><\/h2>\n\n\n\n

Even more sophisticated is the second watch in the collection, the \u00c9tablisseurs Nomade<\/strong>. It is a versatile timepiece, a tribute to those pieces designed to be worn in the pocket or placed on a table. To create it, the craftsmen used a combination of metals (gold or titanium) and natural gemstones, resulting in a multifunctional case <\/strong>that offers three positions: open, closed or pendulum. In fact, the case is double: an inner case \u2013 decorated with precious stones \u2013 slides inside an outer case along a guide when a secret double push-button is activated. The precious stones, selected and cut with masterful craftsmanship, are the aesthetic hallmark of the case, which measures 68×42 mm and is 13.8 mm thick.<\/p>\n\n\n\n

\"Audemars<\/a><\/figure>\n\n\n\n

Even more than the case, however, it is the movement <\/strong>that catches the eye. And it does so because of the finesse and craftsmanship with which it is made. It is the hand-wound calibre 7501, developed on the basis of the calibre 7121, which offers a minimum power reserve of 65 hours, operating at 28,800 vibrations per hour. The exceptional nature of its construction lies in the fact that a single watchmaker is responsible for skeletonising<\/strong> it by hand<\/strong>, using a traditional precision hacksaw. In this painstaking work (a technique that very few are able to master), the watchmaker works the calibre as if it were filigree, hand-polishing the angles and shaping the bridges so that they also serve as hour markers.<\/p>\n\n\n\n

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\"Audemars<\/a><\/figure>\n<\/div>\n\n\n\n
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\"Audemars<\/a><\/figure>\n<\/div>\n<\/div>\n\n\n\n

The outer dial <\/strong>of the \u00c9tablisseurs Nomade is crafted from natural stone and set within a case composed of a bevelled metal mesh and faceted stones, all hand-finished. As with the \u00c9tablisseurs Galets, Audemars Piguet has involved over fifteen people in the creation of this watch and plans to release five versions featuring different combinations of stones by 2026.<\/p>\n\n\n\n

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\u00c9TABLISSEURS PEACOCK<\/strong><\/h2>\n\n\n\n

In a crescendo of artistic refinement and mechanical sophistication, we arrive at the third watch from the \u201cAtelier des \u00c9tablisseurs\u201d, the \u00c9tablisseurs Peacock<\/strong>, Audemars Piguet\u2019s tribute to the long tradition of secret watches.<\/p>\n\n\n\n

\"Audemars<\/a><\/figure>\n\n\n\n

In designing it, the Maison\u2019s creative team drew inspiration from the animal kingdom. When closed, the watch resembles a beetle<\/strong>, which the craftsmen have crafted from finely engraved white gold. When a specific spot is pressed, the beetle\u2019s wings and head open to reveal a miniature, hand-crafted peacock<\/strong>. Between its wings, a finely hand-engraved translucent enamel dial is visible, representing the tail.<\/p>\n\n\n\n

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\"Audemars<\/a><\/figure>\n<\/div>\n\n\n\n
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\"Audemars<\/a><\/figure>\n<\/div>\n<\/div>\n\n\n\n

On this tail, within a small window, the jumping hour<\/strong> display appears (there is no minute indication), powered by the <\/strong>hand-wound calibre 3098<\/strong>. The movement is based on calibre 3090, custom-adapted for this model whilst retaining only the hour display. The calibre is hand-decorated with a sunburst pattern, which in turn echoes the peacock\u2019s feathers, whose eyes are embellished with coloured gemstones.<\/p>\n\n\n\n

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In addition to the case and dial, the bracelet <\/strong>of the \u00c9tablisseurs Peacock is a masterpiece within a masterpiece. It is crafted from white gold, comprising dozens of hollow links, each engraved with a feather motif. To create this miniature jewellery watch (measuring 35×57 mm), Audemars Piguet <\/strong>enlisted a team of jewellers, enamellers, engravers and watchmakers with the highest level of expertise. The complexity of this watch means that, unlike the other two, only three versions will be available, for which we will have to wait until next year.<\/p>\n\n\n\n

CONCLUSIONS<\/strong><\/h2>\n\n\n\n

In a watchmaking industry that, for better or worse, often tends to replicate styles and models, Audemars Piguet\u2019s concept is a breath of fresh air. When looking at the watches emerging from the \u201cAtelier des<\/strong> \u00c9tablisseurs\u201d project, we must not consider their affordability or commercial value. Rather, we should appreciate them as contemporary expressions of a world that no longer exists, but without which we would not know watchmaking as we know it today.<\/p>\n\n\n\n

\"\"<\/a><\/figure>\n\n\n\n

A world that the Manufacture in Le Brassus <\/strong>has had the courage and ability to reinterpret in a modern and contemporary way. In this way, on the one hand, everyone who works there feels that their expertise is valued not as an individual skill, but as part of a single environment and a single history. On the other hand, the project ensures that watch enthusiasts can be certain that watchmaking, forever poised between aesthetics, mechanics and art, has not only an illustrious past<\/strong>, but also a vibrant present <\/strong>and a promising future<\/strong>.<\/p>\n\n\n\n

By Davide Passoni<\/em><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

With the Atelier des \u00c9tablisseurs project, Audemars Piguet brings the watchmaking tradition of \u00e9tablissage back to life with three highly artisanal creations.<\/p>\n","protected":false},"author":722,"featured_media":28993,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[12,9],"tags":[75,961],"class_list":["post-28969","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news","category-timepieces","tag-audemars-piguet","tag-ww26"],"yoast_head":"\nAudemars Piguet: Atelier des \u00c9tablisseurs<\/title>\n<meta name=\"description\" content=\"With the Atelier des \u00c9tablisseurs project, Audemars Piguet revives the watchmaking tradition of \u00e9tablissage through three creations of exceptional craftsmanship.\" \/>\n<meta name=\"robots\" content=\"index,follow\" \/>\n<link rel=\"canonical\" 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\u00c9tablisseurs, l\u2019alta artigianalit\u00e0 firmata Audemars Piguet"}]},{"@type":"WebSite","@id":"https:\/\/www.watchinsanity.it\/#website","url":"https:\/\/www.watchinsanity.it\/","name":"WATCH INSANITY","description":"The leading Italian watch magazine","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/www.watchinsanity.it\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"},{"@type":"Person","@id":"https:\/\/www.watchinsanity.it\/#\/schema\/person\/3d908c8853f8765bda3ef2fb6df451bd","name":"Davide Passoni","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.watchinsanity.it\/wp-content\/uploads\/2026\/02\/Davide_Passoni_Watch_Insanity-1-96x96.jpg","url":"https:\/\/www.watchinsanity.it\/wp-content\/uploads\/2026\/02\/Davide_Passoni_Watch_Insanity-1-96x96.jpg","contentUrl":"https:\/\/www.watchinsanity.it\/wp-content\/uploads\/2026\/02\/Davide_Passoni_Watch_Insanity-1-96x96.jpg","caption":"Davide Passoni"},"description":"\u00abMobile ordigno di dentate rote \/ lacera il giorno e lo divide in ore\u00bb. Comincia cos\u00ec il sonetto Orologio da rote, scritto nel XVII secolo da un poeta friulano, Ciro di Pers, oggetto della mia tesi di laurea. Il tema della tesi era diverso, ma avevo conosciuto quel poeta proprio leggendo questo testo, perch\u00e9 gli orologi li ho sempre avuti dentro. E al polso. Il primo \u00e8 stato un Timex digitale (erano gli anni \u201970\u2026), in quarta elementare, e da allora non ho pi\u00f9 smesso. Di comprarli, di scambiarli, di venderli, di amarli, di studiarli. E poich\u00e9 l\u2019aspirazione di tanti \u00e8 trasformare la propria passione in lavoro, nella mia lunga vita professionale, alla fine, a scrivere di orologeria ci sono arrivato: prima alla guida di un trimestrale, poi firmando pezzi per testate nazionali e per i pi\u00f9 autorevoli magazine online italiani. Uno di questi \u00e8 \u201cinsano\u201d: riuscite a indovinare qual \u00e8?","url":"https:\/\/www.watchinsanity.it\/en\/author\/dave\/"}]}},"_links":{"self":[{"href":"https:\/\/www.watchinsanity.it\/en\/wp-json\/wp\/v2\/posts\/28969","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.watchinsanity.it\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.watchinsanity.it\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.watchinsanity.it\/en\/wp-json\/wp\/v2\/users\/722"}],"replies":[{"embeddable":true,"href":"https:\/\/www.watchinsanity.it\/en\/wp-json\/wp\/v2\/comments?post=28969"}],"version-history":[{"count":6,"href":"https:\/\/www.watchinsanity.it\/en\/wp-json\/wp\/v2\/posts\/28969\/revisions"}],"predecessor-version":[{"id":29007,"href":"https:\/\/www.watchinsanity.it\/en\/wp-json\/wp\/v2\/posts\/28969\/revisions\/29007"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.watchinsanity.it\/en\/wp-json\/wp\/v2\/media\/28993"}],"wp:attachment":[{"href":"https:\/\/www.watchinsanity.it\/en\/wp-json\/wp\/v2\/media?parent=28969"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.watchinsanity.it\/en\/wp-json\/wp\/v2\/categories?post=28969"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.watchinsanity.it\/en\/wp-json\/wp\/v2\/tags?post=28969"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}