Büsser’s Creative Lab

by Ian Skellern

In 2005, after seven years at Jaeger-LeCoultre and seven years at Harry Winston, where he introduced the trailblazing Opus series, Maximilian Büsser had no intention of continuing to do the same old thing with a new name on the dial. He had no interest in mere evolution.

So when he launched MB&F (Maximilian Büsser & Friends) in July of that year, his vision was not to have his own watch brand and not even to start a dynamic, cutting-edge brand. Instead he wanted a true creative horological laboratory.
The watchmaking world was somewhat divided initially by MB&F’s first timepiece, Horological Machine No.1. As Büsser expected, there was shock and awe alongside the praise. However, as the myriad tombstones of one-hit-wonder-and-gone brands testify, it takes more than a great idea and an interesting first watch to create a lasting brand, let alone a revolution. It takes much more.
Fast-forward five years to 2010. Any doubts professed by naysayers have been swept aside by a procession of MB&F’s radical three-dimensional Horological Machines, each further away from comfort zones than the last.

Transparency
When Büsser forged the concept of “Friends” it was with the intention of transparently recognizing all of those people essential to realizing his horological dreams. These included watchmakers, designers, craftsmen, retail partners, customers and aficionados. Büsser was under no illusion that the architectural kinetic art he was creating would be widely appreciated by the masses. In fact, he was fully aware that by uncompromisingly making exactly what he wanted, with no concession to what might be termed marketable, the vast majority of collectors would not “get it.”
And that was OK with him. But it soon became apparent that while Büsser was forging his own path through the horological jungle, ever-increasing numbers of people appreciated or were curious to understand what he was doing.
Nobody knows the destination, probably not even Büsser. MB&F evolves as he does. However, the trip is an exciting experience in itself, as more and more converts are happy to discover.
“Creativity is not a democratic process. I listen to many exceptional people, sometimes taking their views into account, sometimes not, but the final decision is mine alone. MB&F’s Machines are not designed by committee.”
Büsser wanted MB&F to bring out a completely new Horological Machine each year. It was quite an ambitious undertaking when you consider that both the movement and case architecture of each Machine are not only completely new, but also unlike anything that has existed before. There are no references with MB&F.
It is to Büsser’s credit that this year MB&F will have delivered its fourth completely original Horological Machine in as many years, plus different variations of the machines, many of which are amazing stand-alone pieces in their own right.

Number One
Delivered in 2007, HM1 (Horological Machine No.1) introduced the MB&F concepts of three-dimensional architectural horology. HM2 (2008) and HM3 (2009) were inspired by science fiction. “Star Wars” was the movie that most influenced the young Büsser, and it shows. The upcoming HM4, to be released this month, has an aeronautical theme and is also inspired by childhood associations.
A common thread running through all of MB&F’s creations is a sense of true enjoyment. Büsser set out to create an environment where he could work with people he respected to inspire that usually lost-in-adulthood children’s sense of awe in making new discoveries. “At MB&F we take our timepieces very seriously, not ourselves,” says Büsser.
HM1 was the Machine that broke the mold. To a world raised on round movements in round cases, the sheer three-dimensional volume of the modular case and the dual dials on multiple levels and the figure-eight movement with a tourbillon was not just a shock, to many HM1 was an affront.
Horological Machine No.1 featured hours and minutes on separate dials, a raised central one-minute tourbillon, a seven-day power reserve from four massive mainspring barrels, and both automatic and manual winding. It took 376 components and 81 functional jewels to realize the movement’s radical design and construction. The case alone consisted of 48 parts. While the original HM1 was available in white or red gold, limited editions in black and titanium completed the collection. Only 100 HM1 movements were made over three years, ensuring its exclusivity.