Requiring 420 hours to assemble, the Ivresse’s case was created by the well-known designer Eric Giroud in 950 platinum (i.e. 95% platinum). Measuring 53.80mm in length and 30mm in width, it is characterised by a rectangular rounded bezel which juts out from the lower level of the case. Inside lies a flying tourbillon which is, rather unusually, visible only through the anti-reflective sapphire crystal case back, instead of being displayed front and centre of the watch.
As well as Giroud, watchmaker David Candaux (ex Jaeger-LeCoultre) has had a part to play in this watch’s creation, designing (Badollet have called it “reverse engineering”) the movement with the flying tourbillon to fit in the curved case. The mainplate is nickel silver, hand-decorated with chamfering, chasing, concave chamfering, circular graining and straight graining. The Ivresse is manual wind and has a power reserve of 120 hours. It comes on an alligator leather strap in a matching midnight blue with a 950 platinum pin.
The choice of a brushed midnight blue for the dial continues the low-key approach, with a satin-brushed chapter ring for some contrasting interest. The crown is tucked, out of view, below the watch’s bezel. The twelve hour markers are nickel-plated and mirror-polished.
I really like the design austerity of the Ivresse, how it keeps the tourbillon hidden from public view, and how its focus is on timekeeping, with nothing to distract the eye. Functionality and readability are clearly the key, the only adornment on the dial the Badollet griffin at 12 o’clock. This is a discreet and deeply elegant looking watch that I’d very much like to see, both as a point of comparison to Eva Leube’s Ari, and in and of itself. Unfortunately, at around 188’000 CHF and limited to an edition of 30, the chances of this happening are about the same as well, take your pick, really.