Turning metal into magic: Inside the world of Van Cleef & Arpels’ automata

Automata, precursors of today’s cutting-edge robots, reached its peak in 18th-century Europe, dazzling the royal courts and wealthy patrons with their lifelike movements. Thanks to the miniaturisation of clockwork mechanisms at the time, the complex devices mimicked birdsong, performed graceful dances, and even acted out elaborate scenes, all with mechanical grace and precision that was utterly enchanting. Many of the most famous automaton builders were also reputed watchmakers, whose expertise enabled them to craft these extraordinary pieces that showcased both human ingenuity and mechanical prowess.
Originally created as intricate toys, musical instruments, or entertainment pieces, automata mesmerised audiences with their grace and precision, serving as symbols of opulence and technical mastery. In fact, Van Cleef & Arpels has been blending traditional craftsmanship with contemporary creativity, transforming these historical wonders into modern-day masterpieces that celebrate both heritage and innovation. By seamlessly intertwining past and present, the house ensures that the magic of these mechanical marvels continues to enchant, offering today’s collectors the same awe and wonder that once delighted the aristocracy.
Unveiled at Watches and Wonders this year, the maison’s two latest automata – the Apparition des Baies, and Bouton d’Or – are inspired by nature in motion and feminine figures. Both creations will join Van Cleef & Arpels’ Extraordinary Objects collection, which sets the stage for a dialogue between jewellery, watchmaking, and metiers d’art.
Brought to life in collaboration with renowned Swiss automaton maker Francois Junod, each 30cm-tall marvel offers a spectacle that delights the senses, reflecting the maison’s dedication to pushing the boundaries of traditional watchmaking.
DELICATE BLOOMING
Folded onto themselves, 126 overlapping and intertwined rose gold leaves of the Apparition des Baies automaton form a lush dome that conceals a secret. Each leaf has been meticulously airbrushed with eight layers of lacquer to achieve a delicate gradient of green. As the voluminous bouquet unfurls, it reveals a white gold bird adorned with diamonds and sapphires, spreading its wings with lifelike grace. After a moment in flight, the bird returns to its home, as the leaves twist and fold back into place.
The automaton’s base showcases two dalmatian jasper pillars and a bowl crafted from thulite, a rare mineral with a soft pink hue. Perched on a rose gold branch with intricately engraved wings, a white gold butterfly watches the passing hours on a rotating ring set with golden beads, yellow gold hour markers, and diamonds.
AN ENCHANTED DANCE
Inspired by the maison’s rich heritage, the Bouton d’Or automaton pays tribute to the eponymous jewellery collection, reimagining the gentle contours of the iconic paillette motif introduced by Van Cleef & Arpels in the mid-1930s.
The Bouton d’Or automaton demanded an exceptional level of precision and technical expertise. Countless gold components were meticulously hand finished, with various polishing techniques employed to bring out the lustre of the precious metal. Whether concave or convex, the paillettes come to life, forming intricate creations such as a radiant, gold-bound bouquet. The soft pink tones of the thulite base perfectly complement the delicate violet shades of the charoite bowl. This creation, a harmonious blend of tradition and modernity, features 684 caps or discs, each meticulously lacquered with a combination of airbrushing and traditional techniques to enhance the brilliance of every colour, then carefully hand-assembled on slender, wispy stems.
At Watches and Wonders 2024 in Geneva, we chatted with Junod, who offered a rare glimpse into the artistry and challenges each automaton presents. He also revealed his favourite piece from this year’s launch and spoke about collaborating on a special piece with a Singaporean company.
How long did it take to create the Apparition des Baies and Bouton d’Or automata?
Each automaton took about 15 months to create, so it was a total of two and a half years to complete both. Just five or six years ago, however, completing a single automaton would have required nearly two years. This lengthy timeline was primarily due to the back-and-forth between workshops. Even the smallest adjustments to the jewellery elements required a trip from Sainte-Croix, Switzerland, where I’m based, to Van Cleef & Arpels’ workshops in Paris and back. Over time, as we collaborated on more pieces, the maison established a dedicated space within my atelier. Now, minor modifications can be made on-site, and I can provide immediate feedback to the artisans, streamlining the entire creation process. This allows us to make necessary changes or modifications, and provide immediate feedback directly on-site, significantly streamlining the creation process and saving a considerable amount of time.
What challenges did this year’s automata present?
Of the two, the Apparition des Baies posed a greater challenge in its creation because the seven gold leaves, which collectively weighed 490g and needed to rotate together in a natural, fluid motion. The sheer weight made it more difficult for the automaton to move slowly and smoothly. Another complexity is in ensuring that these leaves closed at a precise angle, maintaining the graceful elegance intended.
For the Bouton d’Or, the difficulty wasn’t the weight of the gold, but how dense the 36 stems with the paillettes were. We had to fine-tune the mechanism at its base to guarantee that each stem intersected precisely, without ever touching one another during movement. Additionally, since both creations conceal a surprise element, we had to ensure they fully obscured their centrepieces when closed, and opened in a lifelike, seamless manner. We made no compromises on ensuring the realism of these movements. Every part had to operate with organic smoothness, without any stiffness or mechanical rigidity.
What are you most proud of with regards to these two new automata? 
For me, the true reward lies in seeing people’s reactions when the automata come to life. My goal is to create a sense of magic that fills viewers with wonder and sparks their poetic imagination. I love that each person conjures their own story when they see the automaton in motion. That’s what brings me joy and tells me that the automaton is truly successful.
Which automaton speaks to you?
I find the Bouton d’Or captivating in the way it evokes an aquatic effect, reminiscent of a jellyfish moving in water. Its movement is so fluid and lifelike that it almost feels as if it’s truly alive. I’m also fascinated by the optical illusion created when the stems and petals start to move, adding a layer of visual magic that draws you deeper into its charm.
What do you love most about your job as an automaton maker?
The late 18th century was the golden age for automata, and the creations from that era are my benchmark and inspiration. Remarkably, those machines still function today, 250 years later, and while we continue to use the same technology of springs and mechanisms, we now can craft entirely different types of automata.
What I also find most fulfilling is how the journey of an automaton begins with nothing more than a two-dimensional sketch and a large metal plate, which is then transformed into something full of life and poetry. We breathe life into the machine, and in turn, it gives life back to us. There’s something profoundly beautiful in that exchange of energy.
It has always been essential to me to create objects that aren’t just relevant today but have lasting significance for the future. I see these creations as vessels that carry knowledge and craftsmanship forward, preserving them for generations to come.
Is there a demand for automata in Asia?
About four years ago, I collaborated with Royal Insignia, a Singaporean luxury house known for creating orders, decorations, medals, and bespoke gifts for royal families and international ministries. We worked together on an automaton commissioned by the Sultan of Oman. It was Royal Insignia’s first automaton and featured figurines of drummers and trumpeters – a special piece that the client loved. Since then, they’ve received more requests for automata, but I’ve had to turn them down due to my commitments with Van Cleef & Arpels. I believe that establishing a workshop in Singapore would be highly successful given the strong demand for such this art form.