“One of the first requests had been to engrave a drawing of the movement onto the dial, as a ‘trompe l’oeil,’” says de Roquemaurel. “But soon a far more complex idea emerged, namely turning part of the movement upside down in the case and skeletonizing the main plate.” 

The decision raised a number of significant challenges, the first one being to completely reverse the escapement. Then the oscillating mass had to be engraved on both sides, for example, and the crown mechanism, now visible to the naked eye, had to be reworked entirely. On a more technical note, the seconds hand could no longer be connected by a bridge to the center, so space was made at 4:30 for a small seconds dial. The solution was to use sapphire crystal ring for the seconds. It is discreetly attached to the larger sapphire ring carrying the hours and minutes and ensuring as much transparency as possible, so the wearer can take a deep dive into the mechanism.

Gradually, what emerged was a new movement, the SXH7. As it evolved, elements from other Czapek models found their place, like the central tripod from the Antarctique Rattrapante holding together the finely cut out bridges. The position of the small seconds, too, is reminiscent of the famous day-date subdial of the Quai des Bergues.