The Past as Prologue: How In-House Historians Are Shaping the Future of Watchmaking
In the heart of Paris, on a scorching July afternoon, the Breguet boutique on Place Vendôme offers no respite from the heat. Yet, Emmanuel Breguet, impeccably dressed in a navy jacket and pinstripe shirt, remains unflappable as he delicately turns the pages of a ledger dating back two centuries. He pauses at a 1798 entry: Napoleon Bonaparte’s order for a travel clock, placed just before his Egyptian campaign. Other entries document the sale of the first wristwatch to the Queen of Naples and a pocket watch believed to have been destined for Marie Antoinette. But here’s where it gets fascinating: these aren’t just historical artifacts—they’re the foundation of a brand’s future.
Emmanuel Breguet, the founder’s descendant and the company’s vice president of patrimony, declares, “The history of Breguet is the history of kings, of Europe, of revolutions, and of watchmaking itself. It’s a history with a capital H.” And this is the part most people miss: while his lineage opened doors, it’s his role as guardian of one of watchmaking’s most significant legacies that has made him the face of the brand. Unlike his ancestor, Abraham-Louis Breguet—the Steve Jobs of the 18th and 19th centuries—Emmanuel is not just a pioneer but a bridge between the past and the future.
When he left his role as an air-force historian in France’s Ministry of Defense to join Breguet in 1993, he became the first to hold the patrimony post. At that time, the ledgers bearing the names of French royalty were not even securely stored. Today, nearly every luxury house has a patrimony department, but only a handful, like Breguet, have elevated theirs beyond dusty archives. These historians have become stars, sought after by media and collectors for their expertise, charisma, and access to both vintage and contemporary pieces.
But here’s where it gets controversial: as these historians gain prominence, they’re becoming some of the most influential executives in their brands. Take Christian Selmoni, heritage and style director at Vacheron Constantin, whose towering presence and impeccable style make him a fixture at industry events. With 35 years of experience spanning purchasing, manufacturing, and design, he embodies the evolving role of the heritage director. “It’s not something you can learn on the job,” Selmoni asserts, highlighting the depth of knowledge required.
At Cartier, Pierre Rainero has spent 41 years building the image, style, and heritage department from a small archive team to a powerhouse overseeing nearly 80 people. His work has been so impactful that France’s minister of culture awarded him the prestigious Chevalier de l’ordre des Arts et des Lettres. But here’s the kicker: while these roles are often seen as custodians of the past, they’re increasingly shaping the future. Rainero emphasizes, “Cartier has a specific role in the history of decorative arts. Maintaining that knowledge is fundamental.”
A new generation of historians is following in their footsteps, bringing fresh visibility and passion. Nicholas Biebuyck, TAG Heuer’s heritage director, is a prime example. With his scruffy beard, horn-rimmed glasses, and affable demeanor, he could convince even the most die-hard Apple Watch fan to appreciate mechanical watchmaking. “When someone like Nicholas brings genuine knowledge, taste, and enthusiasm, it makes heritage feel relevant, not dusty,” says Silas Walton, founder of A Collected Man.
But here’s where it gets tricky: the overlap between selling and collecting for a brand’s archive can muddy the waters. In 2021, three former Omega employees were accused of creating a Frankenstein watch using stolen parts from the archive, which sold for a record-breaking $3.4 million. The scandal served as a wake-up call for the industry, prompting brands to introduce stricter safeguards. “The Omega scandal showed that all companies need to protect their assets,” says dealer Eric Wind of Wind Vintage.
Despite the challenges, heritage directors are walking a precarious line, balancing market perception with authenticity. “You can’t have an ultimate storyteller and not expect them to attract attention,” says Michael Friedman, Audemars Piguet’s former historian, whose expertise earned him a shoutout from Kendrick Lamar. But here’s the question: as these roles gain prominence, how do brands navigate the internal politics of one executive outshining another?
Ultimately, the role of the heritage director is about more than preserving the past—it’s about shaping the future. As Friedman puts it, “To be the best futurist, you have to be the best historian.” With the secondary market projected to rival the primary within the next decade, knowledgeable heritage directors will be critical to a brand’s survival. History, once seen as a relic, is now a safeguard for the future—a testament to the enduring power of storytelling in the world of luxury.
