Chopard L.U.C. 17/1860/2 White Gold Black Dial Diamonds, 1990s

Dealer description — S.Song Watches

Let’s begin by saying that, to many, Chopard is predominantly seen as a jewellery house and not really thought of as a credible horological manufacture. There are reasons for this, of course, as questionable watch designs over the years made it an uphill battle from the outset. That being said, after you’re done reading this, you will see why the early L.U.C 1860 series is anything but the aforementioned, and is now considered by many as one of the most acclaimed and beautifully executed dress watch lines of its era. Beginning with some historical context, the 1990s marked a period of cautious recovery for Swiss watchmaking. The industry was still reeling from the quartz crisis that nearly decimated it in the ‘80s, and most manufacturers relied on proven calibres from suppliers like Valjoux, Lemania, and ETA. Few dared to invest heavily in in-house development. Against this backdrop, Chopard set out to prove its horological credibility. With guidance from renowned independent watchmaker Michel Parmigiani, the brand began developing a new movement in 1993. Three years later, in 1996, it launched the L.U.C Manufacture and, with it, the debut 1860 series. The L.U.C 1860 made an immediate impression and garnered widespread praise. Its in-house Cal. 1.96 was a revelation, described by respected watchmaker and renowned movement critic Walt Odets on TimeZone as “the finest automatic movement being produced in Switzerland today”. That praise was well earned. Even by modern standards, the Cal. 1.96 remains one of the most beautifully finished movements of its period. Its execution reflects the level of care invested in its development. The movement features a stunning 22-carat engraved gold micro-rotor, mirror-polished bevels, and deep Côtes de Genève (Geneva Stripes) finishing throughout. Even Philippe Dufour once ranked Chopard second only to A. Lange & Söhne for finishing quality during those years. Not only was the Cal. 1.96 masterfully decorated, but it was also a technical marvel. With a 70-hour power reserve from two stacked mainspring barrels, it also featured a Breguet overcoil hairspring and a swan neck regulator, all contributing to its refinement and chronometric performance. The natural point of comparison is the venerable Patek Philippe Cal. 240 micro-rotor. While that calibre is historically important and impressive in its own right, comparing the two side by side leaves little room for debate. As a cherry on top, not only is this Chopard COSC ( Contrôle Officiel Suisse des Chronomètres ) certified, but it also bears the hallowed Poinçon de Genève (Geneva Seal). The reference offered here, the 17/1860/2, is effectively the diamond-set counterpart to the standard 16/1860/2. Aside from its factory-set diamond bezel, it retains the same Cal. 1.96 movement and case architecture, though examples fitted with both the black dial and diamond bezel appear to be exceptionally uncommon. Turning to its mysterious black dial, the 17/1860/2 recalls the quiet elegance of a Dufour Simplicity, albeit with a slightly more expressive character. Produced by Metalem, the same dial maker behind the famous Simplicity, it features an intricate hand-turned guilloché center framed by a clean stepped design, faceted applied hour markers, and a color-matching date wheel. The factory diamond-set bezel, however, fundamentally alters the character of the watch. Rather than overwhelming it, the diamonds frame the black dial remarkably well, adding just enough brilliance and contrast without disrupting the watch’s underlying restraint. It feels less like jewellery masquerading as horology and more like a genuinely cohesive expression of both disciplines, which is perhaps fitting for a brand like Chopard. It’s also worth noting that while Chopard officially limited the 1860 series to 1,860 pieces per metal, it’s widely believed that far fewer were actually produced, likely only a few hundred of each variant. While diamond-set dress watches from this period can often feel excessive or dated, this particular configuration avoids that entirely. The monochromatic palette keeps everything cohesive, while the brilliance of the bezel contrasts strikingly against the textured black guilloché dial. The result is a watch that feels simultaneously elegant, slightly theatrical, and unmistakably neo-vintage in the best possible way. That said, I truly believe the early L.U.C 1860 remains one of the most overlooked Chopard references. Its near-perfect 37mm x 8.5mm proportions make for an incredibly refined timepiece, while the Cal. 1.96 stands among the finest automatic movements of its generation. In the case of this 17/1860/2, that exceptional foundation is paired with Chopard’s jewellery heritage, creating a far more expressive interpretation of the standard model without sacrificing any of the watchmaking integrity that made the 1860 so compelling in the first place.