They tell different stories: the mechanical watch and the smartwatch. One invites dialogue and tells a story; the other offers advice. Both have their place.

It’s a cherished ritual that unfolds every morning: before heading to work, I pick up my wristwatch from the nightstand and wind it. I carefully turn the crown between my thumb and forefinger, feeling the delicate clicking of the movement’s gears as they tighten the mainspring. The energy I invest in this simple act — admittedly modest — will keep the watch running for the hours that follow.

Then there’s the distinctive sound of the winding mechanism. Clearly audible, yet neither loud nor intrusive. I hold the timepiece to my ear and listen to the movement ticking softly and steadily. A sound that can bring enthusiasts renewed pleasure every day. Perhaps this is the mechanical watch’s greatest advantage — its quietness. It offers a counterpoint to our noisy surroundings, so often dominated by screens, notifications, and white noise. The classic timepiece is perceived not as a device, but as a discreet everyday companion. It sends no push notifications; it communicates quietly. Rather than issuing instructions, it conveys the significance of the time we have. It doesn’t say »do this now« or »do that now«, but rather »I’m here — and I’ll show you how time passes«. In its most beautiful form, one might add.

Winding a manual watch is almost a meditative practice, a moment in which one can briefly forget oneself and one’s surroundings. There is so much more to this simple act. After all, isn’t the ritual of winding also a dialogue with the object itself, its cultural history, the craftsmanship behind it, and a centuries-old tradition?

The resistance of the crown, the sensation of reaching the point where the mainspring is »fully wound« — these are sensory impressions derived not from data, but from tactile experience. Even with automatic watches, something of this experience remains: the occasional need to set the watch, consciously correcting the time or date after days without wearing it. It is a small adjustment to reality. Mechanical watchmaking makes no claim to perfection; its appeal lies in its closeness to the human experience. A mechanical timepiece may run fast or slow, occasionally requiring a little more attention. And it is precisely this that makes it personal.

Mechanical and digital: the Zeitwerk by A. Lange & Söhne unites two worlds

The smartwatch, on the other hand, is a conversational partner with an agenda. Of course, it can also display the time and date, but it optimizes, reminds, measures, evaluates, and makes no mistakes. It is less a piece of jewelry than an interface, usually connected to a smartphone. Its dialogue with users is driven by data rather than culture. Both approaches, of course, have their place and raise fascinating questions that invite philosophical reflection.

For instance: Is the mechanical watch a storytelling machine? I believe it is. After all, it does more than tell time; it tells a story of gears, springs, friction, energy, and its gradual loss. Someone wearing an A. Lange & Söhne on their wrist sees more than just a watch hand. They see a choice: a commitment to craftsmanship, to a tradition that does not disappear simply because electronics and digitalization have made timekeeping more efficient. The value of a mechanical watch is therefore rarely purely functional. It is symbolic, historical, and, in a sense, social. A Cartier, for instance, is more than just a watch; it embodies a history of style. The Tank, the Santos… — their distinctive forms have become true icons. They speak a design language that many understand, even if they cannot decipher every detail. Chopard, meanwhile — depending on the model and context — combines watchmaking with the allure of jewelry and the sense of occasion. Like a necklace, such a watch is reserved for particularly special moments.

Cartier, as the »Watchmaker of Shapes«, conveys style history. The skeletonized Crash reaffirms this claim in 2026.

As part of Watches & Wonders 2026, Chopard presented the latest addition to the L’Heure du Diamant collection: a watch with a cushion-shaped case in 18-carat ethical white gold with a deep black onyx dial.

In any case, these are not gadgets that tell you: »You still need to walk 2,000 steps today to reach your daily goal.« And yet, they reveal something about the person wearing them. This is certainly true of Rolex — perhaps even more so than of any other luxury watch brand. The Geneva-based watchmaker has long since attained a status all its own. »Si à 50 ans on n’a pas une Rolex, on a quand même raté sa vie«, the French advertising pioneer Jacques Séguéla once declared: »If you don’t have a Rolex by the age of 50, you’ve failed in life.«

Rolex speaks a language understood around the world. The dialogue offered by a Submariner, a Daytona, or a Land-Dweller carries a dual message: on the inside, a promise of mechanical excellence and robustness; on the outside, a signal of belonging to a class of successful individuals who — in Séguéla’s terms — have made something of themselves. It is both a tool and a status symbol.

And it is a collector’s item: references, production years, and stories that accumulate around individual models like patina on metal. Collectors often speak of watches as though they were characters. A Submariner is more than just a diving watch; it has a biography: discovered, inherited, sold, bought back.
There is also a vocabulary all its own. »Pepsi«, »Hulk«, »Tropical«, or »Speedy« — these are all terms familiar to watch enthusiasts. They form a distinctive dialect that extends well beyond Rolex. After all, mechanical watches store meaning not on chips, but in stories.

In 2026, Rolex enters a graphically and colorfully rich dialogue with its past.
The occasion is the 100th anniversary of the Oyster.

This brings us to a central point: mechanical watches invite a dialogue about time as an experience. They measure time — yes — but they do not reduce it to mere numbers. Their display is a metaphor — a circle that completes itself again and again. The second hand makes the passage of time visible. The date changes, offering a small reminder that another day has truly passed. Even complications — power reserve indicators, moon phases, chronographs — are less »features« than aesthetic ways of thinking about time. They create a stage on which time becomes not merely a number, but an event.

Digital watches and smartwatches, by contrast, speak a different language: that of optimization, as already suggested. In the best sense, they are not primarily timekeepers, but time managers. A smartwatch functions as a node in a virtual network of messaging, calendars, navigation, payments, and authentication. Its primary purpose is not to display time, but to connect it with actions. »Your next appointment is in 10 minutes.« »Your heart rate is elevated.« »You haven’t been active enough today.« This is a dialogue of constant feedback — a loop that, in turn, continuously establishes a standard against which we measure ourselves.

This feedback may be matter-of-fact, but it is by no means neutral. After all, data is never merely information; it is interpretation measured against a built-in standard. When a watch analyzes sleep cycles, sleep becomes something to be evaluated. When it visualizes physical activity through rings, movement becomes a daily obligation. This can certainly be helpful. For many people, the smartwatch is a tool for self-care: it encourages physical activity, detects irregular heart rhythms, reminds us to take breaks, and helps structure the day. But its dialogue is fundamentally different from that of a mechanical watch: it is not contemplative but, indeed, interventionist. It doesn’t ask: »How do you experience time?« Instead, it presses: »How do you use your time?«

Better sleep, better fitness: Samsung’s Galaxy Watch 8 provides information and instructions — an active dialogue.

Samsung exemplifies this functional approach. The Galaxy smartwatch can be seen as a powerful extension of the smartphone, serving as a hub for health and communication. Smartwatches function as platforms that can be updated, expanded, and reconfigured. They also redefine the notion of status. Rather than being determined by the ownership of rare objects, status increasingly reflects the ability to navigate digital ecosystems, achieve efficiency, and embrace a »smart« lifestyle. Here, prestige means having everything under control, staying connected, monitoring oneself, and striving for continuous optimization.

With the Apple Watch Hermès, the Maison transfers its design signature to a digital product.

Things become particularly fascinating where traditional watchmaking meets modern technology. TAG Heuer, for instance — best known for its chronographs — offers a smartwatch with its Connected model, as does Hublot. Hermès, meanwhile, takes a different approach through collaborations. The brand draws on its prestigious reputation to lend emotional depth to a digital product. The Hermès edition of a smartwatch can be seen as an attempt to introduce a cultural dimension into the data-driven dialogue: not just functionality, but style; not just an interface, but identity. The watch is intended not merely to measure, but to be something one can truly »wear«, without confining its wearer to a purely technological narrative.

Porsche Design occupies a fascinating space between these two worlds. The brand comes from a tradition in which design and engineering go hand in hand, with functionality also expressed through aesthetics. Whether mechanical or digital, Porsche Design demonstrates that an object becomes particularly appealing when its functionality simply »makes sense« — clear lines, innovative materials, and a certain cool consistency. From this perspective, the distinction between analog and digital is less a question of right or wrong. What matters is whether a watch embodies a convincing expression of technology.

Chronograph 1 All Titanium: Clear lines, innovative materials, and a certain cool consistency — this is what Porsche Design watches convey.

Nevertheless, the difference remains palpable. The mechanical watch is not »up to date«; it is »out of time«. It belongs not to update cycles, but to generations. It can be serviced rather than upgraded, passed down rather than replaced. Its aging is not a defect, but part of its charm — scratches, patina, traces of a life lived. A digital watch, by contrast, ages like any other device — through its battery, compatibility, and software support. It follows a logic more closely tied to consumption. Even when expensive, it remains perpetually overshadowed by the next version.

And so, we are left with two distinct languages: mechanical watches help us experience time, while digital watches help us optimize it. The mechanical watch says: »Time is something you wear.« The smartwatch tells you: »Time is something you manage.« The mechanical watch makes no such demands. It does not seek to improve you; instead, it invites you to remember. Both approaches have their value — depending on the relationship we wish to have with our own time.

Looking back at the history of the wristwatch, we see that it, too, was originally intended primarily to keep track of time. Without precise timekeeping, the Industrial Revolution and the railway system would hardly have functioned as they did. This illustrates how the mechanical watch evolved from a simple gadget into an integral part of our culture.

Perhaps the key lies in recognizing that this is not a question of »better« or »worse«, but of two different ways of understanding human nature. The mechanical watch assumes that we derive meaning from objects, stories, rituals, and the knowledge that something will endure. The digital watch, on the other hand, is built on the idea that we can regulate ourselves through feedback loops, that health, performance, and organization can be measured — and therefore influenced. One relies on symbolism, the other on systems. Those who wear a mechanical timepiece by Rolex, Cartier, Chopard, or A. Lange & Söhne today often consciously choose a subtle form of communication — a conversation that unfolds quietly in the background, leaving room for tranquility and elegance. Those who wear a smartwatch, by contrast, opt for a dialogue that accompanies them like a coach: helpful, attentive, occasionally a little intrusive, often reassuring, and sometimes even carrying a hint of moral judgment. One type of watch is unlikely to replace the other entirely. Instead, we probably choose the form of communication that best suits our circumstances. On some days, the gentle ticking of a mechanical watch offers a welcome counterbalance to the frantic pace of digital life. On others, we need precisely what a smartwatch provides — a friendly reminder to get up, move around, and not forget anything important. Mechanical and digital watches are therefore not simply two distinct products, but two different ways of communicating with ourselves… about the passage of time and how we choose to shape it.

FIRST PUBLISHED IN CHAPTER №XIV »IN DIALOGUE« — SUMMER 2026

At Watches and Wonders 2026, Nomos Glashütte introduced the Club Sport neomatik Worldtimer, a sporty-slim world time watch in stainless steel with a 40.5-millimeter diameter, 100-meter water resistance, and intuitive city ring operation. The ultra-flat manufacture caliber DUW 3202 displays both local and home time simultaneously.

Parmigiani Fleurier presented the Tonda PF Chronographe Mystérieux, a globally unique chronograph that appears as a purist three-hand watch at rest. Only via the monopusher are the central chronograph hands activated, driven by the newly developed manufacture caliber PF053.

The Saxon watch manufacture A. Lange & Söhne presented the Saxonia Jahreskalender, an elegantly understated annual calendar with the new automatic caliber L207.1. The 36-millimeter case in white or rose gold combines classic Saxonia aesthetics with mechanical finesse.

An extraordinary watch: the Tortue Panthère Métiers d’Art by Cartier. Here the Maison presents a three-dimensional Panthère depiction in Champlevé enamel, gemstones on an engraved gold dial that seamlessly transitions into the case. The case takes the shape of the iconic Tortue.

Luminous presence: IWC Schaffhausen introduces the Big Pilot’s Watch Perpetual Calendar Ceralume, a striking pilot’s watch with a fully luminous ceramic case. The innovative Ceralume technology combines spectacular nighttime visibility with the classic perpetual calendar and seven-day power reserve.

Rolex turned its attention to the Daytona and presented a version of the coveted chronograph in Rolesium, an exceptional combination of Oystersteel and platinum. A white enamel dial meets a novel anthracite-colored Cerachrom bezel, giving the icon technical elegance.

Patek Philippe introduced the Nautilus 5610/1P001, an elegant anniversary edition celebrating the 50th anniversary of the design icon. The ultra-flat 38-millimeter platinum case with a diamond at 9 o’clock frames a blue, horizontally embossed sunburst dial, powered by caliber 240.

A new, in-house openworked automatic movement with perpetual calendar ticks inside this 41-millimeter model of the Royal Oak by Audemars Piguet. The manufacture celebrated a spectacular comeback in Geneva after a years-long hiatus.

Another anniversary: in 2026, Ulysse Nardin celebrates its Freak, the icon that redefined modern watchmaking, with the Super Freak: the result of 180 years of tradition and 25 years of research and development.

Also in attendance was Zenith, which displayed the G.F.J. in tantalum. An extremely limited watch (20 pieces) with a heavy, blue-gray tantalum case that meets a black onyx dial with baguette diamond indices, powered by the legendary, newly reissued caliber 135. [MM]

Spanning approximately 3,600 square meters, the new manufacture brings together all development, assembly, as well as exhibition and event areas. The building combines historical substance with modern architecture and technology: clear lines, bright spaces, and functional structures are intended to ensure a modern production environment and express the design principles of Porsche Design. The so-called »Brand Experience Space« will also trace the development of Porsche Design Timepieces. Historical exhibits and curated contemporary documents make the connection between automotive design and watchmaking tangible, celebrating the models through which the company developed its unique horological language.

Porsche Design first entered watchmaking in 1972 as a design brand. The first watch, the Chronograph I  designed by Ferdinand Alexander Porsche, was manufactured by Orfina and is considered not only the world’s first entirely black wristwatch but also the origin of the entire line. The design clearly followed the logic of the Porsche 911  cockpit: low reflection, high legibility, and a form developed from function. This model created a unique horological language that also transferred the strong automotive emotion associated with Porsche to the wrist. The Chronograph I  therefore remains the definitive reference of the house to this day and an early expression of the consistent design language that still characterizes Porsche Design.

In 1978, a twenty-year collaboration with IWC Schaffhausen began. For Porsche Design, this was far more than a licensing phase, as it produced some of the brand’s most technically and formally distinctive models. Particularly noteworthy is the Compass Watch, whose hinged double-shell case was designed so that the compass and movement would not magnetically interfere with each other. IWC itself retrospectively describes the model as a risky but pioneering design. The Titan Chronograph, introduced by IWC in 1980, also falls into this period, which the company classifies as the world’s first wristwatch with a titanium case and titanium bracelet. With this, Porsche Design introduced a material into watchmaking that came from the automotive and motorsport context and today seems self-evident in the industry.

The Ocean 2000, introduced in 1982, is also one of the defining models of these years. Designed by Ferdinand Alexander Porsche, it is still considered an exceptional diver’s watch, whose water resistance of 2,000 meters underscored its technical ambition as much as its clear form: an extremely flat, titanium case that translated the functional demands of a diver’s watch into a clear design. These models, in particular, illustrate Porsche Design’s contribution to watchmaking. This refers not to marketing-driven, superficial references to automobiles, but to the transfer of material awareness, ergonomics, and instrument logic into a new product field.

In more recent history, there have also been models that clearly indicate the brand’s future direction. The 1919 Globetimer UTC  represents an attempt to translate technical complexity into the clearest, most everyday-suitable operation possible. The Monobloc Actuator, in turn, translated motorsport motifs more aggressively into an independent case and operating architecture. Both models do not possess the same historical significance as the Chronograph I or Ocean 2000, but they show how Porsche Design has continued its early design language into the present while cautiously expanding it.

Porsche Design MONOBLOC ACTUATOR

After the end of the IWC phase in 1998, production shifted to Eterna, and since 2014, Porsche Design has been manufacturing in its own structure in Solothurn. The new manufacture in Grenchen therefore does not mark a new beginning, but the consistent further development of this path. For the first time, development, design, production, and brand space are brought together in a way that corresponds to the brand’s self-image. This is also reflected in today’s focus on custom-built timepieces, which, similar to a sports car, can be individually configured. [Ed.]

When asked what luxury means today, a striking number of people answer with a single word: time. Usually, this refers to the physical quantity that measures the sequence of events—the succession of moments, hours, days, weeks, and months. Iconic and technically innovative wristwatches are therefore a luxury item in a double sense. They possess the power to give tangible form to this measurable yet deeply subjective dimension. At the same time, they serve as an analog counterbalance to our fully digitized present.

»Let’s be honest: In a world dominated by digital technology, nobody needs a mechanical watch anymore. Just like we don’t need Impressionist paintings or handmade Italian convertibles with V12 engines sculpted by Pininfarina. But need is the wrong word. What we seek is emotion—something no mass-produced gadget could ever give. These mechanical marvels connect us to a time when artistry came before efficiency, when things were made to be beautiful, meaningful, and lasting«, writes Aurel Bacs, Senior Consultant at Phillips in Association with Bacs & Russo, in his foreword to the two-volume TASCHEN picture book Ultimate Collector Watches. Curated and designed by Charlotte and Peter Fiell, the compendium is dedicated to the history of mechanical watchmaking—with all its ruptures, innovations, breakthroughs, and developments.

The first volume begins with an excursion into the history of timekeeping, which is closely linked to the development of horology. Water clocks, sundials, medieval tower clocks, and eventually pocket watches all played decisive roles on the path toward the wristwatch. The first modern wristwatch emerged in the late 19th century. »The earliest known mention of the noun ›wristwatch‹ – a very logical and straightforward contraction, it has to be said—is attributed to Robert Baden-Powell, the founder of the Boy Scouts and Girl Guides, in his writings in 1897. This came a whole five years after the making of the 1892 Louis Brandt & Frère Minute Repeater, which is the first timepiece featured in our selection, as presented over the coming pages, of 100 of the world’s most collectable wristwatches«, Charlotte and Peter Fiell write in their introduction.

They spent two years compiling the list of one hundred wristwatches in total. »To give a sense of the selection-honing process, there were over 30 different iterations of our master inclusions list, but from experience we knew that that is what it takes when working on such an ambitious collecting-focused project.«

At the heart of the two-volume compendium are these one hundred exceptional watches from history, photographed with great care and effort from multiple perspectives. In addition, the genesis of each wristwatch is examined in detail. Readers encounter iconic timepieces such as the Cartier Tank or the legendary Rolex Daytona Paul Newman, alongside rare works by independent watchmakers, prototypes, and one-off pieces. Rare vintage chronographs by Patek Philippe, Rolex, and Vacheron Constantin are scrutinized just as closely as contemporary luxury models. With the Chronomètre Contemporain, the list also includes a watch by the young watchmaker Rexhep Rexhepi, widely regarded as the new favorite of the Swiss watchmaking scene. Interviews with figures from the international collectors’ community round out this journey through the world of the most legendary wristwatches.

Ultimate Collector Watches is not simply a reference work, but a book that seeks to erect an impressive monument to the connection between art and craftsmanship. It makes clear why mechanical watches occupy a special place in the digital world—perhaps even experiencing a renaissance. Time and again, they remind their owners that time itself is a luxury one should pay attention to. [Ed.]

Ultimate Collector Watches
Hardcover, 2 volumes in slipcase, 28.1 x 36 cm, 960 pages
taschen.com

Text Max MONTRE

In the world of fine watches, minimalism and maximalism are not mutually exclusive. A three-hand, two-hand, or even one-hand watch can appear very simple on the surface, yet boast highly complex inner workings.

Every few years, an exceptional phenomenon enters the stage of Haute Horlogerie, a brightly shining star in the watch sky that amazes aficionados and gives collectors glassy eyes. 2025 is such a year again. At the world’s most important watch fair, Watches and Wonders in Geneva, such a horological masterpiece was presented. It bears the somewhat unwieldy name Les Cabinotiers Solaria Ultra Grande Complication La Première, is the most complicated wristwatch in the world, and comes from Vacheron Constantin.

When it comes to maximalism, the Les Cabinotiers Solaria Ultra Grande Complication La Première
from Vacheron Constantin is ahead of the game. It is the current most complicated wristwatch in the world.

How could it be otherwise, one might add. After all, this traditional manufacturer, founded in 1755, is the oldest continuously operating watch atelier in the world and has repeatedly produced extraordinarily complex timepieces over the centuries. For example, the Celestia model in 2017, last year a pocket watch called The Berkley Grand Complication—the most complicated watch in the world to date: 63 complications or functions are built into it, the watch has 31 hands, measures 9.8 centimeters in diameter, is five centimeters high and weighs almost a whole kilo. In plain English: a real chunk. The Solaria is not exactly delicate either. It measures 45 millimeters in diameter with a height of 14.99 millimeters. But: For what the timepiece can do, its dimensions are almost tightly calculated. A total of 41 complications have been packed into the wristwatch, the new manufacture caliber 3655 has 1,521 movement parts. One (!) watchmaker worked on it for eight (!) years. This master of his craft also designed the movement.

With its thoroughly wearable size, the Solaria combines two currents of watchmaking in the best possible way: technical maximalism and the trend towards reduction. On the movement side, this is reflected in the miniaturization of the components to the limits of what is physically possible. See also the Octo Finissimo Ultra Tourbillon from Bulgari, in its capacity as the flattest mechanical wristwatch with tourbillon, which is only 1.85 millimeters high overall. A world record in this category. Although the question that is difficult to answer arises here: Is this now an example of maximalism or minimalism?
In any case, the latter is undoubtedly celebrating a comeback in design. This is expressed, among other things, by the fact that timepieces have been getting significantly smaller—i.e. more wearable—for several years. A look at the new products from Patek Philippe or A. Lange & Söhne shows this development: At Patek Philippe, the case of the square Cubitus presented in the previous year was reduced to 40 millimeters so that it would fit »every wrist«, according to the Geneva watch manufacturer.

Patek Philippe celebrates minimalist understatement with the new Calatrava.
You definitely need a connoisseur’s eye for the (expensive) platinum case.

The 1815 from A. Lange & Söhne, in turn, has been reduced to a downright delicate 34 millimeters (with a height of just 6.4 millimeters). According to the Glashütte-based manufacturer, this corresponds to »the desire of many watch lovers for an even more discreet version of this classic three-hand watch«. No compromises are made in terms of the quality of the caliber, which was specially developed for this manual winding model. Patek’s new Calatrava with a rose gold-colored dial strikes the same chord, celebrating minimalist understatement—because the (expensive) platinum case is only revealed to a trained eye.

The new Oyster Perpetual variants from Rolex also present themselves with unexcited pastel dials and in three different sizes. The smallest with 28 millimeters and a lavender-colored dial. Three hands, no date, not even the typical fluted bezel can be found on these probably most minimalist models from the prestigious precision watch manufacturer.

This new minimalism can certainly be understood as a reaction to the often articulated desire for a »more discreet design«—as A. Lange & Söhne, for example, has formulated it. At the same time, this development points to a broader social trend. «Minimalist aesthetics and questions about simplicity and excess» are currently being discussed intensively, as cultural scientist Heike Derwanz notes. According to her, minimalism influences everyday culture as well as debates about the meaning of things in our lives—especially those whose value goes beyond their purely functional use. An observation that can of course also be applied to the field of luxury watches. Here, the mechanisms of so-called »Veblen Goods« come into play — named after the economist and sociologist Thorstein Veblen, who showed that certain goods have a social added value that is defined, among other things—but not exclusively—by their price. The more expensive, the more desirable. In addition, there is an emotional charge, which is reflected not least in the symbolic function as a status object.

The new Oyster Perpetual models from Rolex also present
themselves with unexcited pastel dials and in three different sizes.

In contrast, there is the much-cited trend of »quiet luxury«—at least on the surface. Because even a deliberately understated watch remains a clear status symbol for those in the know—without any visual trumping. A Rolex remains recognizable in its (monetary) value, even if it avoids any loud gesture. The public effect is less important than the quiet confirmation within one’s own social environment.

At this point, it must of course also be mentioned that restraint in design is not currently the sole guiding principle. Such a counter-model can be found in a particularly remarkable form at Jacob & Co.—a brand that enjoys great popularity among a certain clientele. The maximalism staged here may sometimes tip into the grotesque in its design exaggeration, but the brand’s horological competence can hardly be denied.

However, such design outliers currently mark exceptions within an overall clearly recognizable trend towards design reduction. And this increased focus on subtle designs can also be read as an indication of an increased sensitivity to reduction and restraint—as a design response to a present that is often experienced as overcomplex and crisis-ridden. Minimalism is by no means a new phenomenon, as Heike Derwanz explains: »Religious texts and texts of Greek philosophy are fascinating historical sources that discuss moderation.« In the scientific field, minimalism and voluntary simplicity are now being considered primarily from the perspective of consumer research in economics and social sciences. »Minimalism itself appears as a collective term for different practices, aesthetics and motivations,« writes the scientist.

Speaking of aesthetics: In watch design, the term »timelessness« is often used in connection with minimalism. A timepiece receives this predicate when its appearance still appears fresh and exciting even after decades. When the design works just as well in 1972 as it does in 2025 and looks as tidy as, for example, the Chronograph 1 from Porsche Design. In its latest version, it takes up the legacy of its iconic ancestor, which was designed in 1972 by F. A. Porsche, the designer of the 911. »If you analyze the function of an object, its form becomes obvious,« is his approach. Porsche, whose work cannot be denied a certain purism, also designed the first timepiece in the watch world to be completely black with the Chronograph 1—inspired by the instrument panel of the 911.

Works in 2025 like 1972, the latest version of the Chronograph 1 from Porsche Design.

Anyone who deals with minimalism and watches will sooner or later come across the Bauhaus. A movement, an art school from the 1920s, to which contemporary watch designers also refer, such as Raúl Pagès, winner of the very first Louis Vuitton Watch Prize. »I am inspired by art history. In fact, I found a way of thinking in the Bauhaus that suits me: Form follows function. The minimalism typical of my style is an expression of this principle,« he admits to the Handelszeitung.

From the Bauhaus, it is not far to the Bauhaus student, artist and architect Max Bill, who designed a timeless, minimalist timepiece for Junghans with the watch of the same name. The max bill is perfectly legible and reduced to the essentials. Its origin was a kitchen clock that the Swiss Bill was to design together with his students on behalf of Junghans in 1956. Max Bill cleaned up and left only what is essential for a watch: The bars of the minute scale are clearly separated from each other. It is structured by slightly longer lines for the hours, which are marked by Arabic numerals. The numerals are based on types of modern print graphics and give an unmistakable picture despite all the sobriety. The kitchen clock dial can be found on the max bill wristwatches from 1961. Good design met and meets the zeitgeist. The model is a bestseller to this day.

A version of the max bill by Junghans as a chronograph.
Like hardly any other brand, the design principles of the Bauhaus movement are celebrated in Schramberg.

»Less is more«, to use the—admittedly—already worn-out quote from the architect Mies van der Rohe, has also been internalized at NOMOS in the aftermath of the Bauhaus. The Glashütte-based brand, founded after the fall of the Wall, has absorbed Bauhaus, Werkbund and minimalism with its mother’s milk (as well as good marketing). It is no coincidence that it is a member of the Deutscher Werkbund, a precursor movement of the Bauhauses and the Ulmer Schule. All of this is reflected in the face of the Tangente, that original watch that embodies the entire spirit of the manufactory and is still its bestseller today: a timepiece, straightforward and balanced, clear and simple—a classic.

If you look at the three-hand watches from H. Moser & Cie., you will also notice the striving for reduction and simplicity. There, they even go so far as to banish the company name, the logo and the obligatory »Swiss Made« from the dial. A self-confident statement and the commitment that nothing should distract from the essentials.

At Parmigiani Fleurier, this commitment to purism is called Tonda PF Micro-Rotor No Date. It manages with just two hands and is designed to please the »purists of purism«. At Parmigiani Fleurier, »luxury becomes an intimate art—a delicate interplay in which the purity of form guides innovation and centuries of watchmaking knowledge are transformed into objects of unobtrusive, almost silent beauty,« CEO Guido Terreni shares with us the brand’s philosophy.

At Parmigiani Fleurier, this commitment to purism is called Tonda PF Micro-Rotor No Date.

Breguet goes one better. The manufactory is also celebrating an anniversary this year—it is turning 250 years old—and is therefore presenting a one-hand watch. That’s all it takes to demonstrate watchmaking competence. After all, the brand’s namesake, Abraham-Louis Breguet, invented the tourbillon. Among other things.

And so the Classique Souscription 2025 impresses with a simplified architecture, both aesthetically and mechanically—visually embodied by just a single hand on a white enamel dial. Simple and easy to read, it is a child of the zeitgeist—but from 1797, when it was first advertised by Breguet in Paris. Apparently, people were already longing for clarity back then: It was the time of the French Revolution.

ARTICLE FIRST PUBLISHED IN CHAPTER №XII »SIMPLICITY« — SUMMER 2025

The exhibition’s location was deliberately chosen: Florence, as the brand’s birthplace, and the local Panerai Flagship Boutique are the starting point for a two-month show before a tour to Europe, the USA, and China follows. The focus of »The Depths of Time« is on sources that usually remain in the archive: personal correspondences between the Panerai family and naval officers, technical drawings, early catalogs, historical photographs.

Historic Sketch of the Panerai Luminor

In addition, there are original military objects such as watches, compasses, depth gauges, as well as reproductions of historical patents for luminous material, underwater legibility, and case technology. These documents and devices make it clear how precisely defined operational purposes dictate design decisions. Additionally, Panerai uses this occasion for a new edition: a jubilee watch is to be presented at the exhibition opening, which takes up the year 1993 and transfers the design status of that time into the present.

Historic 16-meter wrist depth gauge, from a series of measuring instruments produced by Panerai between the 1930s and 1980s.

The exhibition particularly illustrates very clearly how strongly Panerai’s design language emerged from the logic of its use. Oversized numerals for quick readability, robust cases, the distinctive crown protection bridge: every detail is derived from a technical necessity.

Panerai Luminor Marina Militare, 1960

In an earlier interview with Chapter, Alessandro Ficarelli, CMO of Panerai, emphasized the brand’s distinctive design signature: »…modern brands continue to value both technology and a distinctive aesthetic in watchmaking and, like Panerai, constantly strive to combine functionality with design. And in the case of Panerai, it was functionality that created a recognizable design, and that’s why we never needed famous designers.«

Caseback of the Panerai Luminor Marina Militare

Opening archives and making history, origin, and tradition comprehensible is quite common practice in brand management today. However, the fact that Panerai reveals sources and prototypes in this process is quite remarkable. As a result, »The Depths of Time« is less anniversary folklore than a controlled opening. The show documents how a special instrument can become a cultural object and implicitly asks what we want to retain in the context of a luxury watch of military origin: quality, precision, robustness, visual clarity of the display. The exhibition runs for two months in Florence starting September 10, 2025, followed by the aforementioned international tour. [TS]

Featured image above: Panerai Egyptian 1956m © Luciano Cipullo

Even the finest mechanical timepieces are not just about their inner values, but often about their appearance. Nevertheless, there are only a few well-known watch designers. Why is that? And what importance is attached to design anyway? Chapter asked around.

It was the end and a new beginning. With the fall of the GDR, entrepreneurial life slowly returned to the traditional watchmaking town of Glashütte in Saxony. Walter Lange was present and at the forefront of the comeback of Haute Horlogerie in the Ore Mountains.
In his memoirs, which were republished this year to mark his 100th birthday, the great-grandson of Ferdinand Adolph Lange, founder of the watch brand A. Lange & Söhne, recalls the reconstruction of the manufactory. And of the initial spark that led to the company’s return to the highest spheres of fine mechanical watchmaking, where it is today. »I am sure«, writes Walter Lange in When Time Came Home, »that the presentation of our first collection in the Dresden Castle was almost a sensation, and this is largely due to the innovative design of the Lange 1.« Today, this watch is considered an icon and one of the most sought-after models in the world.
This episode underlines how important the design of a timepiece is for its success, alongside its watchmaking performance. Haute Horlogerie is also about appearance. At the beginning of the 1990s, Walter Lange and his colleagues (they were actually all men) realized »that, in addition to their quality and precision, our watches needed an appearance that made them unmistakable at first glance«. It is quite possible that the Royal Oak (Audemars Piguet), Nautilus (Patek Philippe) and Tank (Cartier) models, which had already been elevated to design classics, were in the back of people’s minds.
One thing was certain: a unique selling point was needed. The result was the typical large date, whose unique design and function has since become a globally recognized feature of A. Lange & Söhne watches and a stylistic accent. Another design innovation and thus another striking feature is the Lange 1‘s decentralized hour display with the small seconds display and the power reserve indicator. A layout that has been copied many times but never equaled. »This makes it so unmistakable that it would be clearly recognizable as a Lange 1 even without a logo on the dial«, according to Anthony de Haas, the current Director of Product Development at the manufactory, in his interview with Chapter. The timepiece is now perceived as an icon thanks to its harmonious interplay of form and function.

The design of the Lange 1 follows a clear principle: all displays are arranged decentrally and form the shape of an isosceles triangle.

However, this was not yet foreseeable in 1994: »It is difficult to predict whether a watch will become an icon because it only becomes apparent over time. In this respect, timelessness is the decisive factor«, says de Haas, who also admits to having a problem with the term »icon«. It’s too distant, too static for him, he explains in conversation. Be that as it may, despite its status in the modern watch world, its designer, Reinhard Meis – »a watch expert and particularly knowledgeable in the history of Glashütte pocket watches«, as Walter Lange writes—was never given the same attention as his product. A fate that he—shares with many designers in the watch industry, with a few exceptions. Meis, a watchmaker and non-fiction author, developed the »genetic blueprint« of A. Lange & Söhne watches, as Armbanduhren  magazine noted in an obituary for the designer, who died in 2023. Every detail was studied and determined by him with the utmost attention. But why was (and is) Meis not explicitly brought before the curtain by A. Lange & Söhne? The main reason is that »watches are not seen as the work of a single designer alone, but always as a team effort and a total work of art«, Anthony de Haas tells us. Designers, engineers, constructors — he leads a team of very different creative minds. »Our goal every time is to create a watch that has never been made before, that is timeless, and that is clearly recognizable as a Lange timepiece.«
Just a few steps down the street from the A. Lange & Söhne headquarters, you stand in front of the NOMOS Glashütte manufactory. The comparatively young brand also established itself in Glashütte after the fall of the Berlin Wall. It boasts its own distinctive watch model that can be recognized as a NOMOS timepiece even from a distance: the Tangente. Completely unencumbered by a historical company legacy, the company was able to get started in the 1990s. The design of the minimalist, flat watch Tangente was inspired by the clear design language of the Bauhaus  movement. As far as the »inner values« are concerned, the company is committed to the 180-year-old Glashütte watchmaking tradition: »A design becomes iconic when it is characteristic and has a high recognition value«, explains Thomas Höhnel, who has been a product designer at NOMOS since 2012. He also takes a similar line to Anthony de Haas: »The watch should be immediately recognizable as a NOMOS, even without a logo.« Höhnel is a graduate of the Berlin University of the Arts  and works at Berlinerblau, the design department of NOMOS in the German capital. Among other things, he has designed the Ahoi, the sporty sister of the Tangent.
Nevertheless, even at NOMOS, the design of a new model is usually a team effort. Technology and design are always considered together. Berlinerblau therefore works closely with the development department in Glashütte. However, the company also relies on external designers and appreciates their »objective view«, says Höhnel and admits: »It is sometimes difficult for us to ignore limiting factors such as economic efficiency or technological restrictions in the design process.« Well-known designers such as Mark Braun or Werner Aisslinger, with whom NOMOS has already worked, are not aware of these concerns—and can design free of such restrictions.

Bauhaus in the genes: Tangente from NOMOS Glashütte

»Our task is then to turn their watch designs into a NOMOS watch«, Höhnel explains in his interview with Chapter. It was also this desired fresh view from the outside that the watch world has to thank for some classics—and a designer who is now legendary in this cosmos: Gérald Genta. He designed the Royal Oak for Audemars Piguet, which in the early 1970s was desperately looking for something that stood out from the mass of boring gold wristwatches that were always the same. Legend has it that Genta was inspired by a diver’s helmet and the cannon muzzles of the HMS Royal Oak, a British warship, to create this design. Today, the Royal Oak  is one of the most sought-after watches in the world.

Original sketch of the Royal Oak by Gérald Genta

1976 saw the launch of the Nautilus  by Patek Philippe, another iconic watch designed by Genta: The bare screws of the Royal Oak  had disappeared, giving way to a high-quality satin-finished bezel, the shape of which was based on the porthole of a ship, but slightly more oval. The most striking feature of the Nautilus, however, are the two »wings« on the side of the case. The cult surrounding this timepiece has grown so much in recent years that Patek Philippe decided to discontinue the Nautilus  with the reference 5711/1A. The manufacture argued that it did not want a »star« in its range and said goodbye to the stainless steel version of the watch in 2021. In addition to the two timepieces mentioned above, Genta is responsible for other great designs, such as the Ingenieur, whose design he refreshed for IWC Schaffhausen in 1976 and which returned to the IWC collection a few years ago after a short break.

Cartier Pasha de Cartier: With its extravagantly graphic design, it is now one of the Maison’s most important collections in its own right.

The modern version of the Cartier Pasha de Cartier  from 1985 is also the work of the self-proclaimed »world’s first watch designer«. With its sporty yet extravagant design, it is now one of the Maison’s own important collections.
In interview with Chapter, Alessandro Ficarelli, CMO of the Italian watch brand Panerai, explains Genta’s significance for watch design: »Gérald Genta played an outstanding role in sensitizing the watch industry to design. His vision went beyond pure functionality and brought design to the forefront of what makes a watch iconic.« Ficarelli also makes sense of why there are so few well-known watch designers: »Creating a timeless design is a job for the few, it’s an art.« Anyone, he says, can be a good craftsman, but there are only a few good artists. »Artistry is an innate gift.« Genta’s influence can still be seen today in the fact that modern brands continue to value both technology and a distinctive aesthetic in watchmaking and, like Panerai, constantly strive to combine functionality with design.
In the context of recognition value Panerai has an easy time. Its watch lines, essentially Luminor and Radiomir, have an unmistakable look. This has grown historically and has to do with the original military use of the timepieces for Italian combat divers. Ficarelli: »In the case of Panerai, it was functionality that created a recognizable design, and that’s why we never needed famous designers.«

The one with the bow above the crown: Panerai Luminor Submersible Luna Rossi

Rolex would probably fully agree with this statement. That is, if they were to comment on this topic at all. Which they don’t: it’s not for nothing that they chose the closed oyster as the »patent animal« for their products, they prefer to keep a low profile.
In fact, they once had a timepiece designed by Gérald Genta: the legendary King Midas. Around a decade before the Royal Oak and Nautilus, it was a futuristic, extravagant watch that stood out massively from the usual Rolex models. Today, it is no longer part of the range. This is probably because the Geneva-based company has been focusing on a gentle evolution from within over the last few decades, speaking less of design and more of architecture. It is, undisputedly, so striking that it does not need a »fresh look from the outside«. And if it did, it probably wouldn’t be publicized.

The Octo Finissimo Automatic Sketch by Bulgari bears the most important features of the iconic Octo Finissimo and combines technology with artistic expression. Fabrizio Buonamassa Stigliani sketched the mechanics of the timepiece with lively and spontaneous stripes.

»A beautiful watch without mechanical sophistication is a failure. It’s the same the other way round: a technically sophisticated watch without aesthetics brings little«, the head of the Bulgari watch design center, Fabrizio Buonamassa, once told Swissinfo.ch. And it is not only Bulgari that has internalized this principle, but also its competitors. Hermès, for example, has established itself in haute horlogerie, despite a (still) rather modest watchmaking tradition. It builds manufacture movements that leave nothing to be desired and designs cases that pay tribute to the origins of the brand and the excellence it celebrates. The Arceau Duc Attelé, for example, presented at Watches & Wonders 2024 in Geneva, features several details that are reminiscent of the history of the Maison. For example, the highly polished hammers in the shape of a horse’s head, cogwheels in the shape of the wheels of the historic horse-drawn carriage »Duc Attelé«, rider frames in the shape of a horse with a mane… all in all, a piece with the much-cited high recognition value. Not to mention the inner values: a central tourbillon with three axes and a minute repeater in conjunction with the hand-wound Hermès H1926  movement. Not everyone can do that.

FIRST PUBLISHED IN CHAPTER №XI »TASTEMAKERS« — WINTER 2024/25

ROLEX

With the Land-Dweller, Rolex is presenting a completely new collection as part of Watches & Wonders 2025, which not only scores points with a fresh Oyster design, new bracelet, honeycomb dial and several patents: Inside the case, which is inspired by one of the brand’s historic quartz watches (!), ticks the brand new in-house caliber 7135.

CARTIER

Cartier can create unique aesthetics and proves this with the Privé Tank à Guichets. First presented in 1928, this square timepiece still stands out in 2025 with its minimalist and avant-garde appearance. You will look in vain for hands: two disks show the hours and minutes in small, window-like cut-outs.

BULGARI

Hardly a year goes by without Bulgari setting a new world record for ultra-thin watches. At  Watches & Wonders 2025, the time has come again: at 1.85 millimetres, the Octo Finissimo Ultra Tourbillon  is currently the thinnest mechanical watch with a tourbillon. There will only be 20 of them.

HUBLOT

With the Big Bang 20th Anniversary Titanium Ceramic, Hublot—Nomen est Omen—is celebrating the 20th birthday of its most important model, the Big Bang. The chronograph is made of titanium and ceramic. Another of the brand’s specialties from the very beginning: Combining possible and impossible materials.

PATEK PHILIPPE

Patek Philippe launched its first new collection in 25 years last year with the Cubitus. The square, »elegant and sporty« watch caused a lot of discussion. Smaller versions were added at Watches and Wonders. Patek is thus following the megatrend towards wearable unisex case sizes.

VACHERON CONSTANTIN

The watch manufacturer Vacheron Constantin has now been in operation for 270 years. This is being celebrated at Watches & Wonders 2025 with the Les Cabinotiers Solaria Ultra Grand Complication—La Première, officially the most complicated wristwatch in the world: 41 complications and a total of 1521 components have been installed.

IWC SCHAFFHAUSEN

IWC Schaffhausen presents the Ingenieur Automatic 42 in a new look in Geneva: The classic, which goes back to the legendary designer Gérald Genta, now wears black ceramic. Inside the Ingenieur  ticks the in-house automatic caliber 82110.

CHANEL

Speaking of a new dress: Chanel is also giving its J12 a new look for its 25th anniversary. The J12 Bleu   combines the expertise of the Chanel manufacture with an exclusive color—a deep, matt blue. It took five years of research to develop this color. Nine new models were dipped in the color.

A. LANGE & SÖHNE

At the Geneva watch fair, the Saxon manufacturer A. Lange & Söhne is presenting the sporty and elegant Odysseus  in a new case made from the company’s own precious metal alloy called honeygold. It houses the manufacture caliber L155.1 Datomatic, which was specially developed for the Odysseus.

NOMOS

Let’s stay in Saxony: The first world time watch from Nomos Glashütte is called Club Sport Neomatik Weltzeit. It is equipped with the new manufacture caliber DUW 3202, which is only 4.8 millimeters thick. The case of the timepiece measures 9.9 millimeters, making it perhaps the slimmest world timer in the world.

CHOPARD

Fast-swinging lightweight: The Alpine Eagle 41 SL Cadence 8HF  from Chopard is made from a lightweight ceramic-titanium blend. A glance through the anti-reflective sapphire crystal back reveals the Chopard 01.14-C caliber, an automatic high-frequency movement that operates at 8 hertz—a rarity in haute horlogerie.

GRAND SEIKO

The most accurate wristwatch in the world comes from the Far East. This is made possible by the Spring Drive Caliber 9RB2   developed by Grand Seiko, which bears the new U.F.A. designation for Ultra Fine Accuracy. Its rate accuracy is plus/minus 20 seconds—per year. Among others, it ticks in SLGB001, a watch from the Evolution 9 collection. [MM]

Since its founding in London in 1905 by Hans Wilsdorf and its subsequent establishment in Geneva, Rolex has continuously set the standard for watchmaking by combining technical excellence, masterful precision, and innovative technology. The designs of many models that have become icons—just think of the Datejust or Submariner—have also had a significant and lasting impact on the entire watch industry time and time again. In our »Repro« series, we present some of the most legendary Rolex vintage ads of the last 100 years.

Of course, it is much more than just the outstanding quality of the products that has made Rolex a status symbol, the epitome of prestige, luxury and quite simply a chronometric legend. The almost mystical brand aura is due in particular to the perfectly orchestrated play with desirability, scarcity and an always reserved, strategically meticulous handling of information on internal company matters. Rolex is also less loud but all the more sustainable when it comes to supporting important cultural institutions, events and creative people, particularly in the fields of architecture, film and music. With the Perpetual Arts Initiative, the brand supports leading cultural venues and artists, while the mentoring program promotes up-and-coming talent and is often committed to »passing on knowledge and craftsmanship from one generation to the next« without much media coverage.

1927

In contrast, the Geneva watch manufacturer has always been much more confident and visually assertive in its public advertising—the subjects conveyed strong messages and were very specifically tailored to the zeitgeist, aesthetic trends and social developments of the respective eras. The first widely publicized advertisements of the 1920s, when Rolex launched the first waterproof chronometer, the Oyster, emphasized robustness and reliability, even under extreme conditions. And, of course, the famous example of Mercedes Gleitze, the first British woman to swim across the English Channel in 1927, wearing a Rolex Oyster.

1955

1957

The 1950s saw the launch of the Explorer  campaign, inspired by the first ascent of Mount Everest in 1953, during which Sir Edmund Hillary and Tenzing Norgay wore a Rolex. Correspondingly, the brand staged itself as a reliable companion for great adventures, targeting the aspiring bourgeois society that was striving for success, adventure and individualism.

1959

1963

Rolex advertising motifs from the 1960s and 1970s also focused on protagonists from professions that operate with technical excellence and the highest level of professionalism—professional divers, pilots and racing drivers. Iconic motifs of the GMT Master  or Submariner showed the watches in a time of technological progress as precise and powerful tools favored by professionals.

1965

1967

As status symbols became increasingly important in society in the 1980s, Rolex also opted for much more opulent and luxurious motifs that portrayed watches as the insignia of success. The advertising messages emphasized the luxurious character of the watches and Rolex positioned itself as the choice of the elite. In particular, the Rolex Day-Date, also known as the »presidential watch«, took center stage.

1997

2005

To this day, both the highest technical precision, durability and the well-cultivated image as a luxury watch for the elite remain an integral part of the advertising image, but Rolex is increasingly emphasizing its role as a traditional company and highlighting values such as longevity, environmental awareness and its immensely strong links with art and culture. This flexibility and simultaneous steadfastness in communication, as well as the skillful play with discreet restraint and self-confident opulence, continues to be part of the fascination of Rolex—one of the world’s most impressive brands that will surely continue to inspire new generations of watch aficionados.

»REPRO 8 – The most iconic Rolex vintage ads« was FIRST PUBLISHED IN CHAPTER №XI »TASTEMAKERS«—WINTER 2024/25

Founded by Franz Ludwig Löbner in Berlin in the 19th century, LÖBNER was synonymous with precision at the limits of measurement for decades. As one of the pioneers of mobile timekeeping, the company developed mechanical systems for recording hundredths and thousandths of a second as early as the 1880s —, including the so-called Tertienzähler  and chronoscopes with corresponding triggering devices.

With a diameter of three meters, the 1000th of a second stopwatch from LÖBNER was impressive in several respects.

Innovations that were exported worldwide and used on horse racing tracks, in athletics stadiums and at the Olympic Games. LÖBNER chronometers also documented international competitions and world records in early motor sports. Despite these pioneering achievements, the brand ran into turbulence in the middle of the 20th century and eventually disappeared from the market until 2023, when Munich entrepreneur Matthias Düwel—and several partners—took it on.

The so called Tertienzähler from LÖBNER, a high-precision stopwatch that could measure times to the nearest 100th of a second.

However, today’s LÖBNER expressly does not see itself as a historicizing reissue. Although the design approach is based on the functional characteristics of earlier models—such as the off-centered time display and the emphasis on short-time measurement—it deliberately avoids nostalgic quotations or formal replicas. The design signature of Emmanuel Dietrich is leading the way in this positioning. The renowned product designer, who has previously designed watches for companies such as Hermès and the Swatch Group, as well as launching his own watch brand DIETRICH in 2010, made it clear with the first LÖBNER models presented after the relaunch that, despite the brand’s long history, design independence is his top priority.

The LÖBNER Steelracer model is a tribute to the technological pioneering spirit of automobile racing in the early 20th century.

The current product family includes the Steelracer  chronograph, which is inspired by famous racing cars of the 1920s and 1930s and has an extremely striking aesthetic with an off-center time display, as well as the three-hand Sledge  watch with patented crown protection slider as a particular highlight. All models were created with an industrial design concept in mind—because, as Dietrich emphasizes, it is not about a decorative restaging of the brand, but about the continuation of functional principles in a clear, contemporary design language.
In our interview, Emmanuel Dietrich also explains how he translates the historical parameters of the brand into contemporary watch design, why mechanical precision still exerts such a fascination in today’s digital age and which design principles he believes are the foundation for creating timeless design.

The elaborately finished column-wheel chronograph caliber L6223 of the LÖBNER Steelracer has a 60-hour power reserve.

Chapter  What was the decisive impulse to revive an almost forgotten brand like LÖBNER? Was it a strategic investment by the initiator Matthias Düwel or rather a personal fascination for historic brands and/or an enthusiasm for the art of watchmaking?

Emmanuel Dietrich  So Matthias Düwel is passionate about the history of German luxury and realized that almost all the brands had disappeared with the Second World War. He then began to research and collect these brands—with the idea of founding a group to revive them. This is how LÖBNER became part of the Jandorf Group and one of the first brands to be revived. Another brand in the group that is very successful is Josephinenhütte. We also have a second watch brand from Glashütte in development, but we are taking our time and planning for the long term.

Chapter  The luxury watch industry is a world characterized by tradition, in which brands with centuries of history dominate. How does LÖBNER position itself in this environment—as a tribute to the past or as a modern interpretation of the classic art of watchmaking?

Emmanuel Dietrich We clearly want to reflect the German avant-garde by being the first German watch brand to specialize in steel sports watches. This reflects the modernity of approach that has always driven LÖBNER: Short time measurements, super high-tech solutions of time, a truly fascinating history of German ingenuity and engineering. In doing so, we honor our past, but at the same time we are committed to continuing the innovative spirit of our founders.

The Speed Arrow Limited Edition is a bead-blasted stainless steel chronograph with a silver arrow gray dial, a tribute to the iconic silver arrows of the 1920s and 30s.

Chapter   What design principles did you define for the current LÖBNER collection? For example, were there any historical design details that were essential for you during the relaunch in order to preserve—the historical authenticity of the brand, even if perhaps in a modern interpretation?

Emmanuel Dietrich  Yes, the design of the chronograph dial is clearly based on the eccentric distribution of the counters, which was already used in the tertien counter. The tertien counter was the greatest success of the LÖBNER brand, was able to measure hundredths of a second as early as 1881 and was exported all over the world. Another characteristic feature is the crown guard, which—pushed upwards—serves as a key lock for the start-stop function while the watch is being set. This not only protects the crown, but also the movement. This is a patented innovation and testifies to our high standards. With the chronograph, too, the visual priority was clearly placed on short-time measurement by moving the time display at ten o’clock into the background. It is therefore a »chronograph that also displays the time«, and not a »watch that is also a chronograph«. When the central second hand of the chronograph glides across the dial, it stands majestically alone. These are all details that add up to a complete and satisfying experience.

Chapter  In many design disciplines, good design is often referred to as »timelessness«—a concept that is also of great importance in haute horlogerie. What does timelessness mean to you in product design and especially in watch design—and how is this principle reflected in the current models from LÖBNER?

Emmanuel Dietrich I believe that timelessness is the reward of time for good design. Only designs that reflect their time and are perfectly consistent will eventually become timeless. So we have tried to be very particular and let time determine whether we are timeless or not. The eternal haute horlogerie briefing »timeless, but modern, innovative, but with classic features« is a self-deception for me. What is important first and foremost is coherence. All details, the entire design language of an object should serve the same purpose. Then a design is created that is independent and therefore has the chance to become timeless at some point.

Close-up of the armband of the LÖBNER Steelracer Black

Chapter You relaunched LÖBNER in October 2023. Now, a few months later—at what point in its economic development do you currently see the brand? What milestones have you already achieved and what challenges still lie ahead?

Emmanuel Dietrich We have successfully completed the implementation with our first distribution partner Bucherer and are now at the beginning of the expansion phase. We want to build up a small dealer network worldwide in order to continue to operate the brand very exclusively. Ahead of us is the Geneva trade fair, which we will be attending for the first time and from which we have high hopes. Building a luxury brand is a long journey, and the most important thing at the moment is to find the right step in order to achieve solid long-term growth.

Chapter Can you give us an insight into your specific strategy for establishing LÖBNER in the highly competitive luxury timepiece market? For example, how do you intend to ensure that the brand remains relevant for both watch enthusiasts and collectors in the long term?

Emmanuel Dietrich We try to communicate very clearly and take our time to spread our message over and over again. It will be a long road, and brand building in the luxury sector is always a question of time. The special thing about a relaunch is that these layers of time already exist in the past. We have a treasure trove of history and legends. But it will take time for everyone to hear about it and for us to establish our new presence. You can’t buy time—not even as a watch manufacturer.

Dial LÖBNER Speed Arrow Limited Edition

Chapter Many luxury brands are increasingly relying on direct sales and exclusivity instead of traditional retailer networks. What sales concept do you pursue for LÖBNER and how do you ensure that the brand grows sustainably?

Emmanuel Dietrich In the beginning, we focused more on classic direct sales with POS because we prefer direct contact. We also use events to get closer to our customers while promoting direct sales—and, of course, to involve and inspire the watch community in the brand’s story. We very much believe in the return of direct contact and communication, even though we are of course pursuing our »digital tasks«.

LÖBNER Steelracer Black with characteristic decentralized time display. All models are assembled and finely regulated in Germany with the highest level of craftsmanship.

Chapter  In an interview with Chapter, Robert Punkenhofer, who revived the historically important Viennese watch brand Carl Suchy & Söhne in a similar way, emphasizes the particular challenge of building networks and a community in the watch industry—be it dealers, opinion leaders, journalists or collectors. How did you experience and overcome this challenge when relaunching the brand?

Emmanuel Dietrich As a long-time designer in the watch industry and through my own brand, I have always been in touch with the community and take a very personal approach to brand communication. It’s true—and I think that’s a nice aspect of the watch industry—that it’s a smaller and closer community. That makes it human in a time of increasing digitalization, and I really like that.

Emmanuel Dietrich was born in France in 1969 and currently lives and works in Switzerland. In addition to his designs for renowned watch brands, he also works successfully in other design disciplines, particularly in the field of furniture design.

Chapter The renaissance of classic mechanics stands in contrast to the smart, networked technologies of our time. How do you explain the enduring fascination with mechanical watches?

Emmanuel Dietrich Mechanics is something that can be grasped and understood with the senses. It is concrete, speaks of logic, order and efficiency. And that is why it continues to fascinate people and has a calming and soothing effect in our digital age. There is also a growing fascination with craftsmanship, which had long lost its aura before technological progress. Today, there are a number of young watchmakers and customers who are once again cultivating and celebrating it. As this craft has become completely superfluous, it has also become a pure luxury. It is a pure performance to build a watch with a few machines and a lot of savoir-faire—like art.

Chapter If you had to describe a LÖBNER watch in five words, what would they be?

Emmanuel Dietrich Consistent, legible, efficient, geometric, solid. [CS]

The element silicon, indispensable in the manufacture of high-tech components in the computer industry, has also conquered the world of watches in the last twenty years or so. The semi-metal has opened up unimagined possibilities that have taken the mechanical watch to a whole new level and shaken up centuries-old principles.

They were clearly ahead of their time and at the same time heralded a new era: Rolf Schnyder, then owner of the watch brand Ulysse Nardin, and the watchmaker Ludwig Oechslin. In 2001, the ingenious team presented a wild creation in the midst of a conservative watch world full of conventions, one that managed without a dial, hands or crown. It was clear to Schnyder that there was only one name for this creation: Freak. Because the timepiece stood out from the crowd of watches due to its visual and technical characteristics (and still does today)—an iconoclastic act of watchmaking audacity. Its design stems from the idea of a timepiece that is also a kinetic sculpture whose main purpose is to convey an emotional, artistic expression of time.

The Freak went its own way in terms of design: you won’t find conventional hands, dial or crown here.

The watch, whose design seemed to be straight out of a science fiction movie, was groundbreaking in two respects. Firstly, the Freak  was the first watch ever in which the movement rotates to indicate the time. The mainspring barrel, the tank of the watch in which the powerful mainspring is located, turns once every twelve hours. It is connected to a central gear wheel that drives the bridge with the gear train around the circumference of the dial at one revolution per hour—the so-called flying one-hour carousel. The focus was on the completely new escapement invented by Ludwig Oechslin, a double-wheel movement with direct drive, which, like the balance spring and the balance wheel, is attached to the end of the bridge. The system pulsates before the viewer’s eyes like a beating heart.

ANOTHER WORLD PREMIERE

When you look at this heart, you notice that it shimmers blue-violet. Which leads to the second groundbreaking point: For the first time, a material was used that had previously played no role in watchmaking and was known to a wider public at best from computer chip production—silicon. Two pin-sized wheels of the new escapement were made of this material. Rolf Schnyder, who died in 2011, commented: »I needed something that would allow me to outperform the competition and take a leading role in the new technology. When I saw silicon and realized its true potential for watchmaking, I knew that this was our chance.«

The Freak’s work also serves to indicate the time.

What potential are we talking about? As an element of the carbon group, abbreviation Si, atomic number 14, the material is strong yet flexible, light, rust-free, highly durable and resistant to temperature fluctuations, which have a strong influence on the accuracy of the watch. In addition, silicon parts do not require lubrication in order to function smoothly. It is therefore an ideal material, especially when it comes to the modern godsend of watchmaking: magnetism. After all, it is responsible for more than 90 percent of service problems today. If a conventional mechanical watch is exposed to a magnetic source, this changes the rhythm of the movement, the watch goes wrong and has to go to the workshop.

MAKE IT BEAT

Experts and competitors initially reacted rather cautiously to this material innovation. It was only when Ulysse Nardin launched the first silicon balance spring shortly afterwards that things started to move. Major players such as Rolex, Patek Philippe and the Swatch Group quickly set about catching up. But more on that later.

Patek Philippe, Aquanaut Luce Annual Calendar Reference 5261R-001, 2023

First of all, why is so much fuss being made about this tiny component weighing just a few grams? Well, it is the balance spring that makes the heart of the watch beat. It is probably no coincidence that a giant stylized balance spring towers over the entrance to the Patek Philippe headquarters in Geneva. It is the most important part when it comes to improving the precision of mechanical timekeeping. Coiled in a spiral and significantly thinner than a human hair, it is connected to the balance wheel, contracts and expands again. The uniformity of this oscillation, also known as the frequency, ultimately ensures the accuracy of the watch.

INGENIOUS SYSTEM

Its history goes back a long way. At that time, the Dutch physicist Christiaan Huygens was working on optimizing the balance-spring system and discovered that it was only possible to keep a steady beat on the timepiece with the help of a flexible spiral spring. This is because it manages to slow down the oscillation of the balance wheel by pulling it back and allowing it to swing out in the opposite direction. It is an ingenious system that the scholar developed, one whose basic principle can still be found in almost every mechanical movement today.

The Aquanaut Luce annual calendar reference 5261R-001 from Patek Philippe is equipped with a new automatic caliber whose balance spring is made of »Spiromax«. The material of choice is silicon.

Since then, many great watchmakers have contributed to the improvement of this essential component. The most famous is Abraham Louis Breguet. In 1796, he succeeded in increasing the precision of the hairspring by bending the outermost winding. The term »Breguet hairspring« can still be found today in many of the relevant technical instruction leaflets for modern watches. A few decades after Breguet, the French mathematician Eduard Philips succeeded in calculating the perfect bend of the hairspring.

PERFECT MATERIAL

The spiral itself performs hard work. It performs several hundred million oscillations a year. That takes its toll. The part is susceptible to wear and sensitive to temperature and magnetism. Despite these various external influences – vibrations and fluctuations in air pressure should also be mentioned—the oscillations of the balance wheel and balance spring should be as uniform as possible, or »isochronous«.

Rolex 1908: »Syloxi«-silicon balance spring

To ensure this, the perfect material was also considered early on. Various metal alloys are usually used today—above all the market-dominating »Nivarox« from Nivarox-FAR, part of the Swatch Group, which has provided the necessary precision and reliability since the 1930s. Albeit with some compromises.

SMOOTHLY BETTER

In principle, the story could have ended here, had it not been for the fact that 70 years after the invention of Nivarox, a small luxury watch manufacturer came around the corner with silicon, heralding a new era in mechanical watchmaking and scaring off the competition. And so the watch giants Rolex, Patek Philippe and the Swatch Group joined forces with the Centre Suisse d’Electronique et de Microtechnique (CSEM) in Neuchâtel in an unusual alliance to develop a production process for silicon hairsprings. The microtechnologists even managed to solve a problem that even the semi-metal silicon is not immune to—temperature sensitivity. A circumstance that does not necessarily have a positive effect on the filigree structure of a spiral spring. The solution was found in the form of a thin layer of silicon oxide, which ultimately led to a significantly higher temperature resistance of the component.
Patek Philippe forged ahead and in 2006 presented its first functioning series watch with a balance spring made of monocrystalline silicon, the Reference 5350, called »Spiromax«. The manufacture launched the first escape wheel made of Silinvar, a silicon derivative, back in 2005, followed by the »Spiromax« hairspring (2006), the »Pulsomax« escapement (2008), the »Oscillomax« regulating assembly (2011) and a further optimized version of the »Spiromax« hairspring (2017). The company has remained true to the element ever since. For example, the Aquanaut Luce annual calendar reference 5261R-001, the first annual calendar in the Aquanaut collection presented at the 2023 edition of Watches & Wonders, features a new automatic caliber with a balance spring made from »Spiromax«.

1908 – 2023

Rolex also found a catchy name for the researched material, »Syloxi«. Its temperature-compensating and paramagnetic properties are used in the Syloxi hairspring. In addition, Rolex has optimized the isochronism of the hairspring and the regularity of the oscillator vibrations by means of a patented geometry developed in-house. The syloxis hairspring is manufactured entirely in-house at Rolex using a high-precision manufacturing process known as deep reactive ion etching (DRIE), which etches the components out of the silicon wafer. A process that is not only used at Rolex. The Syloxis hairspring was introduced in 2014 with the caliber 2236, the first of a new generation of Rolex movements. This caliber has a paramagnetic escapement wheel in a nickel-phosphorus alloy, which improves its resistance to magnetic fields, and an in-house developed mainspring that allows the power reserve to be increased to around 55 hours and ensures a more constant power supply to the movement.

LITTLE MIRACLE

For the quite new 1908  line, Rolex engineers developed the Calibre 7140, a completely new movement with automatic winding, two hands in the center and small seconds at the 6 o’clock position. Five patent applications were filed for this slim movement, which was developed and manufactured entirely by Rolex. Thanks to the Syloxi hairspring, the Chronergy escapement and the Paraflex anti-shock system, it has a power reserve of approximately 66 hours. It goes without saying that, as is usual with Rolex, this is an extremely precise chronometer of superlatives. The 1908, named after the year in which the brand name was officially registered in Switzerland by founder Hans Wilsdorf, does not necessarily jump out at you. With the numerals 3, 9, 12 and the small seconds at the 6 o’clock position, the 1908  reinterprets the style of the Oyster Perpetual from 1931 and gives it a modern touch. Its design is classically understated.

A completely new line: The 1908 is the first Rolex watch to feature a transparent case back that reveals the movement. This allows you to admire the beauty of the finishing of the movement – and the breathing of the »Syloxi« silicon balance spring.

If you turn the ticker over, however, you will experience a small miracle: Rolex has given the 1908 a transparent sapphire crystal case back, which is very unusual, as the movements are usually well screwed down and hidden behind a cover. But this allows you to admire the beauty of the movement’s finishes—and the breathing of the silicon balance spring.

COMPETITION LEFT BEHIND

The third in the group is still missing: Omega. The Co-Axial escapement, invented by British watchmaker George Daniels and developed by Omega, solved the age-old problem of friction, which can affect long-term accuracy, back in 1999. This special escapement reduces contact surfaces and requires less lubrication. In 2008, the Si14 hairspring for the Co-Axial escapement came into play—with all its positive properties. Further development steps followed until the Spirate system was introduced this year, a new, patent-pending silicon balance spring that enables ultra-fine rate regulation. With this innovative mechanism, Omega can now fulfill an extraordinary promise: certified precision of 0/+2 seconds per day. This puts it ahead of the competition.

THE END?

The Spirate system, part of the Co-Axial Master Chronometer Caliber 9920, can be found in the new Speedmaster Super Racing. The model is a nod to the Omega Seamaster Aqua Terra  from 2013, which impressed with its magnetic resistance of up to 15,000 gauss. In any case, it is also thanks to the market power of the Swatch Group that ordinary earners can also enjoy the benefits of silicon. Components can also be found in watches from Tissot and Mido, among others, brands that are priced in the »entry-level segment«.

Speedmaster Super Racing from Omega: its system, christened »Spirate«, revolves around a new, patent-pending silicon balance spring that enables ultra-fine rate regulation.

If you ask whether the end of the line has finally been reached in this area, the answer is no. In recent years, two brands have shown that it is possible to go one step further with silicon. So far that purists fear that the creations may no longer have anything to do with classic mechanical watches. Silicon components had already been accepted somehow, but the fact that someone could dare to question the system »balance wheel with balance spring and anchor plus escape wheel«—we are thinking of Huygens—as such, made some people gulp.

RESEARCH & DEVELOPMENT

Take Guy Sémon, for example. The natural scientist approached the subject from a completely new direction and in a completely different way than watchmakers would have done. Sémon quickly realized that simply optimizing the existing basic principle according to Huygens could not be the solution. The technical possibilities of Huygens’ principle had simply been exhausted. He therefore consistently questioned it and found completely new ways to build watches using modern technologies and new materials. Via the research department at TAG Heuer, where he made a name for himself, his path led him to the LVMH Watch Division, where he became CEO of the research institute and presented Zenith’s Defy Lab in September 2017. Like TAG Heuer, the brand is part of the world’s largest luxury group. The Defy Lab’s  innovative rate regulator consists of a single piece of monocrystalline silicon (with parts thinner than a human hair) and replaces the balance wheel, balance spring and anchor in one go.

PERFORMANCE

The Defy Lab  replaces the more than 30 individual parts of the usual regulating organ of a mechanical watch with a single component that is only half a millimeter high. By comparison, the height of a conventional regulating organ is around five millimeters. Mechanical connections between different components are simply eliminated, which completely removes adverse effects such as friction, wear and play between the components, the need for lubrication and complex assembly. The escape wheel is also made of silicon. The new escapement wheel oscillates at a very high frequency of 15 Hertz. The new caliber, called ZO 342, apparently achieves a rate accuracy that has never been seen before in a mechanical watch. Magnetic fields and temperature fluctuations should no longer affect performance.
The second hand of the Defy Lab moves across the dial without jerking, and no ticking can be heard. The equally moderate movement of the balance wheel can no longer be seen; instead, it looks as if the watch as a whole is vibrating. The rate regulator oscillates at a very high frequency of 15 Hertz. That is 108,000 vibrations per hour. If you follow the rule of thumb »the faster, the more precise«, then this is very impressive. One year later, Zenith launched the Defy Inventor  with 18 Hertz, an even faster, more precise watch. Since then, however, it has been rather quiet on the subject.

A MONOLITH

Until Frederique Constant came around the corner with a new development in 2021. The Geneva-based manufacturer, part of the Citizen Group since 2016, presented the Slimline Monolithic Manufacture. An ordinary watch at first glance, its special feature shimmers in the typical blue of silicon. The part is a new type of regulating organ. With the help of specialists in Delft, the Netherlands, Frederique Constant also succeeded in incorporating a silicon oscillator from a single casting, hence the name »monolithic«, into the watch. But unlike its competitor from Le Locle, whose diameter takes up a relatively large amount of space in the movement, the Geneva-based oscillator is so small that it can be implemented in an automatic movement instead of the classic escapement. Its diameter is only 9.8 millimetres with a height of 0.3 millimetres.

Frederique Constant presented 2016 the Slimline Monolithic Manufacture. A new type of regulating organ can be seen at 6 o’clock.

The key figures of the escapement, which took two years of research, are impressive: the heart of the Monolithic Manufacture  oscillates at a frequency of 40 hertz, i.e. 288,000 vibrations per hour. Not bad, but it brought with it a problem: a traditional gear train is not capable of handling the speed of a 40 Hertz regulator. So a new movement was needed, which was named the FC-810 caliber. High-speed cameras capable of recording 250,000 images per second had to be used to measure the rate accuracy. The bottom line is that Frederique Constant is consistently pursuing the path taken by Zenith—and others before it. Apparently with success: the Monolithic models are currently sold out.
The question arises as to what else the Swiss inventors are doing to push the boundaries of what is physically possible. And which element will perhaps one day take over from silicon.

ARTICLE FIRST PUBLISHED IN CHAPTER №VIII »ELEMENTS« — SUMMER 2023

In 2017, Robert Punkenhofer revived the traditional watch brand Carl Suchy & Söhne, which was originally founded in Vienna in 1822. Once a purveyor to the imperial family, the company was considered the most important watch manufacturer in the Danube Monarchy in the 19th century and also enjoyed international renown, which only dried up with the end of the Austro-Hungarian Empire. With a clear vision, Punkenhofer has now revitalized the brand and brought it into the 21st century: Watches of the highest quality, conceived as a tribute to Viennese elegance and inspired by the era of Wiener Moderne (Viennese Modernism) in dialog with contemporary design.

Carl Suchy & Söhne was once the most important supplier for clocks and watches in the Danube Monarchy and stood for the highest quality and precision—even Emperor Franz Joseph I was one of the watchmaker’s regular customers.

With three collections since the relaunch, Carl Suchy & Söhne has already successfully established itself as a niche brand characterized by quality, historical and cultural depth and a strong design identity. In an interview with Chapter, Robert Punkenhofer talks about the challenges and ambitions of this brand revival, his personal connection to Vienna and the role of art and design in creating a timeless identity.

Chapter  How do you define the DNA of the Carl Suchy & Söhne brand, even apart from the brand’s historically numerous prominent customers?

Robert Punkenhofer  The DNA for me was very clear: Carl Suchy & Söhne was the most important watch manufacturer of the Danube Monarchy, not without a reason purveyor to the court for three generations and offered customers the highest quality. That is the DNA for me. So ultimately: »The Emperor’s Choice«.

Chapter Which original design details were essential for you during the relaunch in order to maintain the authenticity of the brand?

Robert Punkenhofer  For me, the design details are less about historical watches that we have in our archive, because the premise for us was to carry on the fire of Carl Suchy and not the ashes—after all, he was one of the most outstanding, creative and innovative entrepreneurs of his time. That’s why the original design was less important to me than the positioning: I wanted to be back where Carl Suchy was, namely at the highest level. And we are not simply copying the original designs and reissuing the same watches. Quite the opposite: we are continuing the story and picking up where Suchy left off, i.e. Biedermeier. And what came after that: Wiener Moderne, Secession, Viennese Jugendstil—and that’s where we took our design approach, i.e. our watches are very much inspired by Vienna around 1900 with the formative architecture and art scene around Hoffmann, Klimt, Schiele, Loos, Wagner etc. But again, it’s not a copy, it’s a recreation, charged and relevant for the 21st century.

A highlight of the Belvedere collection is the development of the date display, in which the date window moves forward every day.

Chapter How did you navigate the tension between historical 19th century watch design and contemporary trends, particularly with regard to the sporty Belvedere line?

Robert Punkenhofer  With the Belvedere in particular, it was important for us to remain true to our design approach, i.e. to create a watch based on Wiener Moderne  that is clearly recognizable as a Suchy—for example by the halved guillochage on the dial and many small details such as the polished and sandblasted surfaces. And on the other side, when we turn the watch over, we see the golden rotor, the Golden Vienna, so to speak, the classic baroque, with the micro-engraved façade of Belvedere Palace. A duality of simplicity, effortless elegance, and the emotional, such as the golden rotor, the golden retaining ring, but also with little twists, such as the date window, which keeps turning and thus provides a new perspective on the watch every day.

Chapter To what extent does the design of the dial you described as a central element reflect the revival of the brand identity and »Viennese elegance«?

Robert Punkenhofer  The dial is indeed elementary, it is the face of the watch. It was essential for us to create a simple elegance, a Viennese elegance, with flowing transitions from the dial to the case, from the glass to the dial, from the strap lug to the steel case or titanium case. Flowing transitions like those created by Adolf Loos in Wiener Moderne, for example, or Josef Hoffmann. And then, of course, the small design details of the dial were also important to us, which shine through everywhere in our collections and make them recognizable, as with the waltz disc on the Waltz N°1, or mentioned date window, which moves on at midnight.

The design of the Waltz N°1 wristwatch is inspired by Viennese architect Adolf Loos and is intended to combine the timeless elegance of Wiener Moderne (Viennese Modernism) with the highest level of Swiss craftsmanship.

Chapter You always emphasize the brand’s historically strong Viennese roots, the inspiration from formative Viennese art and cultural trends and classic Viennese elegance. What connection do you personally have to Vienna and how does this influence the brand identity of Carl Suchy & Söhne?

Robert Punkenhofer Well, I’m not Viennese, I’m actually Styrian, but of course Vienna has always fascinated me, even as a young student. I’ve also been active in the design and art world in Vienna for many years, for example I founded Vienna Art Week 20 years ago and was managing director of the Austrian Design Foundation in Vienna. And through this involvement with creative Vienna, with the creative industries, I developed a very, very strong connection to the city. Long before the revival of Carl Suchy & Söhne, it was a dream of mine to revive a historic brand. Based on a strong history, a strong legacy, to create something relevant, something new. I love Vienna! … But only if I can get out regularly. (laughs)

The mechanical movement of the traditional Swiss watchmaker Vaucher Fleurier is visible through the scratch-resistant sapphire crystal case back of the Waltz N°1.

Chapter How has this professional background as an art and design expert that you have just described shaped your view of the art of watchmaking and what role does your extensive experience and expertise in this field play in the positioning of the brand?

Robert Punkenhofer On the one hand, this is a very important influence and also an important basis for my work. On the other hand, I have to admit that I couldn’t really seek synergies from this »cutting-edge« art and design world when relaunching Carl Suchy & Söhne, because the brand’s DNA and philosophy are naturally positioned much more conservatively. On the other hand, with regard to young designers, such as Milos Ristin, who designed the first watches, or now with Eric Giroux, my influence from art and design projects that I have implemented in the past is also very recognizable. Especially when it comes to constantly challenging yourself and questioning what you can do better, better, more beautifully. Because we want to build a really beautiful brand that isn’t always just about whether we can make money with it, but as my motto has always been »Meaning is more than money«.

Chapter What challenges did you face during the revival of Carl Suchy & Söhne?

Robert Punkenhofer From my point of view, the challenges were not that great, because I am also used to creating beautiful things out of nothing, so to speak. Perhaps also because in my previous job as a diplomat and business delegate, it was always important to put out feelers, build up new networks and connect with interesting people—in this case, watchmakers, designers, etc. The real challenge was actually to still be alive after a year. We are now in our seventh year and have already managed to build up three collections and win customers in over 20 countries. When I think back, the biggest challenge to date has actually been to build up this network and a community of people in the watch industry, dealers, opinion leaders, whether journalists or collectors. In the end, I really underestimated that. I thought to myself, I know how it works in the art world, I know how it works in diplomacy, it won’t be much different in the watch industry. But it is still a special segment and also a very closed circle to some extent.

An unusually bold statement: after more than 100 years, Carl Suchy & Söhne launched the Table Waltz, a table clock designed to fill any room with Viennese charm.

Chapter  How would you describe the target group that you want to address with Carl Suchy & Söhne?

Robert Punkenhofer Our target group is very clear: passionate watch collectors who already have the usual brands in their homes, so perhaps already have a Rolex or a Patek Philippe, and are now looking for something special—a niche that is much more exclusive. We make a few hundred watches a year, while Patek Philippe makes around 70,000 and Rolex over a million. Our customers are looking for watches that are special in terms of design and heritage, that tell a different story than any other Swiss watch brand. We are the Austrian watch brand, we are the Viennese watch brand. And our customers are, so to speak, »People in the know«, sophisticated, intellectual and well-traveled. In terms of mindset, someone who is looking for something special, who doesn’t prefer »bling bling« and »into your face«, where everyone should immediately recognize that I have a Rolex, but who, on the contrary, is happy to know what special thing he is wearing on his wrist and it is not at all important to him that others immediately recognize it.

Chapter And how do you want to ensure that the brand remains relevant for both watch enthusiasts and collectors in the long term?

Robert Punkenhofer I think we can only create this relevance and desirability for our watches by delivering fantastic quality—in terms of design, in terms of movements, but also in terms of positioning, creating a brand world that offers something special. And I believe that with our symbolic value around our history, around Vienna, around our design language, we will hopefully be able to win over many new collectors in the future—enthusiasts, collectors and fans. [CS]

In the long and incredibly varied history of the wristwatch, there have always been developments that have set new standards in terms of both technology and design. We take a look at some of the most outstanding models and innovations in watch history.

Looking at the development of the wristwatch, the 20th century in particular was a period of dramatic and rapid change, »in which the watch transformed itself into almost every conceivable form«, as Daryn Schnipper, head of the international watch department at the renowned auction house Sotheby’s, points out. An era that brought us a whole series of innovations that are considered state of the art today. In terms of cultural history, the reinterpretation of the wristwatch from feminine to masculine is particularly significant. (Even if these categories are increasingly disappearing again today.) It is important to bear in mind that, firstly, the history of the wristwatch does not begin in the 20th century, but long before, and that, secondly, it was initially conceived for a female clientele. The Queen of Naples, Caroline Murat, was one of the customers of the ingenious watchmaker and inventor Abraham-Louis Breguet. We have him to thank for the tourbillon, among other things. Caroline Murat’s wristwatch is considered to be the first ever documented. The Breguet company archives state: »One of Breguet’s most brilliant and certainly most practical inventions––the wristwatch––was, paradoxically, completely ignored by his contemporaries.« However, documents from this period prove beyond doubt that Breguet was commissioned by the Queen of Naples on June 8, 1810 to design the first known wristwatch, Breguet watch no. 2639.

With the angular form, the wristwatch once emancipated itself from the Pocket watch. Cartier has remained true to this geometry to this day with the Santos de Cartier Dual Time, a new launch at Watches & Wonders 2024.

1810––more than a hundred years before the wristwatch proved its practicality in the trenches of the First World War and found itself on more and more men’s wrists. It was only then that it really broke away from its feminine image and began to challenge the pocket watch for its dominant position. The Santos from Cartier is a pioneering example of these developments. With its square case, it emancipated itself visually from the traditional round shape of the pocket watch. Louis Cartier created it for his friend Alberto Santos-Dumont, a Brazilian aviation pioneer who was living in Paris at the time. He set a world aviation record in 1906. Two years earlier, Santos-Dumont had already complained to Cartier. The pocket watch was far too impractical and he had to fiddle around in his jacket pocket while flying. Without further ado, Louis Cartier designed the world’s first pilot’s watch for him, even if it was fundamentally different from the timepieces we file away in this category today. Or to take it even further: The Santos was one of the first wristwatches for men.
It later gave rise to the Santos de Cartier collection, which the French watch and jewelry giant continues to update to this day––without, however, changing its iconic basic shape. This also makes it one of the longest-running lines in watchmaking history. Its design was pioneering: a square dial, visible screws and a strap that fits snugly and does not restrict the wrist’s freedom of movement. In 1911, the Santos was also made accessible to a wider, albeit wealthy, public.
It is a child of its time. The square shape can be seen as a reminiscence of the geometric aesthetics popular in Paris at the time. It can be seen as a symbol of the design revolution at the beginning of the 20th century. Cubism, Futurism: after all, aesthetics were also rethought in the fin de siècle.

A timelessly elegant classic: the Oyster Perpetual Datejust from Rolex. It was once the first automatic wristwatch with a date window on the dial.

At around the same time as Santos-Dumont and Cartier were working in Paris, a native of Bavaria named Hans Wilsdorf registered a brand name that is still synonymous with luxury watches today: Rolex. The watch world owes a large number of innovations that are standard today to this name. In 1914, Wilsdorf made a momentous request: »We must find a way to develop a waterproof wristwatch.« It was addressed to the company Aegler in Biel, which would later become Manufacture des Montres Rolex S.A.
Rolex first launched the Submarine, not to be confused with the later Submariner, in 1922. This wristwatch was hinged to a second case whose water-resistance was based on a bezel screwed to the middle section, on which the crystal was mounted. For all operations on the winding crown––to wind the movement or set the time––the outer case had to be opened. The Submarine marked the first step in Hans Wilsdorf’s development work to build a completely waterproof and user-friendly wristwatch case. As a result of this research, the Oyster case was patented four years later in 1926. This case––hermetically sealed thanks to a system of bezel, case back and winding crown screwed to the middle section––now protected the inside of the wristwatch against external influences. Wilsdorf chose the name Oyster for this wristwatch, as well as for its case, as it »can lie in water indefinitely like an oyster without damaging the movement«. A milestone in the history of watchmaking. The following year, the entrepreneur set about advertising the exceptional qualities of the Oyster in an original way. When he learned that Mercedes Gleitze, a young secretary from Brighton, England, wanted to swim across the English Channel and, if successful, would be the first British woman to achieve this feat, he asked her if she would like to wear an Oyster to prove the absolute waterproofness of the watch. After surviving the ordeal in the icy waters of the English Channel, a journalist from the British daily newspaper The Times wrote: »Miss Gleitze was carrying a small gold wristwatch that worked perfectly throughout her time in the water.«

The hermetically sealed Oyster case, patented in 1926, has been a symbol of Rolex wristwatches ever since. As already mentioned, it consists of a bezel, a case back and a winding crown, which are screwed to the middle section. Over the course of time, these components were further developed, one of the aims being to increase the water resistance of the wristwatch and thus respond to the needs of divers, who were able to reach ever greater depths thanks to modern diving equipment and techniques.
In 1931, Rolex developed the automatic winding mechanism that turned the Oyster into an Oyster Perpetual. The self-winding rotor later established itself as the industry standard in the watch sector. On the occasion of the company’s 40th anniversary, Rolex created a new watch that would combine all of the company’s previous successes––Oyster case, automatic rotor and chronometer precision: the Datejust. It was the first automatic wristwatch with a date window on the dial. Ten years later, Rolex introduced another icon: the Submariner, the archetype of the diver’s watch.

Navitimer B12 Chronographe 41 Cosmonaute: The latest version of Breitling’s Navitimer with 24-hour time display, naturally with the iconic slide rule bezel.

Two years before the Submariner, a timepiece saw the light of day that was to join the ranks of watch icons almost immediately: the Navitimer from Breitling. »It’s obvious, isn’t it … navigation and timer, a record of the passage of time … but also a clever choice of name«, judges Michael Balfour in his book Kult-Uhren. From 1952 to the present day, it can look back on an uninterrupted success story.
What makes the chronograph so extraordinary is an additional function that fired the imagination at a time when flying was still a luxury: a rotating bezel that serves as a slide rule. This enabled pilots to carry out all the necessary flight calculations. Ultimately, this feature made the Navitimer unmistakable and unique. The now slightly hackneyed phrase form follows function applies here in the best sense of the word. Speaking of state of the art, function and design: The second pusher, without which no chronograph is complete today, is the work of Longines.
In any case, the Navitimer demonstrates that a »smart« additional function, then as now, does not necessarily have to play a role in the user’s everyday life. And how a »tool watch« conceived as a commodity can become a lifestyle product.

As an affordable homage to the Omega Moonwatch, Swatch launched the Bioceramic MoonSwatch collection in 2022. This was followed in April 2024 by the Bioceramic MoonSwatch Mission to the Moonphase – New Moon with Snoopy on the moon phase.

The Navitimer ‘s fan base grew at the latest when it appeared on the big screen in James Bond’s »Thunderball« in 1965. However, the practical functions were of little interest to them. And even famous aficionados such as jazz legend Miles Davis or chansonnier Serge Gainsbourg probably didn’t use their wristwatch to calculate ascent rates or altitude difference. Current wearers of the pilot’s watch probably don’t either.
Ultimately, it is what the watch stands for. The Moonwatch from Omega is a good example of this. Originally intended as a sports watch, the Speedmaster was the first wristwatch in history to land on the moon in 1969. A coincidence, if you like, and the dream of every marketing department. In recent years and months, the hype surrounding the MoonSwatch has shown just how much the cult of the »Speedy« has blossomed. A quartz chronograph with the typical features of the Speedmaster, the result of a collaboration between Omega and Swatch. Mostly young watch fans around the world queued for hours to get their hands on one of the coveted timepieces. If that isn’t proof of the nimbus that the »Speedy« still has decades after its launch.

Omega’s Speedmaster Moonwatch, one of the most iconic chronographs in history, in its latest edition: this time with a white lacquered dial inspired by space exploration and the collection’s famous heritage.

While the world stared spellbound at the moon, 1969 brought an innovation that was in no way inferior to the moon landing––at least in the watch industry: after seven years of development work, El Primero saw the light of day. It was the first automatic chronograph caliber in history. Several players wanted to claim this success, including Seiko and the Chronomatic Group, which at the time still included such illustrious names as Breitling, Heuer and Dubois Dépraz. Zenith finally made it: El Primero, »the first«, was a masterpiece whose heart beat at 36,000 semi-oscillations and still does today. A high-speed oscillator that was to lead the watch industry into a new era of precise timekeeping. Rolex, for example, also relied on the caliber for its chronographs for a long time.
What Zenith achieved on the technical side, Gérald Genta achieved on the design side: In 1970, the (self-titled) first watch designer in the world created a design that is still causing a sensation today. He designed a completely new, waterproof sports watch for Audemars Piguet. One that would stand out from the crowd of boring gold wristwatches that were always the same. In less than 24 hours, he designed the Royal Oak: corners, polished and patinated edges, the octagonal bezel fastened with visible hexagonal screws, integrated bracelet, no two links alike. What had previously been sealed and hidden suddenly became the focal point of the design, creating an unmistakable, exciting accent. Two years later, the Nautilus followed for Patek Philippe. Also an icon. Then came the »quartz crisis«, which almost brought down the mechanical watch and the entire industry. With the »quartz revolution«, triggered by the Astron 35SQ from Seiko, the timepiece had become a generally affordable commodity. On the positive side, the (electronic) wristwatch was democratized – to put it bluntly, it became a disposable product. And the mechanical wristwatch became a luxury product. Ironically, it was the success of a very inexpensive quartz watch, the Swatch and the group of the same name, that laid the foundation for the renaissance of the analog watch.
Sales of mechanical watches picked up again from the mid-1980s in the middle and upper price segments due to the preference of many for the aesthetic and comprehensible mechanism. »Many watch manufacturers returned to their relevant tradition and triggered an unparalleled boom«, as the internationally renowned watch expert Gisbert L. Brunner sums up. Audemars Piguet, for example, launched the first series-produced tourbillon for the wrist in 1986. The total height of just 4.8 millimetres was achieved by using the case back as the movement plate.

The next chapter in of the history of the Freak: the Freak S Nomad from Ulysse Nardin. With this watch line, silicon made its way into haute horlogerie as a pioneering material.

With the new millennium, new materials found their way into the watchmaking cosmos. While brass, steel and synthetic ruby had dominated the production of mechanical movements for centuries, silicon, the basic material for microchips, became acceptable in 2001. Ulysse Nardin was at the forefront of this development with the Freak, where silicon components were used for the first time. This was followed by Patek Philippe, Rolex, Omega––you name it. Today, the material is practically state of the art, and not just in the high-price segment. Even »entry-level brands« such as Tissot––see Powermatic 80––offer corresponding calibers with components made of the non-magnetic and corrosion-resistant element. As far as design is concerned, there seem to be no limits. Ceramic can be used to conjure up the most beautiful colors on the wrist, while titanium and carbon make the timepiece robust and light as a feather. Microbrands such as MB&F go wild when it comes to watch design. Liquid time displays are also available, see HYT.

Not state of the art, but rather avant-garde: with the Horological Machine Nº11 Architect, the microbrand MB&F shows what is possible in watch design if you are not bound by tradition.

Ultimately, all of this shows that the wristwatch has always moved between different areas of tension: between tradition and innovation, between function and aesthetics, between craftsmanship and high-tech. There is also a dash of emotion. It seems to be a deeply human need to know the time »to own it, to keep it«, as Daryn Schnipper puts it. It is a desire that never grows old. How else can we explain why so many people are so enthusiastic about the good old mechanical watch in the age of the smartwatch and the ubiquitous availability of time information? It is itself state of the art, a cultural asset.

As one of the leading Swiss watch brands, IWC Schaffhausen is known for its unique engineering approach that combines craftsmanship and creativity with state-of-the-art technologies and processes. The manufacture was a pioneer in the processing of titanium and ceramic and today specializes in advanced case materials.

So where do you start if you want to take striking aesthetics, traditional craftsmanship and precise technology to the next level in the luxury watch segment? The key words are technical cooperation and technology transfer. The appeal of experimentation and the desire to get involved in innovative processes and participate in progressive developments come into play as an initial spark. »By combining the expertise in our respective fields, we have succeeded in pushing the boundaries of what was previously considered feasible for such small CMC components«, says Dr. Lorenz Brunner, Department Manager Research & Innovation. According to him, the unique combination of lightness and strength makes CMC an attractive material for watch cases.

Bernhard Heidenreich, research associate at DLR, explains that the technical cooperation with IWC has enabled them to demonstrate the feasibility of precise components made of fiber-reinforced ceramics. The findings from the development of the watch cases have also helped to further develop their technologies for satellite propulsion systems. The synthesis of pioneering spirit and curiosity therefore not only leads to the creation of a product, but above all documents and illustrates an innovative achievement whose development often takes place behind thick laboratory walls.

While the DLR already successfully manufactures larger components for rockets and thermal protection systems from this material, the material used not only gives the IWC Big Pilot’s Watch outstanding resistance to scratches and temperature fluctuations, but also ensures a low weight that significantly increases wearing comfort. As the structure of the case is determined by the fibers used and becomes fully visible after finishing with diamond tools, each model has an individual matt black look that makes it truly unique. In September 2023, the Big Pilot’s Watch AMG G 63 (Ref. IW506201) was the first IWC watch to be presented with a case made from fiber-reinforced ceramic (CMC). The striking aesthetics are inspired by the timeless design of the Mercedes AMG G-Class, which is characterized by clear, striking lines and a robust construction.

In view of the rapid pace of technological progress, the collaboration between IWC and the DLR is above all a joint effort by two partners, both pioneers in their respective fields, to merge existing technological potential and make the resulting knowledge tangible. The IWC Big Pilot’s Watch, which elevates innovation to a status symbol, not only tells the time, but also the date of the latest technical achievements. [DM]

A. Lange & Söhne

25 years after the launch of the Datograph, A. Lange & Söhne presents a new interpretation: the Datograph Perpetual Tourbillon Honeygold Lumen. At Watches & Wonders 2024, the sophisticated timepiece, which combines a flyback chronograph with a precise jumping minute counter, a perpetual calendar and a tourbillon with a stop-seconds mechanism, was presented for the first time in Lange-exclusive honey gold and as a Lumen version limited to 50 pieces. The latter means that the entire watch shines in the dark thanks to a special luminous material.

Cartier

The Cartier Privé Tortue Monopoussoir is limited to 200 pieces. A monopusher chronograph, here in the yellow gold version, whose name – »Tortue« means »tortoise« – derives from its special shape. This extraordinary design is one of the Maison’s oldest. The Cartier Tortue was first created in 1912.

Chanel

Inspired by Gabrielle Chanel and her couture atelier in Rue Cambon, the French luxury brand Chanel presents the J12 Couture Workshop Automation Caliber 6. A charmingly playful homage to the legendary founder of the luxury label that brings the figure of Mademoiselle Chanel, her scissors and her dressmaker’s dummy to life on the dial. An exceptional watch set with diamonds, equipped with Caliber 6 and featuring the new movement developed and assembled by the CHANEL Manufacture in Switzerland.

Hermès

The simple but unmistakable Arceau Duc Attelé from Hermès offers a novel combination of complications in which a central tourbillon with three axes and a minute repeater in the shape of a tuning fork beat harmoniously to the rhythm of a high-frequency movement. The horse-shaped hammers strike the hours, quarters and minutes on the branches of the long gong, whose tones are reminiscent of the chimes of a cathedral.

Hublot

A Clockwork Orange. Hublot scored with bold colors: The Big Bang Orange Ceramic is presented in a new ceramic color. A bright orange that is the result of what we call an »alchemical« process. Inside it ticks the HUB1280 Unico caliber, an automatic manufacture chronograph movement with flyback function and column wheel.

IWC Schaffhausen

2024 is a leap year. February 29 may already be over, but the next one is sure to come. And that is 2028. But there are also (mathematical) leap years without a leap day. Thanks to the built-in secular perpetual calendar, the Portugieser Perpetual Calendar from IWC Schaffhausen takes these exceptions to the Gregorian calendar into account. He omits three leap years over a period of 400 years. Moreover, its moon phase is so precise that it only deviates by one day after 45 million years.

Jaeger-LeCoultre

Over the course of almost two centuries, Jaeger-LeCoultre has distinguished itself by developing ever more sophisticated tourbillons that contribute to maximum precision. This year, Jaeger-LeCoultre combines its tourbillon expertise with the Duometre mechanism to create the Duometre Heliotourbillon Perpetual. The new Caliber 388 sets new standards in terms of inventiveness and features a completely new tourbillon construction: a tourbillon that rotates on three axes, creating a gyroscopic effect. The caliber 388 operates at a frequency of 4 Hz (28,800 revolutions per hour) to further improve chronometry and also features a perpetual calendar with a large date display.

Nomos Glashütte

One of 31: Nomos Glashütte was one of the debutants at this year’s Watches & Wonders and presented its classic, the Tangente 38 Date, in 31 different color combinations.

Patek Philippe

Patek Philippe launches the new world time watch 5330G-001, which features a patented world first: the automatic caliber 240 HU C with an innovative differential system for controlling the local time and date. The entire mechanism consists of 70 components. The opaline blue-grey dial has a carbon pattern in the middle. A red dot between Auckland and Midway marks the date line on the city disk.

Rolex

With its latest creations, Rolex is giving some of its most iconic models a new look. Like this original version of the Oyster Perpetual Rolex Deepsea. The diver’s watch is presented for the first time in 18-carat yellow gold and features a bezel with 60-minute graduations in blue ceramic. The Rolex Deepsea is equipped with the 3235 caliber.

Vacheron Constantin

Things get really complicated at the end of this exhibition: Vacheron Constantin presented the world’s most complicated timepiece at the world’s most important watch fair. With 63 horological complications and 2,877 components, it surpasses the record already held by the Maison with the reference 57260 . This world first is characterized by the fact that it is equipped with a genuine Chinese perpetual calendar. Given the special features of this lunisolar calendar, which is characterized by a complex and irregular cycle, the mechanical programming of the in-house calibre 3752 to 2200 is a watchmaking masterpiece. The Berkley Grand Complication from Les Cabinotiers is the result of eleven years of development, one year of which was devoted entirely to assembly. [MM]

Hardly any other industry is experiencing such a renaissance of traditional, almost forgotten craft techniques as Haute Horlogerie. The traditional knowledge of specialists is guarded by luxury watch brands like a treasure. There is a good reason for this technological species protection.

In his essay »Craft fetishism: From objects to things«, Justin McGuirk states that handicraft has taken on almost »magical properties«. The London-based writer, critic and curator notes, not entirely unironically, that it is not least a shortcut for luxury brands to communicate their message to customers: We are authentic, we are credible. In fact, it is precisely the »trace of the hand« that defines quality, McGuirk states without a wink: »The handmade is a real seal of quality. Few places have internalized this more than in Haute Horlogerie, the art of fine watchmaking. The company sees itself, probably also for marketing reasons, as the guardian of centuries of traditional craftsmanship. There, the old saying applies as rarely anywhere else: »The craft has golden soil«. Craftsmanship can sometimes even be glorified as a noble way of being. And not just completely irony-free, but deadly serious.

After all, craftsmanship, an emotionally charged term, is vital to the survival of an industry that basically produces a superfluous product. It is an important distinguishing feature to stand out from the crowd: Working under one’s own direction is the hallmark of luxury. That is why all watch brands like to emphasize it so much.

But why? To understand this, you have to take a brief look back in history. When the cheap quartz watch, or in the words of star conductor Leonard Bernstein, »the greatest plague since the invention of the cough«, took the world by storm in the 1970s, the traditionally manufactured mechanical watch suddenly seemed obsolete. The proud and self-confident watch industry, especially the Swiss watch industry, plunged into a life-threatening crisis. The timepiece, once a symbol of value, became a disposable item overnight. Proven manufacturers went bankrupt, family businesses went bankrupt, a state of emergency was declared.

What happened in the decades that followed was nothing short of a miracle. »An unparalleled renaissance«, as watch expert Gisbert L. Brunner puts it. Expensive, mechanical timepieces were suddenly in demand again, while quartz watches were frowned upon by connoisseurs. After all, luxury requires soul. The quartz watch was summarily denied this. Only the mechanical movement could have a soul—screwed together as it was over a hundred years ago: »There have been no quartz watches at Blancpain since 1735. And there never will be.« Rarely has a sentence from an advertisement been as memorable as this statement from the Blancpain watch brand in the 1980s. It summarizes the credo of Haute Horlogerie. In this way, the old myth of the (Swiss) luxury watch was revived, the myth of watchmakers sitting at their special workplace, dressed in a white coat and with a magnifying glass in front of their eyes, working on a watch movement. From specialists who have refined their skills over the years, to artisans who keep a rare craft alive and pass on their knowledge from generation to generation. And the smaller the workpiece, the greater the effort, is the rule of thumb established by Thomas Wanka, former editor-in-chief of the German Uhren-Magazin. This effort should be communicated to customers and made visible to them.

For a long time, the movement and its design were a hidden world that was only revealed to the watchmaker. The watch wearers noticed little or nothing of this. This changed with the triumph of the transparent glass floor, which brought with it a new transparency. The viewing window on the case back usually not only allows a view of the movement, but also reveals its perfectly shaped decoration. Whether bridges, cocks or plates, whether grinding or polishing, watch enthusiasts can see here that skilled hands have worked imaginatively in the smallest of spaces. As part of the finishing process, various individual parts of the timepiece are given decorative patterns. Renowned manufacturers such as Cartier, Patek Philippe, Jaeger-LeCoultre, Vacheron Constantin and Chopard take it to the extreme: every movement is equally elaborately decorated, even if it is concealed under an opaque case back. But German luxury watch manufacturers such as A. Lange & Söhne or Glashütte Original, based in the small Saxon watchmaking town of Glashütte, are in no way inferior to the Swiss.

The most well-known decorative grind is the serrated edge. It sounds almost banal in German and sounds even better in French, the unofficial language of watchmaking: »Côte de Genève« (Geneva stripes). This is a rib-shaped decoration made up of wide, straight stripes. The »perlage«, a circular cut consisting of small, closely spaced circles, and the »soleil«, a sunburst cut in the form of radial ribs, are also widely used. While the Genevans have their stripes, the Glashütte insist on their own specialty. A. Lange & Söhne calls its cut »Glashütte stripes«, while Patek Philippe adds its own in-house »circular cut«—a pattern that is applied in parallel arcs to the rotor of the automatic movement. In-house trained craftsmen are responsible for this difficult work. At Patek Philippe they are called Artisans, at A. Lange & Söhne Finisseurs—Finishers. What they have in common is a sure instinct, experience, a steady hand and precise work. In the Patek Philippe ateliers, for example, the Geneva stripes are applied with the help of a boxwood disk, which creates a silky, dignified look. One advantage of the wooden tool: no material is removed during sanding. The wooden disk is reportedly coated with a special paste made from secret ingredients. It is said to contain lavender essence.

Watch journalist Iris Wimmer-Olbort describes the work process as follows: The grinding wheel mounted in a machine is lowered by a foot pedal and then guided by the artisan’s hand and pulled over the workpiece from one side to the other with carefully measured pressure. The parallel, freehand movements create the desired, fine wave pattern of the Côtes de Genève. »Mainly through the skill of the craftsman, because the machine only provides a certain stability and ensures that the grinding wheel rotates,« she explains. Other patterns are executed in a similar way. The perlage is also applied using a hand-operated device. Between 35 and 50 percent of the total production time for a movement is spent on finishing. This is easy to imagine, as it takes 20 to 25 minutes just to apply a decorative finish to such tiny parts as bridges.

The finish includes not only the stripe cut or the perlage, but also the smoothing of the edges. This is not just a reflection of the attention to detail: the edges of bridges, clamps and levers are beveled to 45 degrees and polished to a high gloss. In this way, the contours are aesthetically emphasized, but primarily tiny burrs created during milling are removed. If this is not done, they could come loose later and seriously disrupt the running of the movement. The trick is that the surface created must have the same width and the same angle over its entire length. Looking at the engravers’ and angleurs’ tools, many of which they made themselves, takes you back to times long past. At Chopard, for example, these specialists work with everything from fine files to sharpened gentian roots or the pith of elderberry branches, which they use to polish the workpieces. This makes it easy to understand how the (clock) farmers must have once worked in the long, cold winters in the Swiss Val-de-Travers.Many of these small parts, decorated and polished in this way, disappear under dials or are covered by other components. So why go to all this trouble? »State of the art« is the answer during a visit to the Chopard manufacture in Fleurier. Customers get what they expect from a piece of Haute Horlogerie—finesse and craftsmanship down to the smallest detail, even if this is not visible.

Skeletonized watches, on the other hand, are completely open-hearted—not only from the case back, but also from the front, you have a clear view of the movement, whose inner workings fascinate every aficionado, and whose individual parts are »pierced« down to a supporting basic substance, as it is called in specialist circles. Skeletonized watches have been around since the 1930s. Today, this can also be done by machine, but it is the far more elaborate refinement by hand that Haute Horlogerie strives for.

Cartier, which has brought skeletonization to perfection, has also set itself this standard, as demonstrated by the latest version of the Santos-Dumont watch model, which has been equipped with a skeletonized movement for the first time this year. The timepiece is a tribute to the aviator Alberto Santos-Dumont, for whom Louis Cartier developed the first modern wristwatch that could be worn on the wrist in 1904. It shows what skeletonizing is all about. It is not only about the skillful processing of tiny clockwork parts, which are refined with virtuosity and accuracy, but also imagination and creativity. This is the only way to create a fascinating work of art. The end result should not only offer interesting views, but also appear graceful and sophisticated down to the smallest detail.

It all starts with a pattern that is applied to individual parts of the work, such as the circuit board. The aim is to reach the limits of functional stability. In the end, only the delicate outlines of the work components and the most necessary connections should remain so that everything holds together. Once the pattern has been applied, the actual manual work begins: first, tiny holes are drilled into the workpiece. The saw blade of a watchmaker’s saw is inserted through this, then the workpiece is machined. It’s somehow reminiscent of fretwork, although the comparison is of course not quite accurate. After all, watchmakers saw in a completely different dimension—nothing works here without a magnifying glass and a steady hand. And so the wafer-thin saw blade moves along the pattern until only the skeleton of the workpiece remains. The individual parts are then broken, refined and polished with a polishing file before being reassembled.

The »trace of the hand« that Justin McGuirk talks about can be seen particularly clearly in another craft that has accompanied mankind for thousands of years. Animal bones have already been engraved. So why not watch movements too? The question is rhetorical. And so engravers in Haute Horlogerie use traditional, nostalgic-looking tools such as pointed, flat, oval and thread gravers, etc., to engrave the finest images, ornaments or reliefs on calibres. A microscope is helpful here. After all, everything takes place in the smallest of spaces. Chip by chip, the material is removed with a graver according to a predetermined pattern. A job that requires meticulous care and can be nerve-wracking,« writes Iris Wimmer-Olbort. »Because a tiny slip of the hand can ruin the whole piece.« So why not rely on the precision of a computer-guided laser, you might ask. The answer leads us back to the »trace of the hand«: it is the barely perceptible irregularities that accompany true handwork, patterns created in this way are inimitable and ultimately make up the charm of a product that sells itself like no other through arguments such as »passion« and »uniqueness«, as Doris Rothauer (creativity & capital).

As with engraving, irregularities can also be discovered in the ancient technique of guilloché engraving, which creates fine, kaleidoscope-like patterns on the dial. Since the In the 18th century, guilloché box and pocket watch covers were popular. End of the 18th, beginning of the In the 19th century, the legendary watchmaker Abraham Louis Breguet made the guilloché dial his trademark. It has also found its way into the present thanks to the Breguet brand, which is now part of the Swatch Group. Even though technical aids are available today to achieve a guilloché look, those watches whose dials were guilloché by hand are particularly prized. Watch brands therefore proudly point out those models where this is the case.

Not without reason: even experienced specialists need a whole day to guilloché a single dial. They work with a type of lathe in which the workpiece is clamped. A tool, a graver made of steel or with a diamond tip, is inserted into this. While the lathe is manually kept in motion, the craftsmen press the tool against it with the given pressure and »pierce« a predetermined hole.pattern into the metal surface. The guillocheur has to put down their graver again and again to start a new pass and must ensure the correct depth and uniformity. Watch connoisseurs can only admire the lovingly and painstakingly crafted surfaces with the aid of a magnifying glass. This is because tiny shadows can be seen where more pressure was exerted on the burin.

This »art of the unique« has long since ceased to be a specialty of European watch brands. Manual work is also the key to every step in Grand Seiko watchmaking. While the dial begins with the machine production of a base plate, it is the Japanese watch brand’s craftsmen and women who give each dial its individual character. They plate and coat the base plates, and after cutting and drilling, they assemble each part, including the indices and hands, by hand. Even the tweezers and other instruments that the watchmakers use to place each part in the right place are special tools that are adapted and adjusted by the artisans to maintain their precision and match their particular style of craftsmanship.

The beauty of the »Snowflake« and »Sunburst« dials created by Grand Seiko’s Shinshu Watch Studio in the city of Shiojiri, Nagano Prefecture, are the embodiment of the watchmakers’ craftsmanship and have a special Japanese origin and aesthetic. The »Snowflake« dial, created in 2005, was inspired by the surface of the snow that lies in the Shiojiri region for several months of the year. The silky shimmering »sunburst pattern« dial, on the other hand, captures the light with a multitude of fine lines that create a deep shine. First, a layer of silver is applied to the base plate, which is then brushed in a special solution. A thick layer of clear lacquer is then applied and polished to create a smooth surface on which the grid of lines is drawn. At every stage, each dial is hand-finished and individually checked to ensure perfection, they promise.

This quest for the most exclusive pieces possible ultimately has a positive side effect: almost forgotten techniques are being brought back from their niches. What is certain is that, thanks to the watch industry (but not only there), craftsmanship skills that seemed to be a thing of the past and were in danger of being forgotten are experiencing a rebirth. The industry is engaged in »technological species protection« by saving traditional crafts from extinction.

At Patek Philippe, for example, enameling is used as it has been since the early days over 180 years ago. This is a material that has been used since ancient times. Not unlike crystal, it is a mixture of silicon dioxide, alkaline components and lead. It is melted at a very high temperature and then ground into a colorless powder. A wide variety of colors is achieved through controlled firing and the addition of oxides. There are numerous subtypes of enameling alone, which in turn require very specific skills.

Cartier takes it to the extreme. The Maison des Métiers d’Art in La-Chaux-de-Fonds has created its own world of craftsmanship in a converted listed farmhouse. Wood paneling and old lime tiles collected from the surrounding area, walls traditionally plastered with lime and matching furniture: when you enter this pretty courtyard, you feel like you’ve been transported back in time. Since 2014, the light-flooded, four-storey building has been home to a state-of-the-art institute that focuses on traditional craft techniques, some of which are thousands of years old. Almost all of the employees there are dedicated to arts and crafts. This also includes research and investigative work, for example when it comes to learning a certain grip, producing a special tool or recovering a lost technique.

A craftsman stands in front of a wooden frame that is vaguely reminiscent of a pre-industrial loom. It is an in-house development, a one-off. A thin saw blade, similar to that of a fretsaw, is set in an up-and-down motion via a foot rocker. This leaves the worker’s hands free to cut the finest wooden boards precisely into the desired shape. After hours of work, an animal motif is then created from numerous such plates, which are made of thin, layered wood. It is a fiddly job that requires a high degree of imagination and skill. The wood inlay will ultimately adorn an exclusive watch from Cartier’s Métiers d’Art collection.

One floor below, an employee looks intently into a microscope. You can follow what she is doing on a screen: she uses tweezers to put together extra-fine hammered gold and platinum wires that have previously been corded, rolled, twisted or formed into tiny rings to create a motif. Without the help of the microscope, this would be an almost impossible task, as the wire meshes are only a few millimeters in size. In this context, one could say that where the human eye needs optical aids to guide the watchmaker’s hand, that is where value creation in watchmaking begins. Filigree work is the name given to this ancient goldsmithing technique, which is said to have been mastered by the Sumerians. However, they were not faced with the challenge of having to fit their works of art onto the size of a dial. This can take several months. The end product is correspondingly expensive.

Craftsmanship is therefore a hard currency in the watch world. It is guarded like a treasure. Just like those who call this knowledge their own. These specialists are in demand and rare. No matter who you visit, be it Cartier or Patek Philippe, the full names of the artisans are not revealed. »Anyone who wants to sell luxury and succumbs to the temptation to hand over production risks the death of the brand,« says Doris Rothauer.

Justin McGuirk, on the other hand, notes that the hand is back in business. He attributes this to a desire for authenticity, for stories behind the objects. To a large extent, this mood is also due to nostalgia, a way of balancing out a world that is tipping heavily towards digitalization. This may also explain why the mechanical clock has once again become an object of desire, as it is itself »to a large extent a reference to the past«, as clock expert Maria-Bettina Eich puts it. »The image of a lost world of devoted craftsmanship«, according to the English arts and crafts theorist Glenn Adamson. Maria-Bettina Eich notes: »It also guarantees the rarity of the luxury object of the watch: a product that is dependent on manual work by specialists cannot be produced in unlimited quantities.«

Originally designed by young Ferdinand Alexander Porsche, the look of the 911 has evolved over the past 60 years, but its unmistakable features and characteristic lines remain to this day. This consistent evolution, which preserves the original design of the first 911 model with its characteristic front end, iconic round headlights, gently sloping roofline and clear design language, while at the same time regularly incorporating modern elements that give the vehicle a constantly contemporary feel, is certainly part of the success recipe of this automotive cult and object of desire.

60 years of timeless elegance, which Porsche Design is now celebrating with elegant timekeeping: the strictly limited Chronograph 1 – 911 S/T, a tribute to the legendary 911 S/T 2.4 sports car from 1970. The handmade chronograph from Porsche’s own watch manufactory in Solothurn, Switzerland, is based on the 1972 Chronograph 1, which was also designed by Ferdinand Alexander Porsche. »My aim was to create a watch to match the car«, F.A. Porsche explained at the time, and to this day that design philosophy remains unchanged in the development of Porsche Design: It is about the aspiration to create a symbiosis between the two worlds that combine the characteristic design aesthetic with optimum functionality as well as manual precision.

In this spirit, the Chronograph 1 – 911 S/T  also picks up on the characteristic features of its motorized counterpart with numerous details. The chronograph’s case, for example, is made of lightweight titanium, uncoated for weight reasons and blasted, thus quoting the lightweight construction concept of the Porsche 911 S/T.  The dial and the rehaut of the timepiece in black reflect the historic display instruments of the 911 S/T. Here, the minute scale has a heritage tachometer look and the number »60« is highlighted in red to mark the anniversary. Numbers, day and date are in phosphor green, while the white stop-seconds hand picks up the color of the tachometer. A printed switching scheme in silver for the Chronograph 1 – 911 S/T and in gold for the Chronograph 1 – 911 S/T Heritage underscores the close connection to the hand-operated special edition. Also derived directly from the switching scheme is the font of the letters H, M and S for hours, minutes and seconds in the totalizers.

The movement is presented behind the sevenfold anti-reflective sapphire crystal back and is driven by a rotor that picks up on the design of the magnesium wheel of the 911 S/T and is available in a choice of brilliant silver, dark silver (semi-gloss) or black (semi-gloss). The Chronograph 1 – 911 S/T Heritage offers a choice of Ceramica (silk gloss) and Brilliant Silver colors. Another key highlight is the rotor cap, which is designed to match the vehicle, either with a printed »S/T« graphic in brilliant silver for the Chronograph 1 – 911 S/T  or with the historic Porsche emblem for the Heritage version. A limitation number of the vehicle, in the form of a laser engraving on the back of the case, also underscores the exclusivity of the chronograph.

All now issued 1963 examples of the Chronograph 1 – 911 S/T  are available as of now, but exclusively reserved for owners of the new Porsche 911 S/T. Two design icons, quite obviously with an actual inseparable close link. [RED]

Porsche 911 S/T