Ever since meeting Jiro Katayama in December 2024, I’ve found myself returning to his work again and again.

Over the course of 2025, I ended up producing a series of pieces on Otsuka Lotec—starting with a video on the Model 5 Kai following its launch in January, which went on to reach over 74,000 views. That was followed by a visit to Katayama-san’s workshop, and later, a closer look at the Model 6.

Somewhere along the way, it became clear that this wasn’t just a personal fascination. There was a growing sentiment among collectors and enthusiasts worldwide: Otsuka Lotec was doing something genuinely different.

So when I was invited to attend the exhibition of the Model 8 in Harajuku, it wasn’t really a question. I wanted to see what he had done next—and, perhaps more importantly, to observe the man again.

One of the most remarkable things about Katayama’s work is not just the watches themselves, but the pace at which they are being created.

When I first interviewed him, he mentioned a goal of releasing one watch a year. At the time, it sounded ambitious. Now, it feels almost conservative.

When I first met him, the models available were the 5, 6, and 7.5. Shortly after, the 5 Kai was introduced. Then came the announcement of the Model 9—a higher-end tourbillon that sits in a different category altogether. And now, in 2026, we have the Model 8.

If you trace the full arc—from the early prototypes (Models 1 through 4), to the first commercial Model 5, and everything that followed—you begin to see something else entirely: not just output, but evolution. Each watch is a step forward, both mechanically and philosophically.

The Model 8 marks a clear shift in both form and execution.

For the first time, the case adopts a square profile—though not in the conventional sense. The sides are sloped, softening the geometry and making it surprisingly ergonomic. It presents as a square, but wears with a kind of mechanical fluidity that aligns perfectly with Katayama’s design language.

Mechanically, it continues his exploration of alternative time display—but refines it.

Hours are shown on the left, rendered as a large disc that resembles a control knob on a piece of industrial equipment. Minutes sit on the right, displayed via a retrograde system. But unlike earlier models—such as the Model 6, where the hand snaps back too quickly for the eye to follow—the Model 8 introduces a flywheel.

The result is subtle, but transformative.

Instead of a sudden reset, the retrograde motion slows just enough to become visible. You don’t just register the jump—you see it happen. It adds a sense of rhythm, almost like a mechanical breath.

This also makes it, in my view, the most legible Otsuka Lotec to date.

The separation of hours and minutes—left and right—combined with their increased scale, makes reading the time immediate.

By comparison, the Model 6 requires a moment of adjustment. The 5 Kai and earlier pieces, while visually compelling, compromise slightly on clarity due to their more compact displays.

The Model 8 doesn’t.

Inside, however, the simplicity is deceptive.

Katayama explained that achieving this level of clarity required a significant increase in mechanical complexity. Coordinating two jumping systems—the hour and the retrograde minute—along with the addition of the flywheel, demands careful calibration and extensive adjustment during assembly.

But what’s interesting is how he frames that challenge.

Over time, through building each successive model, he has learned not just to make things more complex—but to make them stronger and more refined. The Model 8 reflects that accumulated knowledge. It is, in many ways, a distillation of everything he has learned since his earliest prototypes.

It still builds on his modular approach—originally developed on a Miyota base—but now executed with far greater control and confidence. (The Model 9, notably, stands apart with a fully in-house movement.)

Even details like the use of Minabea Mitsumi ball bearings—among the smallest in the world, previously seen in the Model 5 Kai—point to a continuity of ideas, carried forward and improved.

On the wrist, the watch feels almost imagined.

There’s a distinctly retro-futuristic quality to it—the kind of object you could picture in a 1960s vision of the future. All machinery, all intention. Not designed to resemble the past, but to suggest a different path forward.

Seeing Katayama again was, in itself, a pleasure.

Over the past year, we’ve built something of a quiet understanding. I get the sense that he recognises the effort—that I’ve come to Japan more than once to see his work, to understand it properly, and to document it. And in return, there’s a certain openness, even if understated.

It’s not a loud relationship. But it feels real.

The Model 8 is priced at approximately ¥990,000 (around $6,300 USD).

And at that level, it becomes difficult to ignore.

Because what you’re getting here is not just a watch, but a fully formed idea—mechanically original, visually distinct, and produced in extremely limited quantities by a single independent maker working at the height of his momentum.

In a landscape where independent watchmaking at this level often commands significantly higher prices, the Model 8 doesn’t just represent value—it quietly disrupts expectations of what that value should look like.

Of course, acquiring one is another matter entirely. Like the rest of the collection, it is available via lottery—and demand continues to exceed supply.

To own an Otsuka Lotec is, in itself, a rare thing.

If you’re considering the brand today, the lineup offers a surprising range: the Model 5 Kai, Model 6, Model 7.5, and now the Model 8—each with a distinct personality. And for those able to stretch further, the Model 9 exists in a category of its own.

As for me, the Model 8 is deeply tempting.

It wears well. It reads clearly. And more than anything else—it feels like an idea made tangible.

There are watches that tell the time.

And then there are watches like this—ones that make you stop, look again, and wonder how someone chose to see time differently in the first place.

You see a picture of it, and it stays with you.

That might not sound remarkable, but after many years in the watch industry, it actually is. When you have seen hundreds — perhaps thousands — of watches, it becomes quite difficult for a new one to leave any kind of impression. Most watches are competent. Many are attractive. But very few linger in the mind.

And fewer still appear in your dreams.

That was what happened to me with the Jacques Bianchi JB300 Profonde × Deepsea EDC, a 150 piece limited edition version of the brand’s JB300, launched in late 2025, and since sold out.

I first came across the watch through a photograph. On the surface, it looked like a fairly straightforward dive watch — the sort of thing we see regularly in this category. Nothing immediately revolutionary. A diver, a rotating bezel, a familiar layout.

But for some reason, I kept coming back to it.

I found myself searching for more photographs of the watch, studying them, trying to understand what it was that had caught my attention. Why this watch? Why not any of the dozens of other dive watches released every year?

At one point, I even found myself dreaming about it.

That was when I realized something interesting was happening.

Looking Closer at the Details of Design

When I began examining the watch more carefully, the reasons started to reveal themselves.

The first thing that stood out was the shape of the case. It sits somewhere between a cushion case and a conventional round diver, but not quite belonging to either category. The geometry is softened just enough to give it a slightly vintage instrument feel.

It is the sort of case that looks familiar, but not in a way that feels derivative.

Some observers have mentioned that it carries echoes of the Citizen JP200 Promaster Aqualand, and that comparison makes sense. The JP200 is one of the classic functional dive watches, with a design language that prioritizes utility over polish.

The JB300 seems to capture some of that same spirit.

It feels like a watch designed with use in mind.

The slab sided cushion style case, is very much it’s own thing. I haven’t been able to find many that are close to it in design. It looks like a typical diver with a round bezel, yet something about it deviates just far enough that you have an unresolved open loop in your mind. And this extra brain activity is the delicious noise that you enjoy as your eyes go over what you are seeing, trying to make sense of something unresolved, yet also resolved, somehow.

The Role of Stonewashed Titanium

Another key ingredient is the stonewashed Grade-5 titanium case.

This detail plays a surprisingly large role in the watch’s personality. Instead of polished surfaces or carefully executed brushing, the JB300 adopts a deliberately rougher texture created by tumbling the finished cases in abrasive material. The stonewashed finish creates a matte, almost grainy surface that absorbs light rather than reflecting it.

The effect is subtle but powerful.

The watch stops looking like jewelry and starts feeling like equipment.

There is also something about stonewashed titanium that gives the watch a slightly individual character. The finish introduces tiny variations in texture, so each watch feels a little different. It is a small detail, but one that contributes to the watch’s tool-like authenticity.

The titanium as well adds another layer of interest. While the stone washed case gives a feeling of something old, worn, tough and heavy, your expectations are inverted when you handle the watch, and realize the featherweight nature of the titanium.

The Heritage Behind the Name

Of course, the watch is not just design.

The name Jacques Bianchi carries real history, particularly within the diving community of Marseille. Bianchi himself is known as one of the longest-serving watchmakers in the city, and over the years his workshop became closely associated with professional divers.

Among them were the divers of COMEX, the legendary French deep-sea engineering company whose watches and equipment have become part of modern diving mythology.

That heritage inevitably adds another layer of interest to the watch.

But in this case, it feels like supporting context rather than the main attraction.

Because the truth is that my reaction to the watch began before I knew any of that.

It began with the design.

The Influence of Brock Stevens

The collaboration aspect of the watch also adds an interesting dimension.

The JB300 Profonde × Deepsea EDC was developed with input from Brock Stevens, a professional diver associated with MkII, a brand whose watches I have long admired.

MkII has always approached watch design with a focus on practicality and historical awareness. Their watches emphasize legibility, usability, and purposeful design rather than spectacle.

Knowing that Stevens was involved in the project helps explain some of the decisions behind the JB300.

The underlying ingredients of the watch were already strong, but elements like the stonewashed titanium finish reinforce the idea that this watch was meant to feel like a true tool — something that could exist naturally in a working diver’s environment.

And that direction suits the watch extremely well.

Spending Time With It

The brand recently sent this JB300 over for me to spend some time with and form my impressions. Having the watch on the wrist for an extended period is always different from seeing it briefly across a table.

And the more time I spend with it, the more I appreciate the coherence of its design.

Nothing about the watch feels overly elaborate or forced. Instead, it has the quiet confidence of something that knows exactly what it is.

That quality is surprisingly rare.

The Beginning of a Journey

This article is simply a first set of impressions — a reflection on what initially drew me to the watch and why it continues to hold my attention.

Over the coming weeks, I plan to spend more time with this version of the JB300 , which at this point unfortunately, is sold out. However, this period of exploring it more thoroughly and sharing further thoughts as they develop will go some way to help you to understand what this ambitious young brand will be creating in the future.

And eventually, I intend to take it where it was meant to go.

Into the ocean.

Because a watch like this deserves to be experienced not just on the wrist, but in the environment it was designed for.

During this year’sWatches and Wonders week in Geneva (2026), the brand will also be appearing at Chronopolis, and I am very much looking forward to meeting the people behind Jacques Bianchi Marseille — co-founders Simo Tber and Fabrice Pougez — to learn more about the thinking behind this watch and the brand itself.

In the meantime, you can explore more about the watch and the brand at:

https://www.jacquesbianchi.com⁠

For now, consider this the beginning of the journey.

More to come.

When the World’s Finest Watchmakers Gather in Tokyo

Tokyo is rarely short of watch-related events. Launches, anniversaries, pop-ups — the calendar is full. But once in a while, something appears that feels quieter in tone, yet heavier in intent.

From January 9 to 12, 2026, Masters of Horological Craftsmanship will take place at SAI, inside RAYARD MIYASHITA PARK, in the heart of Shibuya. On the surface, it is a four-day exhibition. In practice, it is something closer to a convergence — of hands, minds, and philosophies — rarely seen outside Switzerland.

What This Event Is Really About
Organised by Precision Watch Tokyo Co., Ltd., co-organised by Seiko Watch Corporation, and supported by the Embassy of Switzerland in Japan and the Académie Horlogère des Créateurs Indépendants (AHCI), this event is explicitly centered on independent watchmaking as a living craft.

The involvement of the AHCI is telling. Often referred to as the association of the “god hands” of watchmaking, its members represent a lineage of creators for whom watchmaking is not a department, but a personal practice. Their presence shifts the event away from product display and toward something more fundamental: how watches are made, and why they matter.

The Setting Matters
Rather than a conventional exhibition hall, the event is hosted at SAI, an art gallery located on the third floor of Miyashita Park South. This is not incidental.
Miyashita Park sits at a cultural crossroads of Tokyo — fashion, design, youth culture, and luxury — and SAI offers a setting that encourages observation rather than consumption. It is a space designed for looking closely, for conversation, and for slowing down. For an event about craft, that context feels deliberate.

The venue is also highly accessible, just a short walk from Shibuya Station.

Live Craft, Not Just Finished Objects
One of the defining elements of Masters of Horological Craftsmanship is the emphasis on live demonstrations.

Throughout the event, visitors will be able to observe independent watchmakers — including AHCI members and GPHG winners — demonstrating techniques such as movement assembly and component fabrication. This is not staged theatre. It is the rare opportunity to witness advanced horological skills as they are actually practiced, at the bench, by the people who developed them.

In an era where craftsmanship is often reduced to marketing language, this kind of proximity matters.

The Watches on Display
Eight internationally respected brands will present timepieces at the exhibition:
LEDERER, PAGÈS, GRAND SEIKO, CREDOR, HAJIME ASAOKA Tokyo Japan, TAKANO, KURONO TOKYO, and ŌTSUKA LŌTEC.

Among the works shown will be several award-winning and historically significant pieces, including:

The LEDERER Central Impulse Chronometer

GRAND SEIKO’s Kodo Constant-force Tourbillon

PAGÈS “RP1”, winner of the first Louis Vuitton Watch Prize

ŌTSUKA LŌTEC “No. 6”

As well as the first public display of Hajime Asaoka’s “Tourbillon Noir” (2026) and ŌTSUKA LŌTEC “No. 9”

These are not merely rare objects; they are markers of where independent watchmaking currently stands.

The People in the Room
What truly elevates this event is not just what is on display, but who will be present.
Featured participants include:

Hajime Asaoka (Hajime Asaoka Tokyo Japan / Takano / Kurono Tokyo)
AHCI member, Contemporary Master Craftsman, and jury member of the Louis Vuitton Watch Prize

Jiro Katayama (ŌTSUKA LŌTEC)
Contemporary Master Craftsman and GPHG winner

Takuma Kawauchiya (Grand Seiko)
Contemporary Master Craftsman and GPHG winner for the Kodo Constant-force Tourbillon

Hisashi Ogawa (Credor)
Engraving Meister

Bernhard Lederer (LEDERER)
AHCI member and GPHG winner

Raúl Pagès (Pagès)
AHCI member and Louis Vuitton Watch Prize winner

Their presence is not symbolic. They are scheduled to speak, demonstrate, and engage.

Talk and Panel Sessions
Across the four days, dedicated panel sessions will take place, offering rare insight into the structure and future of watchmaking:

Saturday, January 10 (from 2:30pm)
What Kind of Association Is the AHCI?
— Bernhard Lederer, Raúl Pagès, Hajime Asaoka

Sunday, January 11 (from 2:30pm)
Winning the “Academy Awards” of the Watch Industry
— Takuma Kawauchiya, Jiro Katayama

Monday, January 12 (from 2:30pm)
About the MIH (Musée International d’Horlogerie)
— Nathalie Marielloni (Vice Curator, MIH), Hajime Asaoka

These sessions frame watchmaking not just as craft, but as institution, culture, and continuity.

Practical Details
The event runs from January 9 (Friday) to January 12 (Monday), 2026, from 11:00 to 19:00 (until 18:00 on the final day).

Admission is free, but advance reservation via the official website is required. This is not a casual walk-in exhibition.

Why This Feels Important
Independent watchmaking is at an inflection point. Interest is global, visibility is high, but meaningful engagement — especially across cultures — remains rare.

Masters of Horological Craftsmanship positions itself as a bridge:
Between Japan and Switzerland
Between finished objects and the hands that made them
Between heritage and the next generation of makers

If you’re in Tokyo this week, this is one of those events that genuinely rewards showing up — provided you’ve registered in advance. Not to buy, but to observe, listen, and recalibrate your understanding of where independent horology is heading.
Sometimes, the most important moments in watchmaking don’t arrive with fanfare. They happen quietly, in rooms where the conversation matters as much as the watches themselves

Adi: So your name is Masa, right? Full name?

Masa: Mm-hmm. My real name is Masaharu Nakajima. But everyone calls me Masa. Just call me Masa — that’s how everybody knows me.

Becoming a Watchmaker Through Frustration

Adi: You have a very interesting brand and history. Based on what I see, you started as a dealer in antique watches but became frustrated. What happened?

Masa: Yeah, you know, I started as an antique junk dealer — just by myself. But I had some watches. Then later I had more and more watch clients.

So I focused on vintage and antique watches. But the problem was: I couldn’t repair them myself. I had to ask local watchmakers. Most of them were very old. They couldn’t repair the watches well. They would say:

“These watches are too old. You can’t really use them anymore.”

Clients complained a lot. I got sick and tired of listening to that.

One night a watch was returned again, and I was so mad I thought I would break it. But when I opened the back, I saw the movement and thought:

“This is beautiful. Not bad at all.”

It was running sluggishly, but running. Since the client already returned it, I didn’t care if I broke it. So I disassembled it myself with simple tools, trying not to break anything. I cleaned everything with Zippo fluid. I started around 7 at night. When I looked up, it was morning. I assembled it — it didn’t run perfectly, but it ran.

That was the day I decided: “I have to learn this myself. No other choice.”

I bought as many books as possible (mostly from the U.S.), bought many tools, and taught myself. That was about 32–33 years ago. I started the shop in 1990, and began repairing around three years later.

From Antiques to Early Custom Wristwatches

Adi: So after that, you improved your watchmaking skills. How did you transition from repair work to eventually selling your own watches?

Masa: Back then, it was a very small business. I repaired every watch I sold.

About 25 years ago, Katsu, who is now our chief mechanic, joined me. He was very skilled.

Around 20-something years ago, we started making custom wristwatches from antique pocket watch movements — taking small pocket movements, making cases, turning them into wristwatches. People liked them.

We still make some of those.

The First Attempt at a “Manufacture” Movement

Masa: About 10 years ago I met a Swiss guy who was working for a big brand. He had three months in Japan, so I asked him: “Why don’t you design a movement for us? Someday we want to make our own.”

And he did — a good design.

We were already making plates and wheels ourselves.

Then Philippe Dufour visited. I showed him the movement, about 60% done. He said: “This looks pretty good… but it doesn’t feel like it was made by Japanese guys.”

And of course — the design was by a Swiss guy.

After he left, I stopped that project. I apologised to the designer and said: “We must make a movement entirely by ourselves.” It took 10 years to complete what is now our in-house movement: MP1.

What It Takes to Make an In-House Movement in Japan

Adi: Most people don’t understand what it takes to make an in-house movement. What was the journey?

Masa: The hardest part was that I truly wanted to make everything here — in our workshop. If we bought ready-made escapements from Switzerland, it would be much faster.But I wanted everything made here.

That meant we had to learn to make:

Pinions

Escape wheels

Balance parts

All the critical components

The escapement was especially tough.

What parts are not made here?

Only these:

Hairspring

Mainspring

Jewels

Those are imported (Switzerland & Germany).

Everything else — 100% is made here for the MP1.

Design Philosophy — Three MP Series Models

Adi: What is your design philosophy for the MP watches you offer?

Masa: None of us are designers. I just make what I like — in the simplest way.

We have three MP models:

1. Soko-ku

Designed entirely by Engraver K, who uses a special Japanese craft technique:

Engraved dial

Burnished “fabric-like” textures

A mixture of Japanese and Western techniques (e.g., Yoshi machine)

I wanted to introduce Japanese craft to the world.

2. Nagi — “Calm Water of the Sea”

My first design.

I am a sea person — I dive, I go fishing, I drive a small boat every weekend for 25 years. One day I encountered an exceptionally calm sea — like a lake, no waves, no wind. I said: “I must express this calmness in a watch.”

Dial: Sterling silver plated with green gold. Individually made indexes A deceptively simple but technically complex structure.

3. Shikae — “Rough Water of the Sea”

Released this year. A contrast to Nagi.

Sterling silver Bombay dial. Texture created using a small piece of coal scratched by hand — impossible to duplicate exactly.

All handmade.

Movement Finishing Variations

All three MP models use the same MP1 movement, but with different finishing depending on the model.

Customization Policy

Adi: Can customers customise their watches?

Masa: We can do anything. But if we accept everything, we will get into trouble — too time-consuming. So usually everything is fixed. But if someone really wants something concrete, we can consider it. For example, we made a special Soko-ku for Marc Cho: White gold, Shakudo,Platinum hands

Because everything is made here, we can do most things — but we must choose carefully.

Another Series — Shinohara’s Work

Three additional models are made by Naiveta Shinohara, who joined 5 years ago.

He won the Lange & Söhne Watchmaking Contest — first Japanese man to win gold. They instantly hired him. Masa told him: “Do whatever you want. I won’t tell you anything except about money.”

He starts with ETA/Unitas but heavily modifies them: Makes mainplates and backplates. Makes wheels. Special balance. Uses original escapement parts

Three models, each different.

Model A = top model, almost entirely his creation

Model B2:

Production Capacity

Masa: We don’t plan numbers, but last year we made 12 watches. Maybe a little more this year. For now, 12 per year is the maximum.

New Project — The MP Tourbillon

Adi: You have a new tourbillon coming?

Masa: Yes. Not sure when it’s coming. We are working on the MP Tourbillon — using as many parts from MP1 as possible.Same size and thickness, fits in the same case. Prototype has been running for a while — about 70% done. Maybe ready next May. This has never been announced before.

Future Intentions

Adi: What are your future plans?

Masa: I say the same thing to everybody. We want to make a little more watches in 10 years — maybe 30 per year. But we can’t scale without lowering quality, so we won’t become big. I need more watchmakers, maybe more engravers. More models.

Shinohara is working on a new smaller movement next year. I want to enjoy making new things often. But I have no definite plan. I don’t know where I’m going.

Why This Location?

Masa: I always wanted to show the workbench to the public. Previous shops were too small or on the second floor. When I found this place 20 years ago, I moved instantly. I sit near the window. Kids look through the glass while I work. Maybe some will become watchmakers.

Engraver K also likes working near the window. It’s like restaurants with open kitchens — you can see how things are made. Most clients come here to pick up their watches; I show them the workshop. They know exactly how their watches are made.

Final Words

Masa: I welcome everybody who wants to see or order a watch. But please make an appointment.

Masa’s Pastime

More info on the company and their watches: Masa's Pastime - Official Website

Address: 2-35-11 Kichijoji Honcho, Musashino-shi, Tokyo, Japan
Phone +81 422-38-8744 Fax +81 422-38-8743

Alan Birchall is one of them.

Half French, half English, raised in France, shaped by years spent in Australia, he now lives in Japan. Not Tokyo — Tajimi, a quiet city in Gifu Prefecture better known for ceramics than horology. And yet, the more time I spent there, the more it made perfect sense. Tajimi is a place where people shape things slowly, deliberately, and with their hands.

That is exactly the kind of environment where a handmade watch can exist.

Handmade Is Not Hand-Finished

People often use the word “handmade” casually, when what they’re really describing is hand-finished.

Those two things are not the same.

Hand-finished means a machine creates the part, and then a human polishes, bevels, or decorates it.

Handmade means the part itself — the bridge, the plate, the screw, the wheel — is shaped by a human being operating the machine manually, guiding each cut, each pass, each angle. No CNC programs, no computer-loaded files, no automation.

This distinction is important because almost nobody chooses the handmade path today. It’s slow. It’s unforgiving. It depends entirely on the skill of one person.

Alan has chosen it anyway.

The Prototype: “Pièce d’essai”

The watch he showed me is his prototype, named:

Pièce d’essai — literally, test piece.

It’s a time-only watch, stripped of a dial.

The full movement is exposed: frosted surfaces, lean architecture, intentional geometry. The case measures 35.60 mm, compact yet commanding in presence.

On this prototype, approximately 80% of the watch was handmade.

The only parts not made by him were:

The crown wheel

The train wheels (from center wheel to escapement wheel)

The balance staff

These weren’t shortcuts — they were deliberate choices. Custom wheel cutters are expensive, and for a prototype, he needed wheels he could trust to validate the design. Now that he’s satisfied, he’s making those components by hand for his customer pieces, raising the handmade percentage to about 95%.

Some parts will always be outsourced — the same ones every watchmaker in the world outsources:

Crystal

Jewels

Hairspring

Mainspring

Gasket

Everything else is shaped by his hands.

Two and a Half Years of Work

From the first sketch to the completed prototype, the Pièce d’essai took two and a half years.

This wasn’t a full-time project. He worked on it around life, around responsibilities, around teaching himself things most watchmakers simply buy.

The number of total hours doesn’t really matter.

What matters is the dedication.

Machines with Quiet Histories

Alan’s workshop is filled with character — old machines with stories attached, even if the stories aren’t fully traceable.

Most of his machines are from around the 1970s, bought from second-hand dealers in Japan. One dealer told him they came from an old Seiko factory, but the nameplates were stripped, so nobody can confirm it. Still, they’re unmistakably Japanese watchmaking machines

.His SIP jig borer, Swiss-made in the ’70s, came from another dealer in Tokyo who said it was used to make plastic mould prototypes for toy car figurines. Again, impossible to verify — but it adds charm to the workshop.

These machines have lived other lives before ending up in a small house in Tajimi, now helping shape one handmade watch at a time.

A House Shared Between Two Crafts

Alan didn’t only find watchmaking in Tajimi — he met his wife there too.

She is a ceramics artist whose works are sold through galleries, and their home is a living portrait of two crafts coexisting under one roof.

The house is divided into two halves:

Her Side: The Ceramics Studio

A large, rustic space dominated by a massive kiln. Clay dust on the floor. Tools aged by repetition. Shelves lined with organic, earthy forms. It feels warm, grounded, shaped by soil and fire.

His Side: The Watchmaking Workshop

Silent. Precise. Controlled.

Old machines arranged with care. Brass and steel sorted meticulously. Movement parts laid out like instruments in a laboratory. If her space is shaped by intuition and force, his is shaped by microns and focus.

Two crafts. Completely different. Yet perfectly complementary.

They work separate hours, each following the rhythm of their respective materials — clay for her, metal for him — but they are united by the same philosophy:

to create something meaningful by hand.

Seeing the two studios side by side was like stepping into a dialogue between fire and steel, between rustic imperfection and exacting precision.

Life Beyond the Workbench: A Small Farm

During my visit, Alan took me to the small farm plot he tends in the Japanese countryside. He grows carrots, garlic, pumpkins — simple crops, but grown with care.

These plots are often unused farmland that landowners loan out to keep the soil active. Alan works the land with the quiet confidence of someone who knows how to farm. His grandparents were dairy farmers, and those early years gave him an intuitive understanding of agriculture.

Watching him walk across the rows of vegetables was strangely revealing: the patience needed to farm is the same patience needed to build a watch by hand.

This is what makes Tajimi feel right for him.

It is a place where you can work with the land and with metal, with time and with nature.

Seeing Him Work

He showed me part of his process.

He couldn’t show everything — nobody could, unless I stayed for a year — but he showed enough:

He made a small setting bridge.

He made a screw.

And what struck me was not the machining itself, but everything before the machining:

Measure the raw material.

Check the measurements.

Adjust the machine.

Change the tools.

Reset the alignment.

Start again.

Then silence.

Pure concentration.

Forty minutes later — a single screw.

The next screw would be faster, but only marginally.

Nothing in his workshop is automated.

This is the true definition of handmade

The Price and the Wait

A watch from Alan starts at ¥13,000,000 JPY, with higher pricing for custom modifications.

The wait time is 12 to 30 months from the deposit, depending on complexity and the rhythm of the workshop.

Considering what he’s doing — and how few people can do it — these prices will inevitably rise as his craft becomes better known.

What Comes Next

When I asked about complications, he smiled and said:

“Handmade is already a complication.”

He isn’t chasing tourbillons or perpetual calendars.

Instead, he’s focused on:

refining his process,

increasing the handmade percentage,

improving efficiency without losing soul,

and offering custom modifications based on the current design.

His work evolves through iteration, not expansion.

Each watch is not a model — it’s a chapter

A Beginning, Not an Ending

This visit wasn’t just about seeing a workshop.

It was about stepping into a life built around patience, craft, and intention.

Tajimi may be known for ceramics, but in a quiet house split between a giant kiln and old watchmaking machines, something remarkable is happening — something vastly rarer than most people realize

This is just the beginning of the story.

And there will be more to tell.

On a cool Wednesday afternoon during Tokyo Watch Week, I made my way through the quiet backstreets of Ningyōchō, one of Tokyo’s older neighborhoods known more for traditional eateries than for horology. My destination was a modest mid-rise building — unremarkable from the outside, but inside, it holds the beating heart of one of the most talked-about names in independent watchmaking today: Naoya Hida & Co.

The brand occupies two floors. On the fourth floor is the workshop: benches for assembly, the hand-engraving station, and the tools that support a team of just seven people.

This is where dials are worked on, cases inspected, and watches carefully put together. The sixth floor is a different world: a showroom and event space, open, quiet, and filled with natural light.

It is here that clients are welcomed, watches are photographed, and the public face of the brand is presented. The contrast between the two floors — one buzzing with focus, the other serene and contemplative — mirrors the dual nature of the brand itself.

A Veteran Who Knows Exactly What He Wants

Naoya Hida is no newcomer. With more than 35 years in the watch industry, he has lived through the modern story of fine watchmaking in Japan. His résumé is not that of a bench watchmaker, but of a man who helped shape the market: he worked with brands such as Breguet, Ralph Lauren Watch & Jewelry, and most notably F.P. Journe, where he was instrumental in introducing the brand to Japanese collectors. This exposure gave him rare insight into both the artistry and the business of watches.

By 2018, Hida had seen enough to know he wanted to do things his own way. He founded NH Watch Co., Ltd. to create the kind of watches he admired: classically inspired, sized with restraint, and crafted with obsessive attention to detail. His vision was clear — he did not want to make watches for everyone, but for the connoisseur who values proportion, subtlety, and texture.

The company today is deliberately small. Just seven people make up the entire team. Among them is engraver Keisuke Kano, who left larger corporate work to join Hida’s atelier. The rest assist in assembly, case finishing, and operational support. Production is capped at under 100 watches a year — one estimate is around 50 pieces annually — and even that is only possible because of carefully managed resources. For comparison, some Swiss independents might produce ten times that number.

Yet ambition is not lacking. Hida himself reportedly has over 60 design ideas sketched and stored away, waiting for their moment. Growth is not about scaling numbers, but about pursuing the right concepts at the right time.

The Watches in Person

This was my first time seeing Naoya Hida’s watches in person, and the experience confirmed something that photographs never fully convey: the way his pieces reveal themselves slowly, detail by detail, rather than in a single impression. They appear simple, but the closer you look, the more depth you find.

Type 1D

This is the Type 1D — the watch that laid the foundation for the later 1D-2 and 1D-3. As the most accessible model in the lineup, it comes in stainless steel, with classic mid-century proportions at 37mm and under 10mm thick. Blued steel hands bring a quiet elegance to its engraved dial, setting the tone for the refinements that would follow in the series. The 1D remains the purest entry point into Hida’s vision, a balance of restraint, legibility, and timeless form that anchors the brand’s evolution.

Type 1D-2

The purest distillation of Hida’s vision. A round watch in 18K yellow gold, modest at 37mm in diameter and under 10mm thick, with proportions recalling the mid-20th century golden era of watchmaking. The dial is German silver, friction-plated for a soft metallic sheen, and its minute track is unlike anything else: 60 tiny solid gold spheres polished and inserted into recesses from the underside. The result is an effect that feels both tactile and timeless.

Type 1D-3

The pinnacle of the Type 1 line. It takes the same restrained proportions and transforms the case into a canvas for art. Keisuke Kano engraves each case by hand with Art Deco-inspired wave and fountain motifs, a process that takes three to four weeks per watch.

Only about three such pieces are produced per year, making it the rarest of the collection. Seen under natural light in the showroom, the engraving doesn’t shout; instead, it shimmers and whispers, rewarding close inspection.

Type 3 (Moonphase

)A slightly more romantic take. The Type 3B-3, for example, pairs the silver dial with a moonphase disc of lapis lazuli, its moon hand-engraved in gold. Once again, the scale is 37mm, and once again the details matter more than the complication. It is not a showpiece for the wrist, but a quiet companion that reveals its charm in private moments.

Type 4

.The Type 4 shifts the language into pilot watch territory, while still unmistakably carrying Hida’s DNA. Its dial, available in black or white, features full Arabic numerals and running seconds at 9 o’clock — a nod to the functionality demanded in aviation instruments. The 37mm steel case wears with the same vintage-correct proportions as earlier models, but here the focus is on clarity and presence. Every numeral is engraved and hand-finished, every line precise, delivering a pilot’s watch that feels less like a tool of war and more like a meditation on balance, legibility, and heritage.

Look closer at the tail of the seconds hand though, and you’ll spot a detail enthusiasts have nicknamed the “caviar spoon”. Delicately shaped, this is something that adds character and balance, and is evidence of the type of sensitivity that Hida brings to his design.

Type 5 (Rectangle)

In 2024, Hida introduced a rectangular watch — his most daring departure in form. Yet even here, the guiding philosophy remains intact: restraint, balance, and fine proportion. With its slim case, engraved numerals, and choice of acrylic crystal on certain versions, the Type 5A feels like something unearthed from the 1930s, but executed with today’s precision.

Type 6A (Perpetual Calendar)

The boldest step so far. In 2025, Naoya Hida & Co. presented its first complicated watch, the Type 6A Perpetual Calendar. The movement, developed in collaboration with Habring² and Dubois-Dépraz, is housed in a 37mm case that manages to keep classical proportions despite the additional mechanisms. The dial is engraved in sterling silver, with Roman numerals cut by hand and calendar hands in blued steel. Only ten pieces are planned for 2025–2026, marking this as both a milestone and a statement: Hida will pursue complications, but never at the expense of balance.

The Atmosphere of the Visit

Walking between the workshop and showroom, I was struck by how different the two spaces felt yet how much they complemented each other. On the fourth floor, there was the smell of metal, the hum of tools, the sight of dials in trays, partially finished, awaiting their next step. On the sixth floor, everything was still — a place designed to admire a finished piece, to host collectors, or to photograph details without distraction.

The contrast underscored what Hida is building. On one side, human craft and labor. On the other, the quiet presentation of the final object. Together, they capture the duality of his philosophy: a watch must be made with discipline, and appreciated with patience.

Reflections

What I carried away from Ningyōchō was not just admiration for the watches, but respect for the philosophy behind them. In a world where many brands chase novelty, Hida pursues proportion. Where others shout, he whispers. And where most photos flatten watches into two dimensions, his creations demand to be experienced in the third: how a gold dot catches the light, how an engraving shifts as you tilt the case, how a 37mm watch can feel so exact on the wrist.

It was my first encounter with his work, but it left a lasting impression. Naoya Hida & Co. is not simply another Japanese watch brand. It is a refined statement of intent, rooted in classical codes yet interpreted through Japanese craftsmanship. And if Hida really does have sixty more ideas waiting in the wings, then this quiet atelier in Ningyōchō may well be one of the most exciting addresses in modern watchmaking.

If I can do it, you can too. 

Despite being a watch enthusiast for many years, I had not, up till the point when I stepped through the doors of IHT Swiss Watch Atelier, ever attempted to open the back of a watch. The most “watchmaking” that I had ever done, was to change out the straps on my watches, with a little tool that I had gotten as a free gift from one of the events I had been to. 

So it was with a little trepidation that I sat in front of my watchmaking bench, along with 3 other classmates, to undertake the “Build Your Own IHT Watch: An Artisanal Experience” watchmaking course, given by Master Watchmaker – Michael Dubs. 

Now, I could not have found a better instructor for what I was about to do. Michael is a specialist in high complications, and has had a 30 year long career with the most prestigious brands in all of watchmaking. Starting at IWC, he went on to work at Audemars Piguet, Girard Perregaux, Parmigiani Fleurier, Jaeger-LeCoultre, Carl F. Bucherer, Maurice Lacroix and Porsche Design.

Most significantly, in 2014, Michael left Audemars Piguet Le Locle as Head of Production to relocate to Singapore where he had met and married his wife, now also his business partner. There he helped to set up Audemars Piguet’s training division.

Michael then, is as Swiss and as Singaporean as they come, and with his tremendous watchmaking background, both in production and in training, there was no one better that I could have as my instructor. 

My Journey Begins

IHT 1: The watch that I will build, is a classic pilot’s style watch, containing a Chinese made Unitas clone movement. The movement is large in size as it is known for being used in pocket watches. It is therefore easier for beginners to work on and to practice basic watchmaking skills with, without ruining more expensive Swiss movements. 

IHT 2: IHT Swiss Watch Atelier is located at – 61 Ubi Rd 1, #03-08 Oxley Bizhub, Singapore 408727, and the unit is large and spacious enough to have all the necessary equipment to conduct the course. Large windows bring in natural light to help, just the way that workshops are set up in Switzerland. The difference though is that there are no Swiss mountains to look at out the window. 

IHT 3: The Unitas clone movement I would be working on is 90% dissembled (some parts like the keyless works are already assembled), and ready for me to work on. 

IHT 4: My watchmaking bench, with all the tools set up. Notice the arm rests and the fact that the bench is placed on a table top. This helps the movement I am working on closer to my eyes, and is more ergonomic for my arms and fingers.

IHT 5: Here, I am listening closely to Michael’s instructions, as you can tell, I am very focused on the task ahead.

IHT 6: Initial steps – assembling the barrel (that powers the movement) and parts of the gear train. 

IHT 7: Michael  helps us along and oversees our progress. Here, he helps one of my classmates on a specific movement component. 

IHT 8: This is my first time working with such small parts, and it is a bit of a learning curve in handling and manipulating things with fine tweezers. They have to become an extension of your fingers.

IHT 9 & 10: Here, the barrel and gear train have been installed. Generally, I have a good understanding of how a watch movement works, but going through this class, it is obvious that I can attain a deeper level of understanding in terms of what goes into a movement, especially when I actually manipulate and assemble parts that I’ve only previously read about. 

IHT 11: The black plastic stick with a point is a very useful tool as it helps me to adjust the position of small parts without touching the movement with my fingers, which have oils that can damage the surface finishing. 

IHT 12: Here, the gear train bridge has been installed. The large plate that I had to place over the gear train helps make the movement more stable when it is running. However, making sure that all the pivots sit correctly before covering them is an exercise in patience. 

IHT 13: Every step is shown via a video on a large screen, which helps to get a sense of what is ahead.  

IHT 14: Installing the winding ratchet wheel. Note the extremely small screws 

IHT 15: It’s been an hour to get to this point so far. The movement is now ready to receive the balance wheel, the beating heart of the watch. 

IHT 16: It starts with installing the balance wheel bridge, now the ordeal begins.  

IHT 17: After a few attempts, the balance wheel is finally  running. 

IHT 18: Now, I’m installing the movement into the movement ring. This took a bit longer than I expected because the screws are so small. 

IHT 19: These are the two dial options available, white with red highlights, or black with white highlights. You can choose your hand colors as well.

IHT 20: I decided to go with a black dial with white highlights, as well as some red hands for contrast. Also, I went with the custom option in which you have a steel plate placed on the dial where a logo would normally be. Here you can choose to have an engraving done, which can be arranged before you arrive at the place. With my dial, I went with the ISOCHRONO logo, but there are quite a few possibilities. 

IHT 21: The hour hand is installed 

IHT 22: Here, I am using a rubber finger cot to cover the tool to make sure that the watch hands are set to the proper height. The rubber finger cot there to make sure that I don’t scratch the hands.

IHT 23: Now that both hands are installed, its starting to look like a real watch. 

IHT 24: The next step is to set the movement in the case.

IHT 25: I had a few issues with this, the screws and fasteners of the dial are really small, and quite difficult to manipulate with tweezers. But I did it in the end. 

IHT 26: IHT Swiss Watch Atelier has a machine that is able to verify the water resistance of the case (to 100 metres). It uses air pressure in this case instead of submerging the watch in water.  

IHT 27: I’m now finally a watchmaker! (not really)

IHT 28: Here is a close up look at the watch that I built. 

IHT 29: Here I am receiving a certificate of completion from Michael. Am I a watchmaker yet? Probably not, but I am ready to start moving onwards to more difficult things. 

Conclusion

Having completed the course, here are 5 key takeaways from my experience

1.The world of the small is a different place

 Watchmaking is a skill that needs to be practiced in order to get better and more familiar with. My main challenge was in learning how to deal with the world of the small. From managing my finger sensitivity, to the placement of the loupe on my eyes in order to manipulate the parts of the watch, it is difficult, yet extremely rewarding to learn to do it properly. Watchmaking as well is like a form of moving meditation. Because of the extreme focus it requires, time passes very quickly. I even learnt to be more patient as well. 

2. A course like this refines your understanding of the inner workings of a watch. 

I think that I will start to buy watches differently now that I have done this course. Having actually manipulated watch parts in order to make a functioning watch, I think I can judge watch movements with a bit more sensitivity than before. 

3.Realizing the enormous skill of the watchmakers at high end watch brands. 

Being a watchmaker is not an easy task, and when choosing to buy a watch, its easy to get  lost in the game of comparing features, when the basic tasks required to complete a watch are something to be appreciated. 

4.The importance of a good instructor. 

Michael was able to do things with an ease and finesse, that comes from years of working with high complications like minute repeaters and tourbillons. Being instructed by someone who has seen it all does mean that he has a huge reservoir of tips and tricks to draw from. Watchmaking is not easy, but his manner of instruction was clear and concise enough, such that the only thing holding me back was the lack of familiarity with the watchmaking process, which I was there to overcome. Having a clear idea in my mind of what to do was never a problem. It feels like the proper Swiss way of doing things, which is very nice. 

5.Would I recommend the course? 

Very much so! You can find out more information about the course I attended via the their website (https://iht.com.sg/), as well as the other courses available, including a more advanced one licensed from Master Watchmaker, Paul Gerbar, as well as higher level possibilities, where you can work on more advanced movements, as well as different types of decoration and finishing/  

—————————

“Build Your Own IHT Watch: An Artisanal Experience” 

Perfect for enthusiasts and beginners alike, you will leave this hands-on Masterclass with a functional manual winding mechanical watch and a deeper appreciation for the timeless craft of horology. Come learn from Michael Dubs, a Swiss Master Watchmaker who has 16 years’ experience with Audemars Piguet.

Duration 8h for 4-5 pax.

Price: From SGD950/pax
Contact: Phyllis Dubs at +65 8846 5744 (Whatsapp)

Address: Swiss Watch Atelier IHT Pte Ltd – #03-08 Oxley Bizhub, 61 Ubi Road 1 Singapore 408727

The case measures 40mm wide and 9.5mm thick, and this, combined with the lug to lug dimensions of 44.86mm make this an easy watch to wear for most people, 

When looking at the watch, you might think that it only has the typical time and date complications, but you’d be wrong. The second crown, at the 2 o’clock position, allows you to rotate an inner bezel, useful when measuring events under one hour, and working very much in the same way as a diving bezel, but usefully hidden away when not needed. Both crowns are screw-down, which helps to guarantee water resistance at 100 metres. 

The movement here is Mido’s own Calibre 72, featuring a Nivachron balance spring for enhanced magnetic resistance, and a power reserve of 72 hours. 

The Multifort 8 Two Crowns come in three variations at launch. This blue dial version here, with a matching rubber strap, this black dial version, on a metal bracelet, and lastly, this gray dial version, also on a metal bracelet. All watches feature an easy change system making it convenient to swap between straps or bracelets at will.

 How much do you pay for all these features? Well, as a guide, the rubber strap version comes in at 1020 CHF and the bracelet one at 1050 CHF, which, in the typical Mido way, is frightfully excellent and a tremendous value. 

Date Diving Horizon Micro Brands Watch Culture

In the watch industry, the process of designing a watch, and indeed a new brand is an incredibly difficult endeavour. Seeing as the industry is hundreds of years old, launching a new model can run the risk of being labelled derivative, or uninspired. Thankfully, the team at Horizon Watches have combined their design expertise to produce the Nemo – a model that further iterates on their already established design language, whilst making a more wearable piece that draws on vintage styling and their art deco sensibilities.

Horizon Watches is the brainchild of Singaporean watch entrepreneur Sugiharto Kusumadi and designer Fred Bekher. Kusumadi is best known as the founder of Red Army Watches, bringing microbrands to the forefront of the hearts and minds of collectors – in addition, he was the mind behind the recent Spring Sprang Sprung watch fair in Singapore, which further shone the spotlight on these smaller brands that are flying under the radar. Fred Bekher has done extensive work in watch design, having worked with a number of microbrands on their product designs. However, a lingering thought always crossed his mind, as he wanted something to call his own. A chance meeting between the two kicked off the Horizon Watches brand, and the collection now encompasses three models, with distinctive design elements.

The Nemo is the third iteration of Bekher’s designs, aimed to be slimmer, smaller, but offering more in the way of wearability and versatility. Observing the watch on the surface is the sculpted case design, which is achieved with a clever 2-piece construction. The Art Deco gadroon-like lugs are a result of this multi-partite case, and the finishing alternates between brushed and polished surfaces, giving the case an intricate feel. This is further accentuated by the coin-like edge of the bezel, adding to the refinement of the case. Within the bezel is a sapphire crystal insert, bringing to mind another premium brand that utilises this construction technique for their dive bezels. Furthermore, the numerals and markers are also filled with luminescent material, which increases the legibility of the watch in low-light conditions.

The dial is where the look and feel of the watch is solidified. The 12, 3, 6 and 9 numerals take their inspiration from the Nautilus, a deep-sea cephalopod that has a distinctive shell. This design is another point where the watch evokes an Art Deco/Art Nouveau inspiration – these markers are also much taller than in other watches, standing at 0.6mm tall.

At 4 o’clock, we see the Horizon Watches signature design detail – the Integrated Date Display (IDD). The date indicator is integrated into the circular marker at 4, and the date even glows in the dark – an amazing attention to detail as the watch is not only good looking, but fully functional in low-light conditions. The IDD also has the dual function of keeping the dial design harmonious, with no extra date aperture interrupting the design of the dial. Rounding out the vintage design is the box sapphire crystal, which is 2.50mm thick, and featuring an anti-reflective coating to maximise readability.

The watch provided to us came on a stainless steel bracelet – a vintage-styled flat link design, which is equipped with a quick-change system through the use of double-lever spring bars. These will feature a flat catch-point design which ensures that these levers will not dig into the wrist.

The bracelet is also equipped with a micro-adjust clasp, achieved by the buttons at each end of the bracelet (termed “microsliders”). An FKM rubber strap with pin buckle is also included in the package, giving the owner multiple ways to wear their Nemo the way they would like it.

The Nemo is equipped with a Sellita SW200-1 hidden behind a solid stainless steel caseback, an apt choice for this watch, given its workhorse nature. It is also easily serviced, guaranteeing the future longevity of the watch.

7 colours are available at the time of writing – Ocean (blue), Kelp (green), Abyss (black dial, grey bezel), Clown (orange dial, grey bezel), Coral (silver), Golden Hour (champagne dial, grey bezel) and Pistachio (light green dial, black bezel). Quantities are limited, as many of these watches have already been delivered via the brand’s Kickstarter campaign earlier in 2024.

Overall, the Nemo is a very compelling offering from a microbrand, providing excellent value and design details usually seen in high-end dive watches, whilst possessing a. unique Art Deco/Art Nouveau style that makes it a compelling choice in the world of microbrands. The quality movement underneath the dial gives it great future longevity, and it is a watch that will have great versatility with all the strap options available to it at delivery. The best way to experience this watch is to visit Red Army Watches – it’s a watch that really has to be seen in the metal to be believed.

Technical Specifications:

Measurements

    •  Diameter: 40 mm

    •  Case height: 11.85mm

    •  Lug to Lug: 47mm
    •  Lug width: 22mm

Movement

    •  Sellita SW200-1 

    •  Mechanical movement with 
        Automatic function

Case material
    •  316L Stainless steel

Crown
   •  Screw-down 

    •  7.5mm in diameter

Glass

    •  Top hat sapphire crystal
       with 3 layer of anti-reflective coating
Bezel
    •  Unidirectional / 120 click
Bezel insert
   •  Sapphire

Water resistance

   •  20ATM / 200m

Super-luminova
    •  Super-LumiNova Old radium / BGW9

Strap material
    •  FKM rubber / Genuine leather

Bracelet 

    •  316L Stainless steel

    •  Butterfly clasp

    •  Push button on link for micro adjustment 

Standard packaging

    •  FKM rubber strap with buckle

    •  Integrated bracelet 

Collector bundle  (Additional option)

    • Genuine leather strap with buckle

    • Cut to adjust Length FKM rubber strap

Warranty

    •  1 Year

Despite the time of the Amida Digitrend being in the thick of the Quartz Crisis, the original watch did not use the technology that was on trend at the time. Instead, the Amida Digitrend featured mechanical watchmaking, in an affordable 1 jewel movement, or a pin anchor 17 jewel movement variant. Ingeniously, the brand utilised a clever display that they patented as the LRD – the Light Reflecting Display. Shaped like a prism, the crystal projects the horizontal discs of the movement in a vertical arrangement – a display that was often referred to as perfect for drivers, as the driver does not need to take their hands off the wheel to see the time. In an era where many watches of this design went with an LED quartz movement, the Amida Digitrend bucked those trends, and went mechanical. Although the brand went extinct in 1979, the watch would go on to inspire a certain brand and his friends to create their version of the watch, until its rebirth in 2024.

The modern day Amida of 2024 is headed up by enthusiast Matthieu Allegre, his partner Clement Meynier, and engineer Bruno Herbet. The story goes that one of Allegre’s friends acquired 40 Amida Digitrend watches at an auction, and when Allegre held one in his hands, it was love at first sight. The new 2024 Digitrend is machined out of 316L stainless steel, with slight improvements in its finishing and contours to give it a sleeker profile in line with modern manufacturing. The time display echoes the original, with its retro design, and the caseback is partially visible, with the “Take-Off Edition” featuring a view into the balance bridge, as well as a commemorative engraving. 

Housed within the futuristic case, is the Soprod Newton calibre, beating at 28,800 vibrations per hour, set with 23 jewels, and features 44 hours of power reserve.

The disc system is ingeniously designed, with only an additional 9 parts needed to convert the movement to display the time on discs. 

Pre-orders began on the 28th of May 2024, and Amida will determine how long the pre-order period will be on their website. October 2024 will see the first pieces being delivered, with plans to be stocked at physical retailers in the future, opening the door to collaborations with partners who will represent the brand at its best. The Amida Digitrend is a watch that shows the ingenuity of mechanical watchmaking, and is a piece that will start a conversation with the enthusiast and casual observer alike.

Technical Specifications:

Movement

Caliber: Soprod NEWTON P092, Swiss automatic mechanical winding 

Auxiliary module: Jumping hour disc developed in-house with 9 mechanical components and 6 screws

Jewels: 23 rubies

Frequency: 28,800 vph (4 Hz)

Power reserve: 44 hours

Thickness: Movement : 4.6mm, Auxiliary module: 2mm

Finishes: Côtes de Genève, sandblasted, circular-grained, skeletonized oscillating weight, rhodium-plated finishes

Indications: Dual discs, for hours and minutes, respectively (LRD – Light Reflective Display)

Case

Material: 316L stainless steel, satin-brushed and polished 

Dimensions: Width: 39.6 mm / Length: 39 mm / Height: 15.6 mm

Crystal: Sapphire crystal reflective prism

Water resistance: 5 ATM (50 meters)

Strap & Buckle: Charcoal Alcantara lined in orange calfskin

Lug width: 22mm, Stainless steel buckle, 18mm

Weight: 110 grams

Price: CHF 2’900.- (excluded VAT)

Housed within the iconic Luminor-style case with a rotating bezel, the watch is crafted from the brand’s proprietary carbon material, Carbotech. Formed out of sheets of carbon fibre, they are then compressed at controlled temperatures and pressures with a polymer to form a composite material that is extremely resistant to mechanical stress, whilst also giving each watch made from this material a character that is unique to each watch. A DLC coated titanium bezel completes the watch, giving it an action-oriented design through its diver’s inspired design and function. In addition to hours and minutes, the watch also has a running seconds at 9 o’clock, day/night indicator at 3 o’clock, and a GMT hand in red, enabling the viewing of a second time zone. The hour markers are done in the brand’s signature minimalist bar-and-dot style, which further adds to the modern look of the watch. The industrial design is further highlighted through the grid structure just beneath the hour markers that partially masks the running trains of the watch. 

Turning the watch over, we see the P.2015/T movement – a truly high horology movement with a patented tourbillon mechanism that rotates perpendicular to the axis of the balance wheel, quietly tucked away at the 10/11 o’clock position of the watch. Theoretically, this orientation of the tourbillon mechanism is to better average out the positional rate of the watch while it is on the wrist – an improvement on the original idea of the tourbillon which was developed for pocket watches. The rear-side of the movement also includes a power reserve indicator, showing a maximum run time of 4 days. The movement side also further highlights the industrial nature of the watch, with its girder-like bridges and plates spanning the movement.

As previously mentioned, the DNA of Panerai is inextricably linked to the sea, and in this case, the watch is made in tribute to the daring sailors of the Luna Rossa team. The Carbotech of the watch is also used in the boat of team Luna Rossa, linking the two through their ultra-light frames. With the watch being limited to 20 pieces, the lucky owners will get to experience a money-can’t-buy look at the team while they compete at the finals of the America’s Cup in Barcelona, with front row access to the competition, and exclusive behind-the-scenes peeks at how this team competes under pressure.

Panerai further demonstrates its linkage to the oceans through this partnership with Luna Rossa, and even gives the owners an exclusive experience to further link the brand with the owners of the watch. Buying a watch in of itself should be an experience, however, it is certain that the experiences tied to this Submersible Tourbillon GMT will leave an indelible mark on their owners, forever tying them to Panerai and their continuing story of seafaring adventurers.

Technical Specifications

Movement: Hand-wound mechanical, P.2015/T calibre, 15 1/3 lignes, 7.88mm thick, 27 jewels, Glucydur® balance, 28,800 vibrations/hour, Incabloc® anti-shock device. Power reserve 4 days, two barrels. 256 components.

Functions: Small seconds , World time , Tourbillon , Hours , Power reserve , Second time zone , Minutes

Case: Diameter 45mm, Carbotech

Bezel: Titanium DLC anti-clockwise rotating bezel with graduated scale and numerals 

Back: Screwed, see-through sapphire crystal and titanium DLC

Water Resistance: 30.0 bar (~300.0 metres)

Strap: Bi-material grey Luna Rossa, STD, 24/22, BA

Grand Seiko has a plethora of models available in their current catalogue that embody the spirit of Japanese watchmaking, the latest of which form the backbone of their Evolution 9 series. 2020 saw the introduction of the first Evolution 9 models to celebrate the 60th Anniversary of Grand Seiko – a milestone meant to signify the brand experiencing the full zodiac cycle, and coming full circle, being reborn as the brand we see today. The next model in this lineup was the award-winning SLGH005 “White Birch” – released in 2021, and was lauded by the GPHG in its Men’s Watch division. A further evolution was made on this model in 2022 with the SLGH017 “Night Birch” – a darkened version of the “White Birch” model in a hi-intensity titanium case. This watch intrigued me with its case material, dial aesthetic and its movement, and we decided to pick this for review to see if this model holds up a few years after its release.

In terms of aesthetics, this watch follows the aforementioned Evolution 9 design cues, a watch designed with an “impressive look” in mind, according to Grand Seiko watch designer Kiyotaka Sakai. Firstly, the dial design included a thicker hour hand, and a longer minute hand to increase legibility. The minutes and seconds hands are also bent downwards towards the chapter ring to reduce parallax error, thereby increasing the legibility of the time. In addition to this, the 12 o’clock index in most Grand Seiko watches is two times the width of the other indexes, but with the Evolution 9 design having “impressiveness” in mind, the index was designed to be 2.5 times the width of a normal index, giving the 12 o’clock marker more presence, and making it easier to read the time. 

The Night Birch SLGH017 further iterates on this with a textured dial that is inspired by the birch forests of the Hiraniwa Plateau located near the Grand Seiko Studio Shizukuishi where the watch is manufactured. It is a scene of the forest at night, with the dial being stamped seven times to achieve the desired texture, and multiple coating layers are required to achieve the colouring of the dial. In different lighting conditions, the texture of the dial goes from black to shades of grey, creating a dynamic look for the watch. In addition to this, the diamond-cut hour markers reflect light in even low light conditions, making luminescent paint for the hands and markers almost redundant. As a final touch, the date window at 3 o’clock has a colour matching date wheel, making the watch incredibly coherent across its functions and design.

The case is another key element of the Evolution 9 design, with a balance between the hairline finished and polished finished surfaces an essential consideration to create a serene look. By placing the hairline finishes on the top surfaces of the bezel, lugs and the sides of the watch, and mirrored, Zaratsu polished surfaces on the edges of those components, the edges are able to stand out and possess a sharp, precise look that is still understated and refined. With the arrival of a new movement bearing a slim profile, the opportunity presented itself to design the ideal case shape and profile to house the new movement. A case design with a steep vertical side, a gentle curve of the case middle and attenuated tips of the lug created a firm yet light presence. A point was also made to lower the centre of gravity of the watch, which works in tandem with the slimmer movement, enabling a thinner caseback – this in combination with a wider lug width enables a better stance of the watch on the wrist. With these design features, the Night Birch takes all of these and applies this to a hi-intensity titanium case, applying the lower centre of gravity design to an ultra light titanium case. This creates an effect on the wrist that is quite unique – one where the watch almost disappears on the wrist, and only re-emerges when you are looking for the time or date. The bracelet design is also a source of intrigue, with its wide stance and dimensions. Some may take issue with the 22mm lug width, but like the modified and stanced cars as seen in the car scene, the wide stance enables an air of stability, creating a sense of comfort on the wrist. The interplay of light across the watch case is also evident, and even in titanium, these finishes hold true. In particular, the top of the bezel being brushed accentuates the stable and slim design.

Tying all of these design elements together is the Calibre 9SA5, which has three key design features that give the Evolution 9 watches an edge in performance, as well as giving the watches their signature designs. Firstly, the Dual Impulse Escapement enables a long power reserve of 80 hours thanks to its efficient design that delivers mainspring energy directly to the balance wheel. MEMS (Micro Electromechanical Systems) manufacturing technology also enables the escapement components to be light, which also increases efficiency in the movement. In contrast to other movements in the Grand Seiko collections, the 9SA5 incorporates a free-sprung balance wheel – free of the indexed balance, the movement has a higher resistance to shock and positional changes. To top it all off, the movement is designed with a special horizontal gear train with 4 wheels instead of three in the going train that decreases the energy load in the movement, which also enables a slimmer construction. The Night Birch is a watch that is weekend-proof – take it off on Friday, and pick it up on Monday, ready for another week of wear. For those who have not experienced a Hi-Beat movement, putting this watch to your ear gives a sound that is precise, yet not as frantic as you would expect. Performance-wise, on casual observation, the watch is holding to around +3 seconds per day – well within the Grand Seiko standard. All of these aspects make the watch incredibly easy to work with, and makes it a great everyday watch, with the movement aiding its slimness, and its chronometric performance. 

I was not expecting the Grand Seiko SLGH017 “Night Birch” to be this good. There were a number of features that I thought of as compelling (its movement, and its slimness), however, I really needed to experience these in the metal for me to really come around. Dials and cases are all well and good in renderings, but to really have the true Grand Seiko experience, the visual experience has to be done in person, and its fit and finish are truly exceptional for its price point. Whilst the 22mm lug width has been widely criticised, I feel that they are unwarranted, and they give the watch a balanced look, whilst giving the watch stability – this may be due to the titanium construction, given its lightness, however, I would also make the guess that in stainless steel, this balanced feel will be accentuated. The watch is also incredibly great to live with – paired with businesswear, or casual jeans and a t-shirt, the watch truly disappears on the wrist, and only reappears once you are searching for it. The only gripe I would have about this watch is the bracelet – I’m not a fan of how the bracelet has no micro-adjustment for an even better fit on the wrist, as well as it being fastened by pins and sleeves – I would have expected screws in a watch of this level, but I’m happy to be proven wrong. Having said this about the bracelet, what I am a fan of is the all brushed finishing, no brushed centre links to worry about!

Overall, the Grand Seiko SLGH017 “Night Birch” is a watch worthy of your consideration if you are in the market for something from Grand Seiko, but with a little bit of a twist. The materials and design make it easy to live with, whilst the movement has been designed to have great performance over time. Grand Seiko set out with the Evolution 9 Series to make a watch that is even more accurate, legible, durable and beautiful than ever, and I believe that they have achieved that with the new collection. The Night Birch takes it even further with a feather-light case and bracelet, with a handsome black dial that will be pride of place on your wrist for years to come.

Technical Specifications

Exterior

Movement

Functions

Originally an initiative started by prominent brands located within the Fleurier area of Switzerland, following the withdrawal of those brands from the Fondation Qualite Fleurier, Chopard remains the sole custodian of the foundation since 2022, and continues to issue Qualite Fleurier certifications according to the strict criteria outlined by the founders to this day. Five key criteria govern the Qualite Fleurier:

• 100% Swiss Made – The entirety of the watch head must be constructed in Switzerland, which includes the manufacturing of movement blanks, PVD/Coating processes, jewel setting and prototyping.

• Quality of Finish – Finishing and decoration of the watch must be rigorous and applied to Haute Horlogerie standards – processes such as anglage and polishing must be applied to shaped parts, and if possible, must have drawn lines on the component (brushed finishing).

• Chronometry (COSC Certification) – All watches undergoing the Qualite Fleurier certification must also pass COSC certification for timekeeping.

• Chronofiable Test – A test of simulated ageing on the watch, a set number of watches are pulled from production to test elements such as pusher activation, crown push and pull actions, magnetic field, shock and water resistance.

• Fleuritest Precision – The final watch is put through a 24 hour testing cycle that simulates daily wear. The watch must fall within 0 to +5 seconds per day through this test.

Passing all of these five areas qualifies a watch to be Qualite Fleurier certified. 

The first Qualite Fleurier watch from Chopard to be housed within a 39mm Lucent Steel case (a material exclusive to Chopard that is made of recycled steel), the watch presents in a classical manner with a silver sector-style dial with hour markers and a small seconds indicator at 6 o’clock. With a slimness of 8.92mm, the watch is firmly styled as a dress watch, which is further reinforced by its lug design – similar to that of watches from the 50s and 60s. The watch is delivered on a calf leather strap with vintage style stitching details, and on a L.U.C stainless steel pin buckle.

The magic of this watch is located on the rear, visible through a sapphire crystal case back. The calibre L.U.C 96.09-L is housed within this watch, with a 22k gold micro-rotor providing the winding power of the watch. Chronometer certified by the COSC, and lavishly finished, the movement adheres to the standards set out by the Fondation Qualite Fleurier for this watch. The entire completed watch is tested to this standard, making it one of the most rigorously tested dress watches on the market.

Whilst all of these features and certifications are remarkable in of themselves, the fact that they are all brought together in one watch is certainly a feat worthy of more praise. Furthermore, Chopard’s use of Lucent Steel, a material that comprises 80% recycled steel, is brighter and is more scratch resistant than virgin stainless steel further reinforces Chopard’s commitment to sustainability in their watchmaking practices. The L.U.C Qualite Fleurier is further proof that Chopard is quietly raising the standards of watchmaking through the use of sustainable materials, and continuously refining their production processes.

Technical Specifications:

Case

Metal: stainless steel

Thickness: 8.92 mm

Dial: Silver brass-based dial, sunburst satin-brushed finish in the center and circular satin finish on the chapter ring

Caseback: see-through sapphire crystal

Crown Material: stainless steel

Movement

Movement: L.U.C 96.09-L

Type of Winding: self-winding mechanical movement

Function: small seconds, hours and minutes

Power Reserve: Power Reserve of approximately 65 hours, L.U.C Twin Technology (two stacked barrels)

Certification(s): Fleurier Quality Foundation certificate

Frequency: 4 Hz (28,800 vibrations per hour)

Movement Dimensions: Ø 27.40 mm

Movement Thickness: 3.30 mm

Number of Movement Parts: 172

Jewels: 29

Strap & Buckle

Buckle Type: pin buckle

Buckle Material: stainless steelStrap: brown calfskin (matt)

A natural fit for Bell & Ross, ceramics were introduced into the watchmaking industry in the 1980s, and is a perfect material for the brand – being used in aerospace applications such as rocket nose cones and heat shields for spacecraft. Bell & Ross first utilised ceramic in their flagship BR01 watch in 2011, and now, their more urban BR05 reflects the brand’s acute attention to the ceramics manufacturing processes. Three new BR05 models join the collection with a ceramic case and ceramic bracelet options that reflect the slick new direction of these aviation inspired urban pieces.

Two of the three models will become permanent members of the collection, and the third will be a 500 piece limited edition. The BR05 Black Ceramic features the brand’s signature cockpit clock design, with a sunburst finish, and the date at 3 o’clock, whilst the BR05 Skeleton Black Ceramic features a skeletonised dial and a cleaner layout that omits the date window. As an option, the models are also available on a black rubber strap and a folding buckle. The styling is contemporary, yet has a touch of retro blended into it with the 70s style integrated bracelet and strap design. Measuring in at 41mm in diameter, the watch maintains a powerful presence on the wrist whilst managing to not feel oversized. These two models also manage to play with finishes, with a refined mix of brushed and polished surfaces on the case and bracelet.

The limited edition BR05 Skeleton Black Lum Ceramic, limited to 500 pieces worldwide, is finished in a stealthy matte ceramic case and bracelet, with a skeletonised dial and green hour markers and hands. In particular, the green markers and hands on the dial are filled with C5 SuperLuminova, which gives an almost ethereal green glow to the dial, as well as providing much needed contrast to the matte black case. This model only has the bracelet option available to it, but in our eyes, we would have it no other way.

All watches come with a screw-in crown and 100m water resistance for the ultimate in everyday usability.

Powering the BR05 Black Ceramic is the BR321-1 Automatic movement – a Sellita based movement, with date, and 54 hours of power reserve. The BR05 Skeleton Black Ceramic and Black Lum Ceramic are powered by the BR322-1 which is a skeletonised version of the Sellita movement made to Bell & Ross specifications – this too has a power reserve of 54 hours.

Bell & Ross has continuously and successfully reinvented themselves in their collections, whilst also remaining true to their cockpit instrument design – this has enabled them to have longevity amongst watch enthusiasts, and longevity in their designs. The BR05 series represents an evolution in this design, and firmly sets it into the world of streetwear and contemporary fashion, whilst maintaining the key DNA that Bell & Ross have been known for over the past decade. A strong complement to the current collection, the three models unveiled at Watches and Wonders are sure to surprise and delight their owners with the smart details and bold design.

Tool watches were created for maximum utility in the most adverse of conditions, specifically to be legible in low light and murky conditions. In the past, illumination on the dial meant a radioactive material such as radium or tritium was used to excite phosphorescent paint to give off light in the darkness, effectively making these self-powered. However, these substances are inherently toxic and in the late 80s to mid 90s saw the watch industry move to a material known as SuperLuminova to illuminate watch dials. This however, comes with a tradeoff, in that the watch has to be charged by an external light source (the sun, or a bright torch for example) before it begins to self-illuminate. So what if a watch could self-illuminate without the need for external light sources or toxic materials? The new Panerai Submersible Elux LAB-ID is the watch that answers that conundrum, all through the use of mechanical watchmaking principles.

The Elux name is not a foreign name to Panerai – in the mid 1960s, Panerai supplied Elux panels to the Italian Navy, which were lighting panels in a manner of different shapes, sizes and materials that were powered electrically. Made to be durable, shock and vibration resistant, as well as energy efficient, they were primarily used in command centres, internal signalling boards and helipads on Italian naval ships. 

LAB-ID pieces from Panerai have also been some of the most bonkers (for lack of a better word) pieces in the watch world, being an incubator that pushes the boundaries of the watch industry. Some of the most notable pieces include a Luminor model that featured a 50 year warranty thanks to its lubrication free construction, as well as the eLAB-ID PAM1225 which was constructed out of 99% recycled materials, and was very open in naming its partners to achieve its goals.

The new Panerai Submersible LAB-ID Elux is the product of eight years of research and development that starts off with a 49mm diameter, 500m Submersible case made out of Ti-Ceramitech, a ceramized titanium case which features a ceramic coating layer on top of titanium. It’s blue hue is achieved through Plasma Electrolytic Oxidation, which also provides the case with its distinctive toughness in comparison to traditional ceramic, as well as being 44% lighter than stainless steel. Its black dial features the signature Panerai bar-and-dot dial for legibility, and is accompanied by a unidirectional rotating bezel to calculate immersion time. 

The most curious part of the watch is of course its functionality, which is where the watch is ingeniously engineered. On the left hand side of the watch is the Elux pusher, with a pusher-guard – lift the pusher-guard and press the button to activate the lighting system, which illuminates not only the hour markers, but the hands and the bezel pip as well. This proved to be a challenge for the Panerai team, and the method of illuminating the hands is patent protected, and illuminating the bezel pip has a patent pending, demonstrating the difficulty in electronically illuminating moving elements, whilst maintaining water resistance.

This illumination is achieved through the movement containing 6 barrels within its construction – 4 dedicated to powering the lighting system, and 2 barrels for traditional watch mechanics. These 4 barrels then power a micro-generator with coils, magnets and a stator through a high-speed rotor (rotating at 80 revolutions per second that develops the change in magnetic field to generate the electric current for the lighting system. This guarantees lighting for up to 30 minutes, which is also indicated by the linear power reserve aperture on the dial (labelled “Power Light). The remaining 2 barrels power the P.9010/EL movement, providing power for 3 days. The watch is further accented by SuperLuminova X2 on the indices and hands to further highlight luminescent vibrancy.

The Panerai Submersible LAB-ID Elux is limited to 150 pieces, with an availability of 50 pieces over 3 years. It is a watch that, in a time of change in the watch world, is a piece that still demonstrates the ingenuity and sheer madness of the laboratories within the industry. Only the most curious would consider a piece like this, however, it is this curiosity that drives Panerai to push the boundaries of what is possible in the world of mechanical watchmaking.

Technical Specifications: Panerai PAM01800

Movement: Automatic mechanical, P.9010/EL caliber,
13 3/4 lignes, 10.80mm thick, 55 jewels, Glucydur® balance- wheel stop, 28,800 vibrations/hour, Incabloc® anti-shock device, 6 barrels: 4 dedicated to lighting, 2 dedicated to time indication, 363 components.

Functions: Hours, Minutes, Small Seconds, Power Light function, Linear Power light reserve indicator, calculation of immersion time, stop-seconds for precise time setting.

Power Reserve: 3 days for time indication. 30 minutes for on demand Power Light Function.

Case: Diameter 49mm, Blue Ti-CeramitechTM case.
Blue Ti-CeramitechTM bezel. Screw Ti-CeramitechTM case-back. Sapphire crystal. Patented pusher protection system.

Strap: Blue rubber bracelet, STD, 26/22 Trapezoidal Titanium pin buckle.

Water resistance: 50 bar (~500 meters).

Two models were unveiled at the fair – a dressy Petite Seconde model with an interestingly designed movement, as well as a Chronograph Rattrapante model, limited to 30 pieces worldwide, which ignited discussion amongst lovers of traditional dress watches. These two models, under the guidance of CEO Guido Terrini have also reignited the fervour for Parmigiani Fleurier, bringing the brand back to its roots with the Toric, and yet, it is a completely different entity to the model originally introduced in 1996.

A watch enthusiast’s dream, the Toric Petite Seconde distils everything you want in a watch – hours, minutes, seconds and a manually wound movement, but all of these elements are executed at a height expected of a haute-horlogerie manufacture. The model takes its design inspiration from the original Toric model unveiled in 1996, which is inspired by the Doric columns of ancient Greek architecture. However, the 2024 version takes the original knurled bezel design (which is ageing like a fine wine, by the way), and modernises it – widening the dial opening, but also combining this with a softer rounded case and a textured dial with a hours track that slopes downwards, in a cheve style, that is reminiscent of old watches where a difference in level is evident towards the hour markers.

The dial is also matte finished in a process that Michel Parmigiani perfected whilst restoring old watches – on a gold dial base, a special paste of cream of tartar, crushed sea salt and silver mixed with demineralised water is used with special brushes to polish the surface of the dial, which creates a soft-looking surface that disperses light (called grene in French). Further adding to its minimalist appeal, the new-style logo with the PF initials and the short hour markers clean up the dial significantly, and is accentuated by the nubuck alligator leather straps with “punto a mano” stitching used by the best Neapolitan tailors. The cases on offer are in 18 carat rose gold or 950 platinum – sumptuous materials for a dress watch.

Powering these modern dress pieces is the PF780 movement – a movement that is lavishly manufactured and constructed. Hewn from 18 carat rose gold are its bridges, which are decorated with “Cotes de Fleurier”, a pattern that gives the impression of a chequerboard, which contrasts against the sandblasted finishing of the mainplate. The only components that are visible are the dual barrels and the escapement system – the going train amongst others is hidden by the rose gold bridges, which gives a tactile sense of the watch when it is being wound, and life is being breathed into the watch. The movement is well finished with its hand-bevelled steel bridges for the balance wheel and the barrels, and aside from the possibility of the inclusion of more internal angles, the rear-side of the Toric Petite Seconde is a visual feast, even more so when viewed from the rear of the platinum cased model. The movement features a 60 hour power reserve, and beats at a modern 28,800 vibrations per hour (4Hz).

Amazingly, the Toric Chronograph Rattrapante manages to make a complicated watch appear simple, with it’s liberal use of negative space on the dial, as well as the cheve style dial with its shortened hour markers, and minute markings close to the edge of the dial. The codes of the modernised Petite Seconde model are all here, with its singular knurled bezel, widened dial opening and its softer rounded case. However, in this model, a warm “Natural Umber” coloured dial provides this watch with its soft hue – neither overpowering, nor too subtle, the watch embodies the quiet luxury look that has been pervasive amongst fashion of late. The Toric Chronograph Rattrapante uses 18 carat gold markers and hands, with a rhodium plated rattrapante hand to make it easier to distinguish one event from another. The clean design of the watch is further accentuated by its rattrapante pusher that is integrated into the crown.

Limited to 30 pieces worldwide, the watch is powered by the PF361 movement – a manually-wound rattrapante chronograph that is skeletonised on the movement side, giving a view of the two column wheels, split-seconds mechanism, chronograph levers and the barrel. As befitting a watch that is reportedly harder to produce than a tourbillon due to the level of adjustment required to make a rattrapante watch operational, the plates and bridges of the watch are crafted of 18 carat rose gold, and feature sharp internal angles in its chamfering. The movement plays a bit of hide and seek with its components, however, this adds to its visual appeal. The movement beats at an unusual 36,000 vibrations per hour (5 Hz) – not commonly seen in haute-horlogerie chronograph movements, and has a power reserve of 65 hours.

Compared to Toric models of old, which have now appeared to age as a exercise in baroque luxury, the new Toric Petite Seconde and Chronograph Rattrapante retain design cues of yesteryears, but inject a modern minimalism that the watches so sorely needed to be considered by today’s collectors. By and large, Parmigiani Fleurier has achieved this and so much more – the brand received much praise from the community for these releases, from an aesthetic perspective as well as a watchmaking perspective. In this case, it appears that aesthetics are in service of the watchmaking, with the harmony of movement and design being the key factor in its critical reception. The direction that Parmigiani Fleurier is taking for its newest models is certainly a sign for things to come, and that the brand is refocusing its efforts in having aesthetic and engineering working in tandem with one another.

Technical Specifications

Toric Petite Seconde

DIAL SPECIFICATIONS

Material: 18ct rose gold or 950 platinum
Color: Grey Celadon (Platinum model)  or Sand Gold (18k Rose Gold model)
Finishing: hand-grained
Indexes: hand-applied 18ct gold rhodium-plated appliques

HANDS

Hours and minutes: 18ct gold rhodium-plated Small seconds: steel rhodium-plated

STRAP

Sand Gold (Platinum model) or Grey Celadon (18k Rose Gold model) hand-stitched nubuck alligator leather Closure: platinum 950 pin buckle

CASE SPECIFICATIONS

Polished platinum 950 with knurled bezel Diameter: 40.6 mm
Thickness: 8.8 mm
Crown: Ø 6 mm

Glass: ARunic anti-reflective sapphire Case back: ARunic anti-reflective sapphire Engraving on case back: serial number – “PARMIGIANI FLEURIER”
Water resistance: 30 m 

MOVEMENT SPECIFICATIONS

PF780 – Manual Winding Manufacture Movement in 18 ct Rose Gold with small seconds
Power reserve: 60 hours

Frequency: 28,800 Vph (4 Hz)
Jewels: 27
No. of components: 157
Overall diameter total: 28.4 mm
Thickness: 3.15 mm
Decoration: Côtes de Fleurier, hand-bevelled steel bridges 

Toric Chronograph Rattrapante

DIAL SPECIFICATIONS

Color: Natural Umber
Material: 18ct rose gold
Finishing: hand-grained
Indexes: hand-applied 18ct rose gold appliques

CASE SPECIFICATIONS

Polished 18ct rose gold with knurled bezel Diameter: 42.5 mm
Thickness: 14.4 mm
Crown: Ø 7.2 mm

Glass: ARunic anti-reflective sapphire Case back: ARunic anti-reflective sapphire Engraving on case back: serial number – “Edition limitée X/30” –

“PARMIGIANI FLEURIER” – “36’000 Alt/h” Water resistance: 30 m 

MOVEMENT SPECIFICATIONS

PF361 – Manual Winding Manufacture Movement in 18 ct Rose Gold with integrated split seconds chronograph 

Power reserve: 65 hours
Frequency: 36,000 Vph (5 Hz)
Jewels: 35
No. of components: 285
Overall diameter: 30.6 mm
Thickness: 7.35 mm
Decoration: satin-finished open worked bridges, hand-bevelled bridges 

FUNCTIONS

Hours, minutes, small seconds, split seconds chronograph

HANDS

Hours and minutes: 18ct rose gold Chronograph and small seconds: steel, rhodium or rose gold-plated

BRACELET

Sand gold hand-stitched nubuck alligator leather
Closure: 18ct rose gold pin buckle 

At the fairs in Geneva this year, it could be said that the industry went all sensible on us – classic designs, perennial favourite colours, and modest sizes that would not look out of place in an enthusiast’s collection in years, or even decades to come. However, a few brands clearly exhibited that their brand still has that spark of untamed desire to push the boundaries of what the watchmaking industry is capable of – the horological equivalent of Faster, Higher, Stronger. In many respects, Bulgari came to Geneva with a watch that made waves in the community, and answered the question of whether they could go thinner and be as precise as a chronometer. In 2024, Bulgari unveiled the Bulgari Octo Finissimo Ultra COSC, a declaration that they now have the thinnest mechanical watch, as well as the thinnest COSC certified chronometer.

Following on from the Octo Finissimo Ultra in 2022, the development of the Octo Finissimo Ultra COSC in 2024 is akin to Formula 1 drivers shaving off milliseconds of their lap times, where every fraction of a second is a monumental effort. With this watch, the research and development team at Bulgari, along with their partners Concepto (who have considerable expertise in complex mechanisms), set out to surpass what they have achieved as the thinnest mechanical watch. 

Firstly, the watch has to maximise the use of the available space, and so to bring down the watch to a record-breaking 1.75mm, the watch case becomes the mainplate of the movement itself. A base of hard tungsten carbide is used for this base, upon which the 170 components of the BVL180 calibre are assembled. These components are individually selected through an optical scanning process, with tolerances of 1/10th of a micron, showing how rigorous the manufacturing process has to be in order for even the components to be utilised in the construction of this watch. The Octo Finissimo Ultra COSC also features a reworked sapphire crystal to help achieve that significant thinness. 

Our intrepid Editor-at-large, Gerald Chew spoke with Fabrizio Buonamassa Stigliani about the Octo Finissimo Ultra COSC – Buonamassa mentions that the development of the original Octo Finissimo Ultra left a bit of margin in terms of size to incorporate future dial designs, however, the Octo Finissimo Ultra COSC was a push to see how far the team could go. It was also determined that through the development of its predecessor, the Octo Finissimo Ultra COSC was already precise enough to be submitted to the chronometer testing cycles, and so they asked “why not?”. The Bulgari team decided that chronometer certification on its own is something that many brands can achieve, but with the type of watchmaking that the Octo Finissimo Ultra COSC represents, it was important that its precision and stability was officially recognised. Thus, all 20 watches of this limited edition undergo this testing, and unlike most chronometer certified watches, the entire Octo Finissimo Ultra COSC has to go through the testing, as movement and case are one and the same.

Aesthetically, the Octo Finissimo Ultra COSC is a watch that carries a strong visual impact with its partially skeletonised movement, and its layout. The large barrel can be seen at 10/11 o’clock, with hours and minutes separated into individual subdials at 2 o’clock and 4 o’clock respectively. The ultra-flat balance wheel can also be seen oscillating at 7 o’clock, completing a dial that has an organic feel. In comparison to its predecessor, the Octo Finissimo Ultra COSC does not feature a QR code in the barrel ratchet wheel, but instead moves that to the rear of the watch, with that Bulgari has called the Datamatrix – containing a repository of photos and images that bring you on the journey of how the watch was born.

The watch itself is wound and adjusted through two crowns on the rear of the watch, and is supplied with a special box that is able to wind and set the watch to the correct time – all of which is automated through a digital display that will deliver the watch perfectly set and ready to go for the day.

In an industry filled with superlatives, the Octo Finissimo Ultra COSC truly is a physical embodiment of one – the thinnest mechanical watch in the world, as well as being certified as one of the most precise timekeepers in the watch industry. An achievement that truly pushes the boundaries of ultra-thin watchmaking, Bulgari has certainly reignited the conversation around this topic, with enthusiasts asking – what will the brand do next in their string of world records?

Technical Specifications

Movement

BVL 180 manufacture manual winding mechanical ultra-thin movement with regulator display.

COSC-certified movement; thickness: 1.50 mm; power reserve: 50-hour; frequency: 28’800 VpH (4Hz).

Case, Dial and Bracelet

A 40 mm case (1.70 mm thick) with sandblasted titanium lugs, bezel and middle case; tungsten carbide main plate; winding and time-setting wheels in satin-finish steel; ratchet in sandblasted steel engraved with writing and a geometric decoration.

Hour and minute regulator display counters in sandblasted brass with grey PVD coating, polished brass hands with rhodium coating and white indexes, satin-finish steel second wheel with black index indicator.

Sandblasted titanium bracelet with fully integrated folding buckle, 1.50 mm thin

ISOCHRONO: Ciao Fabrizio, looking impeccably turned out as usual. Would you take us through the novelties of Bulgari watches for 2024?

Fabrizio Bournamassa (FB):

So we have the Tubogas, which we collaborated on with Tadao Ando;  and we have the fantastic Octo Finissimo Ultra, in which we have the world record for thinness (1.70mm thin) which is also, notably this time, COSC certified. The watch is also in a version made in platinum, which was the first Ultra that we presented two years ago. For this latest version, the development process was very hard because we completely redesigned the watch from scratch due to the change in material from platinum to titanium.

We spent one year and a half to create the bracelet, more or less the same time we used to create the movement of the Octo Finissimo Ultra that is up to COSC certification standards. It was more or less two years, all in all to develop. 

ISOCHRONO: What was the reason why you decided to make an COSC Certified Ultra?

We had a little bit of margin when we produced the first Octo Finissimo Ultra which was very successful. So at the time, we were satisfied. After six months though, we decided that we wanted to maximize the small margin we had to further develop the watch to see how far we could go. 

Due to the fact that  COSC certification demands that every single movement is tested, we were obligated to test every single watch because as you know,  with the Octo Finissimo Ultra, it is not possible to separate the movement from the case due to the unique design of having the movement components on the movement plate itself, which is also effectively the case of the watch. 

ISOCHRONO: Can you clarify what you mean by ‘margin’? 

FB: Yeah, margin means that we had at the time, we had a little bit of room in and around the case.

So the idea at first was to be satisfied and to say enough because we are already unique.   But we realized that we could make the watch even thinner. We had initially left the margin because we had some ideas, for example, that we could make the watch with other dials, or to have different finishing possibilities.  

So on the Octo Finissimo Ultra each component is extreme in terms of thinness. However we wanted it to be a safe watch that you can wear every day. But the origin of the idea is saying, “guys, if you want to change the material, if you want to have another kind of dial, please leave us some millimeters in the case to play with these kind of elements.”

ISOCHRONO: Is the Ultra and the Ultra COSC materially the same watch? 

FB: It is essentially same watch but with slightly different thickness due to the difference in material used 

ISOCHRONO: What’s the difference in material?

The case of the Ultra COSC is titanium, whereas the case of the second Ultra is in platinum. The platinum version at 1.8mm is thicker than the COSC version at 1.7mm. Take note that for both, the movements in these watches are only 1.5mm thick. 

So today we already have three different Octo Finissimo Ultra. We have the first one with the QR code made in tungsten carbide and titanium. Secondly we have the Ultra COSC that is thinner than the titanium one – the same material, titanium and tungsten carbide but thinner (1.7mm). Thirdly we have the platinum one which is the thickest (1.8mm) due to the use of platinum.

Do you know how heavy the platinum version is? 200 grams, which is pretty heavy, because the bracelet is made of platinum too, with the exception of the buckle, which is in titanium, due to the fact that we need a certain rigidity for the buckle. The bracelet is in platinum, the case is in platinum, the central part of the case is in tungsten carbide and the bezel is in platinum.

ISOCHRONO: What did you have to do to achieve the COSC certification?

Honestly, this is a technical question. We have to check with the product development director to get specific on this. However, as I remember, this was not a big achievement for us honestly. We never considered that COSC certification for the Octo Finissimo was a priority. 

When I joined the company more than 20 years ago, a lot of sports watches on the market had COSC certification as a standard feature. At the time, it seemed that every single brand was offering this for their watches. From our point of view, it was something that was not interesting anymore for the client. 

However, with the kind of watchmaking that the Ultra represents, we felt that, if it had COSC certification, it would mean that the watch is not only the thinnest on the market, but it’s also one with the most precise and stable movement. 

So I discussed it yesterday with friends of mine and they said, “Yes, Fabrizio, the watch is beautiful, but the COSC certification is something that nobody would expect.” Nobody can imagine this kind of movement in such a slim watch. In addition I have to mention: the packaging is something special.

Each watch is going to have the COSC certificate in the packaging. When you leave the watch to rest, you put it inside the packaging, you close the packaging, there is a camera to read the time. If it’s not correct, there is a mechanism in the packaging to set the time and charge the barrel. The watch can also be wound via a crown on the underside of the case.

ISOCHRONO: Incredible! Tell us about the Octo Finissimo Tourbillon Skeleton.

The Octo Finissimo Tourbillon is a new execution with different colors, different materials, but the movement is the same as the previous version. Yes, it’s just a different execution with a movement that we already have. There are three executions:  two hand wound 42mm versions in DLC-Coated titanium or 18K rose gold, at just 4.85mm thick with 52 hours power reserve. Another version is the automatic DLC model with platinum case, thickness of 4.95mm. 

We also presented the Octo Finissimo Sketch celebrating Bulgari’s 140th anniversary, bringing a hand drawn version of the movement and representing it on the dial. Available in 40mm time only in steel and in 18K rose gold. It also comes in  a 43mm chronograph GMT steel edition. 

Each time for us, it’s important to have different materials; to keep working on materials and execution. For sure, in our pipeline, we even have new movements for Octo. We have very important developments on the Octo. We have different materials etc. We are working very, very hard on the Octo Finissimo platform. In the near future, you will have a lot of surprises. Very, very interesting surprises!

ISOCHRONO:You like Japan a lot, I believe. So Tadao Ando has done a lot with Bulgari. Tell us about this collaboration. 

FB: We met each other the first time when working on the special edition Octo Finissimo Tadao Ando. This time Tadao had the idea to work with Bulgari on the theme of nature. He came to us with a very wide brief, with no specific idea about what the watch would be yet. 

At the beginning we started with a certain watch and after a while we were not happy with the progress.

So we decided to go ahead with the Serpenti Tubogas because it’s the most natural watch for this idea. The idea of Tadao was to celebrate nature through the four seasons.

So we started to discuss that internally. The Serpenti Tubogas is the most iconic watch that we have, and its interesting that we have never made a collaboration with our ladies’ watches before. 

The idea of Tadao was to talk about the seasons and the seasons’ colors. Bulgari is the master of color gemstones.

But it was not so easy to find the real connection between Bulgari, Serpenti, nature and Tadao Ando. The previous projects were more dedicated to the aesthetic of Tadao Ando. His Octo looks like a small piece of architecture with the same kind of aesthetics that you find on a concrete building, made by Tadao. 

On this watch, the concept, the idea, was more philosophical.

So at a certain moment, I start to think about this: that we make the dial with artistic stones, which are a natural element in essence.

When we buy a part of a stone, to make a dial, we can use just a portion of the stone. We are obliged to cut the original stone many, many times to create the dial. So I started to think, that is a natural element that we threw out; and this is not something that makes sense. In this project, we talk about nature. So the idea that we don’t want to throw out any natural elements was very interesting for Tadao.

The idea was that in this way, we can play with, say, the history of Italian mosaics – Florentine mosaics made with art stones and marble, for example. And adding something very close to the Kintsugi technique in Japan (the art of putting together broken pottery pieces with gold – a metaphor for embracing flaws and imperfections). The remade object, it’s even more precious than when it was new. 

So I say, guys, it looks like an Italian mosaic as a design motif. We are talking about natural gemstones. Tadao wants to talk about nature, so we don’t want to throw out this part of the natural gem. We have to put this concept all together and we have to make a dial. 

The problem of this particular watch is that the dial is curved, not flat. So we can only accept a certain dimension because otherwise the dial may become crazy and it’s makes no sense with many big and small pieces together, and we can only accept a certain range of colours because otherwise, again, it looks like a Harlequin.

It was not so easy to find the right stones. The green aventurine was the most difficult one because it contains a lot of straight lines going in a thousand directions. In the end, you don’t have the perception of a green forest. So we moved to natural green aventurine.

The most beautiful one for me is the “aki” with the tiger eye that looks like a leaf on the (autumn) floor. It was obvious to choose the mother of birth (What) for the winter season. For spring, it is mother of pearl with shades of pink like cherry blossoms blooming. 

ISOCHRONO: So you had to be very selective about choosing the right stones because of the natural flow (inherent qualities) of the stones. 

Yeah, exactly. As you can see, each dial has different compositions of stone fragments that make up each dial. The colors and shades of stones vary, making each dial unique and individual.

I don’t remember how many trials there were about the different shades. Today we are very happy about this collection. Four limited editions. Summer (natsu): two tone yellow gold and steel bracelet and case with green aventurine dial. Autumn (aki): rose gold case and bracelet with tiger’s eye dial. Winter (fuyu): steel case and bracelet with white mother of pearl dial. Spring (haru): two tone rose gold and steel case and bracelet with pink mother of pearl dial. 

Tadao was always in touch and connected to each aspect of this project – hard as it is to reach him because he travels so much and is very busy – so he is very happy to have his influence on the manufacture, the design, and even the packaging for this watch. 

Thank you for your time and for sharing your ideas and inspirations creating this year’s watches!

Ultra thin watchmaking can be considered by connoisseurs as an underrated achievement for brands, as a complication can be described by what the watch displays other than telling the time – which apparently presents nothing novel to many casual observers. However, to make a watch as thin as possible, numerous tolerances are broken, and advances in materials science have to be made in order to make it not only functional, but wearable as well. In this space, Piaget have made significant in-roads to make some of the thinnest watches in production today, and have continued to do so since 1957. 

The Piaget Altiplano Ultimate Concept began its life in 2018 as its namesake suggests – a concept watch, demonstrating novel construction techniques to achieve a thinness of 2mm. The case itself is used to mount the components of the watch, as demonstrated in the 910P. This essentially removes 3 parts from the watch, the caseback, the mainplate of the movement and the case itself. An innovative cobalt alloy is also used as the case and mainplate of the watch due to its rigidity (precious metals proved much too malleable to be used in an endeavour such as this).

The new Altiplano Ultimate Concept Tourbillon retains its predecessor’s thinness of 2mm but, as its name suggests, incorporates a tourbillon within its construction – specifically, the flying tourbillon.

In order to achieve this feat, around 90% of the components of the original Altiplano Ultimate Concept had to be redesigned to fit the flying tourbillon into the case – in particular, the tourbillon cage fits into a height of 1.49mm, and is set into the case through a ball bearing system made of titanium and steel.

There was now the problem of power consumption – tourbillons generally consume about 25% more power than a watch with a traditional regulator. The engineers and watchmakers at Piaget devised a two-pronged solution through the mainspring and the pivots of the wheels – the mainspring was devised to be thicker in some areas to generate more power, whilst the pivots do not use traditional jewels, but ball bearings, which reduces friction and increases efficiency. Whilst the wheels are decorated, great care must be taken to ensure that these operations do not deform the part – working to a tolerance of 2 microns is an extreme challenge not to damage anything during the decoration of the parts. 

Like its predecessor, the watch case (and indeed the mainplate of the movement) is made of a cobalt alloy for its strength – in the case of the Altiplano Ultimate Concept Tourbillon, it is treated with a deep blue colour. The crown is integrated into the case, and is manipulated through the use of a special stylus that has a gear reduction and torque control system built into it, which protects one of the more vulnerable parts of an ultra-thin watch like this. 

As thin a coin, the Piaget Altiplano Ultimate Concept Tourbillon is a testament to the extremes that the watch industry is able to achieve. Truly living up to the Piaget motto, this watch has definitively done better by incorporating the movement of the tourbillon into this watch. What seems like a simple endeavour is actually one of the most complex in terms of the overall manufacturing challenges encountered by Piaget. Working at tolerances of up to 2 microns, this watch has pushed the boundaries of what the factory is capable of, and what others should be aspiring to.

Technical Specifications

Piaget Altiplano Ultimate Concept Tourbillon 150th Anniversary
Ref. G0A4951

Diameter: 41.5 mm
Height: 2 mm
Material: Cobalt alloy
Crystal: Sapphire
Water resistance: 30 m

Movement: Manual winding, in-set crown in case
Functions: Hours, minutes, small seconds on the tourbillon cage 
Winding: Manual
Frequency: 28,800 vibrations per hour (4 Hz)
Power reserve: 40 hours

Strap: Calf leather