I’ll be the first to admit to missing out on the allure of certain brand cachets, only to flip real quick when real wrist time is offered. In Glashütte this week, it happened again to my (wallet’s) chagrin, thanks to A. Lange & Söhne’s German charm.

While enjoying the alligator embrace of the new 30th Anniversary Lange 1 from Germany’s top dog A. Lange & Söhne, an entire catalogue of surprises hit me. The deep blue and rose gold of the 38.5mm model hit me hard. Not plucking, but furiously bass-slapping my heartstrings.

Visiting the brand in Glashütte this week, after trying on my favourite; the sleek, monochrome 1815 Chronograph and the indecently comfortable Odysseus, I finally had some quality time with the new Lange 1. As part of its 30th anniversary, we have been served a quad hit of the legend, in a sweetheart-sized 36.8mm for the Little Lange 1 and the standard Lange 1 of 38.5mm. With my predilection for smaller wristwear, they’re both perfection-close, but the 38.5mm version surprised me.

An airy dial composition like the Germanic-infused Lange 1 offers usually wears large, but this time, I was wrong. Sure, the deep indigo framed in 18k rose gold case might feel more compact than the typical silver-white, but whichever theory you subscribe to, the fit was superb on my close-to18cm wrist. The deep blue, annoyingly well-toned, alligator strap had the German feeling of stiffness that inevitably makes way for soft familiarity, and the 38.5mm diameter wears dead true to its size.

The case is a staunch reminder of German classicism and restraint. But with that restraint comes an obsessive sense of detail, starting with the case. The perfection is apparent in the small details like the soldered lugs, shapely with a slight bevel where they join the case, and the date adjuster at ten o’clock. Adjusting the instantaneously shifting twin date discs visible through their panorama split window is a haptic delight. The discreetly curved pusher is unusually brushed to match the middle case, with sharp bevelled edges giving it the look of a rounded 18K ingot of pink gold.

With the two sizes available, I’d be hard pushed to choose one Lange 1, both offering gently curved lug ergonomics. But this time, perhaps I prefer the largest, though 38.5mm is still pretty close to Goldilocks-sized for most. A couple of millimetres allows the golden ratio of the dial to make more of its asymmetric allure. And wearing it on my wrist in the Glashütte manufacture of A. Lange makes me understand it. Observing it dynamically on the wrist is a very different proposition to the Germanic precision of the press shots, like with any watch. The choice of a deep indigo competing with the lustre of pink gold simply endows the 30th Anniversary Lange 1 with a rich personality beyond its status.

There is a peculiar charm to the crisp white print encircling the dial, a precious use of a time-honoured German-language font that oozes class. There is much to be said for a design language where you recognise the brand origins of even the smallest part of a dial. Personally, I enjoy the pure delight of the tiny diamond-shaped hour markers. Only eight are applied on the nine o’clock main hours-and minutes-dial, but they twinkle visibly with the slightest sliver of light. To me, these details, even with the traditionalist touch of Roman numerals and charmingly serifed font on the big date, lends a timeless air to the Lange 1.

Turning around the Lange 1, it is all about the hidden complexities behind a large ¾ plate in German silver with visible gold chatons. The latest iteration of the Lange 1 movement, the L121.1, constitutes a baffling 368 parts, and a double hit of perfectionism. A. Lange & Söhne famously assemble their movements twice, with a full second clean of the optimised calibre before final assembly. The typical Lange ribbed pattern, usually known by its French Côtes de Genève nomenclature, hides 368 parts. And even if their finishing is hidden from view, the famous hand-engraved balance cock bridge says it all.

Watching the A. Lange & Söhne engravers at work was fascinating, especially as each has a signature style, recognisable after decades. But don’t be fooled by the flamboyant traditionalism at play, the L121.1 is quite the modern movement, including shock-resistance for the balance wheel, boasting eccentric poising weights and an in-house superior balance spring. If I had the choice, I would gladly rock a Lange 1 as an everyday watch, especially understanding the hidden treasure of the complex but sturdy calibre. A lottery win notwithstanding, I’d happily recommend this 38.5mm 18K pink gold version and freely admit to a strong sense of desire. Add the Little Lange in Platinum with the Onyx dial for big stealth wealth flex, and you might have a perfect two-watch collection for life.

More details at A. Lange & Söhne.

Louis Erard have got to be one of the most underrated watch brands out there.  I really love the way they approach watch design in a collaborative manner while retaining a strong core identity. For example, they take their signature complication, the Régulateur, and present it in the individual styles of their artistic and horological collaborators. There’s the Alain Silberstein edition, the Olivier Mosset and their own interpretations like the recent Gravé Noir. Now they’re launching their second collaboration with watchmaker Vianney Halter, dubbed the Le Régulateur Louis Erard x Vianney Halter II.

Vianney Halter is known for his particularly extravagant horological creations that focus heavily on steampunk aesthetics. With his works, the mechanisms of the watch are as much a piece of the artwork as the bold industrial cases. That design philosophy finds itself expressed here through the satin brushed steel case which measures 43mm in diameter by 10.95mm thickness. Amping up the steampunk vibe are the 12 red gold gilt rivets that decorate the bezel and which are also found on the oversize crown.

Zooming in on the dial, there are two versions available with inverted designs. The first has a brushed rhodium plated base with red-gilt subdials and minute scale while the second has a red-gilt dial and rhodium plated scales. As a regulator model, the subdials consist of hours and seconds with the central hand displaying minutes. The scales themselves are raised with railway track markers giving them a quasi-Art Deco appearance that looks great. It really highlights the contrasting tones and finishing.

On top of that, I like the off-centre positioning of the hour and second subdials. It adds an extra degree of playfulness to the design and makes it stand out when held next to Louis Erard’s other Régulateur watches. This has been achieved by rotating the movement by approximately 30 degrees anticlockwise. The hands on the various dials are presented in Vianney Halter’s signature style in blued steel.

Below the dial and visible through the exhibition caseback is the Sellita calibre SW266-1, an automatic movement with a 38-hour power reserve. These days that power reserve is noticeably small, so hopefully Louis Erard will move to an updated edition of the calibre in future. Still though, it’s nicely decorated with an open worked rotor featuring a black lacquer Louis Erard logo.

The other upside of a Sellita movement is price as the Le Régulateur Louis Erard x Vianney Halter II is CHF 4,444 (approx. £4,000). Vianney’s own creations tend to be in the 30k-70k range. In a similar manner to how Kurono Tokyo offers Hajime Asaoka’s designs at more accessible prices, if you’re a Vianney Halter fan without the requisite budget, this is a fantastic opportunity to pick up some of his work.

More details at Louis Erard.

It might come as a surprise to learn that Horage is now 15 years old. Sure, that’s not the greatest length of time, but given how many watch labels have come and gone in that time, it almost makes them part of the old guard. And yet, despite a decade-and-a-half of horological disruption under their belt, there’s still something of the plucky underdog about them, as shown by launches like the Horage Omnium K2.

Granted, part of that is due to a relaunch in 2015, but it’s more thanks to their approach to watchmaking. I mean, did you see their Revolution 3 MicroReg? The thing’s nuts. Throw in tourbillons priced to not just move but put most watchmakers to shame and you have the kind of cool, disruptive brand Moser & Cie still wish they were.

If that all makes you think that their latest would continue the cutting-edge trend though, think again. The new Omnium isn’t some ludicrous chronometric experiment or accessible flex. It’s just a really, really nice watch. Because sometimes – most of the time in fact – that’s just what you need.

The Omnium as a model has some history to Horage. It was their debut timepiece back in 2009 and it was their relaunch model in 2015. It’s a larger part of their DNA than  affordable tourbillons, which is saying something, and is by far their most wearable watch – especially in this new, downsized version.

Previous Omnia were sized to 40mm, which was pretty svelte even for a dress watch back in 2009. But in keeping with the times, the 2024 edition has shrunk to 37mm. I am more than happy with the change. This is essentially Horage’s take on a classic dress watch, so smaller is better, but I’m glad they avoided that 36mm zone that would lump it in with the raft of Rolex Oyster Perpetual contenders. That 1mm extra does a lot of heavy lifting on the wrist and, with the incredibly slim bezel opening up the dial, it still has plenty of wrist presence.

The colourway here is called Frost Fire, which is one of those typically Swiss names that sounds like a 10-year-old’s made-up superhero. I can see where they’re coming from, with the combination of sleek silver dial and red solid lume numerals, but those sporty Arabic numerals aren’t too bright and the silver is a little too straightforward to be considered frosty.

Naming conventions aside, it’s a good look. I love pops of colour and those monobloc numerals against the layered dial add just enough personality to find that balance between fun and wearability. The handset is also fantastic, diamond cut, faceted and skeletonised. Adding to that adage of devil in the details, the sapphire crystal is also faceted, which is much, much harder to do than it sounds, turning a practical necessity into a design feature.

Horage make visually killer movements and the latest K2 microrotor in the new Omnium is no exception. Blacked out plates with both cotes de Geneve and the brand’s signature grid embellishment, contrasting with gold lettering and microrotor and brass wheels… in my sometimes humble opinion is one of the best-looking movements around. Sure, there are plenty of insanely high-end calibres out there traditionally finished across every screw, but the K2 microrotor is just cool. It also has the specs to match, with COSC certification, a long weekend-proof 72-hour power reserve, and the silicon hairspring that you’d usually only find among the big watchmaking groups with the infrastructure to make them. All in all, a lot to love.

If the Frost Fire doesn’t do it for you, there are other options on the new Omnium. The other dial colours are dubbed Midnight Bleu and Pink Perfection, dark blue with white numerals and a pink-on-pink number that’s perhaps not the easiest to read. More importantly however – given that the silver and red is the obviously tasteful choice – is the case options.

Rather than just having a curated range of different dial and metal combinations, Horage lets you choose the case material you want. That means you can pick any dial and decide if you want steel, yellow gold or platinum (except for Pink Perfection in yellow gold, which is saving you from yourself if that’s what you were after). And it’s the same price across the board, meaning if you want any of them in steel, it’s CHF 4,590, CHF 11,990 for platinum, and CHF 14,990 for yellow gold. There is a slight discount for the precious metals, but only for the first five days and they’re not exactly impulse buys.

Inside, all the new Omnium models are the same and they all come on the same strap, so it’s up to you how much you want to pay for precious metal. You can even pay a smidge more to upgrade the plated gold buckle to solid yellow gold if that kind of thing really matters to you. I would just get the steel, but then I’m pretty basic. Give me a cool movement and a splash of colour and I’m happy.

At that base price of CHF 4,590, or just under the £4,500 mark, this is a seriously competitive watch. It needs to be, given the competition from big boys like Rolex and Omega at that level. But specs-wise and style-wise, the new Omnium is a solid contender. Not bad for 15 years’ work.

More details at Horage.

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Universal Genève are an intriguing brand because they are revered for their influential designs to this day despite not being active in the industry for almost four decades. Like many brands they became unstuck by the quartz crisis and never really recovered. However, last year it was announced that the brand and its historic catalogue of watch designs has been acquired by the same team behind Breitling. And now we have the release of three Polerouter SAS Tribute piece uniques.

Earlier this month Universal Genève launched their new website and declared the 2026 would see the launch of their first brand new collections. However, they also teased that the intervening year-and-a-bit wouldn’t be devoid of watches with a series of celebratory tributes and limited releases helping to build anticipation for the full relaunch. That’s where the trio of Polerouter SAS Tributes comes in. A quick point of order before we move on is that when they say SAS, they’re talking about Scandinavian Airlines, not the British Special Air Service.

The three watches are a tribute to the first SAS flight from Copenhagen to Los Angeles over the North Pole in 1954, 70 years ago. Universal Genève was asked to design the pilots’ watches for this flight and thus the now iconic Polerouter was born (initially called the Polarouter).The legendary two-part dial is specially created to be shock and magnetic field resistant while also being suitable for travel from the arctic circle right down to the equator. The brain behind the original design also happened to be a young, 23-year-old Gerald Genta, he of Nautilus and Royal Oak fame.

Moving to the new watches, they feature newly designed cases measuring 35mm in diameter either white gold, red gold or stainless steel. Each is a piece unique, with the white gold edition being auctioned for charity in May 2025 at Phillips in Association with Bacs & Russo for CFP Arts in Geneva. It has a lovely blue dial, which feels very arctic, along with a white minute scale and guilloché rehaut.

The other two unique pieces will be kept as part of the Universal Genève archive. The red gold edition has a fetching black dial with luxurious gold scale and matching gold hands. Lastly, the steel edition has a silver tone dial and red gold accents. It’s also my personal favourite because steel makes the most sense for the adventurous origins of the collection, pioneering Scandinavian aviation routes.

All three of the Polerouter SAS Tribute watches house a vintage 1960s movement, the micro-rotor calibre 1-69. It’s a really solid movement given its age with a 57-hour power reserve, although it does have a fairly low frequency by today’s standards at 2.5Hz. It’s protected by a solid caseback.

While these are unique pieces, if this is the type of watchmaking we can expect of Universal Genève in 2026, consider our appetites well and truly whetted. A new Polerouter is all but guaranteed so while it won’t be a surprise, it will certainly be welcome. What’s almost more interesting is what other projects they have up their sleeves.

More details at Universal Genève.

Considering how rich the history of the watch industry is, stretching back centuries, it’s little surprise that there is always more to learn about. Today’s focus is the revival brand Dennison who have released their debut A.L.D Collection inspired by their impressive heritage. The A.L.D Collection is split into two main sub-categories, the stone dial series and the sunray dial series, so naturally I have here one of each for a full review. Specifically, we have the A.L.D Collection Midnight Aventurine and Sunray Black.

The name A.L.D is an homage to Dennison’s original founder Aaron Lufkin Dennison, the man who, in 1850, also founded the Waltham Watch Company, one of the United States’ most significant watch brands. However, the Dennison name itself became recognised in its own right in the late 1800s when Aaron Lufkin Dennison began producing high quality watch cases for other brands and introduced what at the time were new techniques and materials to watch production such as gold plating.

Across the 20^th century the reputation of Dennison continued to grow. Shakleton’s expedition watches, WWI military watches, Edmund Hillary’s Smiths Everest ascent watches and a range of Rolexes, Omegas and Longines can all trace at least part of their production to Dennison. Then, in 1967 the brand disappeared – just before the quartz crisis meant many other watch brands would also follow suit. However, in 2024 the Dennison name is back.

Strapping on the A.L.D Sunray Black my attention naturally slides to the case, as that’s what the brand is historically famous for. Its shape is a kind of hybrid between a cushion case and a rectangle, measuring 33.65mm in width with a lug-to-lug of 37mm and thickness of 6.05mm. It’s pretty svelte, giving it a great unisex appeal. I understand the argument that the smooth lines and polished surfaces gives it quite a feminine aspect but, on the wrist, I think the size works really well, especially given the current popularity of retro dimensions.

The Sunray Black dial with steel hands (also polished meaning they sometimes look black depending how the light hits them) is suitably minimalist, letting the shape language of the case really shine. It’s a quiet and refined design. Which is interesting because swapping to the  A.L.D Collection Midnight Aventurine, the dial on this version is anything but quiet. As the name suggests, the dial is made from aventurine glass giving it a sparkling, shining appearance that dazzles in the sunlight. It reminds me of clear nights when you can see the Milky Way lighting up the sky.

In addition to the mineral dial, the Midnight Aventurine ups the luxe ante even further with a gold PVD finish on the case, hands, crown and strap pin buckle. Turning either watch over reveals a solid caseback decorated with the Dennison logo with a radial pattern emerging from it. Protected by said caseback is the Swiss Ronda Quartz 1032-1 movement. Admittedly this movement lacks the prestige of a mechanical movement but it’s an integral part of maintaining the watches’ slim profiles. Plus, we’ve seen many revival brands start with quartz before graduating to mechanical a few years down the line and that’s entirely possible with Dennison.

If you’re looking for a stylish, accessible timepiece with the reliability and ease of maintenance of quartz, both the A.L.D Collection Midnight Aventurine and Sunray Black are worth a consideration. Or one of their many alternatives such as the gorgeous green Malachite stone dial edition. The stone dial versions are priced at £549 while the sunray editions are £390.

More details at Dennison.

Few watches are as synonymous with artistic styles as the Jaeger-LeCoultre Reverso and Art Deco design. And that’s for good reason because the Reverso collection dates all the way back to the early 20^th century and the emergence of the Art Deco movement It’s a bold and luxurious style and JLC have doubled down on that with a new dial decoration on the Reverso Tribute Chronograph Full Pink Gold.

Jumping straight to that dial, it’s made from pink gold with laser engraved horizontal lines that span the width of the display. It reinforces the geometric precision often seen in Art Deco designs while also highlighting the rectangular shape of the watch as well as echoing the gadroons (horizontal lines) found on the case above and below the dial. It makes for a really striking display, especially when paired with the pink gold hour markers and dauphine hands. Adding a level of legibility is the black minute scale which offers a much needed point of contrast.

Reversing the watch by flipping the body over reveals the second, hidden dial with skeletonised chronograph display. The layout of this dial is identical to the 2023 edition with the exception that the visible plate and bridges of the movement are now produced in pink gold. Hence the appellation Jaeger-LeCoultre Reverso Tribute Chronograph Full Pink Gold. The chronograph function itself is operated through the use of the rectangular pushers on either side of the crown.

Beyond the increased luxury of the dials, this model is more or less identical to the 2023 predecessor with proportions of 49.4mm x 29.9 mm with 30m water resistance. It houses the calibre 860 with a 52-hour power reserve and manual winding. The chronograph function consists of chronograph seconds and a retrograde 30-minute timer.

The Jaeger-LeCoultre Reverso Tribute Chronograph Full Pink Gold is presented with a pair of straps, one a black alligator number and the second a brown calfskin piece. In terms of price and availability, it’s £60,500 in a limited edition of 250 pieces. While I’m a fan of the regular dial of the Reverso Tribute, I think this one is a worthy alternative suitable for a golden limited edition. If you want a hyper luxurious two watch collection, put this side by side with the Vacheron Constantin Patrimony Self-Winding x Ora Ïto.

More details at Jaeger-LeCoultre.

By the time they have over 30 horological patents under their belt, you would assume that a watchmaker would be spoken of in the same breath as the modern independent greats, like F. P. Journe or Philippe Dufour. And yet despite working for Patek Philippe, Ulysse Nardin, and Girard-Perregaux over the years, you may well not have heard of Stéphane von Gunten.

Last year, Stéphane launched Haute-Rive, a shiny new independent watchmaker and the first with the master horologist and inventor at the helm. As alluded to, the fifth-generation watchmaker had been working quietly behind the scenes for decades, but it took the impetus of Covid for him to make the big leap. But before we get into his modern watches, it’s worth looking at his horological past – and one watch, in particular.

Irénée Aubry’s Montre du Pape (Pope’s Watch)

It’s pretty common for the Pope to receive gifts. There’s a reason the last Pope had a Lamborghini and it’s not because he’s an adrenaline-fuelled hype beast. In 1888, to mark the jubilee of Pope Leo XIII, that gift came in the form of a gorgeous gold pocket watch. Nothing too unusual there – except that the power reserve was a staggering 40 days. That’s well over a month of power on a single wind. The maker of that watch was Stéphane’s ancestor, Irénée Aubry.

Irénée Aubry’s Hebdomas 8 day Pocket Watch

Power reserve is actually something that Stéphane has pushed throughout his career, no matter what brand he’s working for at the time. No multi-axis tourbillons, no complex chiming arrays, just that one, incredibly useful aspect of a timepiece’s spec sheet. And it’s that aspect that Haute-Rive is built around. The brand’s debut watch says it all, the phenomenal Honoris I.

On the surface, the Honoris I is an aesthetically elegant timepiece in the vein of other independent watchmakers. It comes with a grand feu enamel dial in a gold case, sized at a large-but-wearable 42.5mm. And yet there’s more going on than a glance can take in. For one, while the six o’clock tourbillon, the central gear bridge and the so-called ‘wheel of time’ at 12 o’clock are all visible, they’re not visibly connected. This means that while the elements are on top, the real work is happening underneath that enamel.

It’s a similar concept to something like MB&F’s Legacy Machines, just a bit more subtle. The thing is, while that over-and-under of components defines the look of the watch, it’s what you can’t see that defines what it actually is. You see, while his ancestor may have managed a watch with a 40-day power reserve,  Stéphane has achieved 41, around 1,000 hours. And in a single-barrelled wristwatch at that.

To get there, the mainspring is 3m long. That’s a single, 3-metre-long piece of metal that’s been curled into a spring that can fit in one small section of a none-too-large watch. While it sounds simple, there’s a reason it’s not been done before. So how do you fit that kind of thing in a wristwatch? By turning the mainplate into the barrel. Obviously.

As if upsetting the entire architecture of a watch wasn’t enough, anything with a power reserve this long likely needs a winding system more substantial than a standard crown. For one, that’s a lot of twisting a tiny component; for another, it would put a lot of force on the crown’s stem as you approach the upper power limit. So, Stéphane took a different approach and commandeered the bezel.

As you’ve likely noticed, the bezel is grooved with grips, allowing you to easily turn it counter clockwise to wind the mainspring. It’s still a fair amount of winding of course, you’re funnelling a lot of energy in, but it’s far superior to the crown, and you can keep an eye on how much you’ve wound it on the back of the watch. And hey, you only need to do it once a month – with a 10-day safety buffer.

For many watchmakers, power reserve is a nice thing to have; a selling point but not exactly a headline-grabbing one. A few hours here or there is more an afterthought than a core idea. Stéphane on the other had has used Haute-Rive to completely change the architecture of a traditional timepiece, specifically to put power reserve at the metaphorical and literal heart of the watch.

Haute-Rive is of course a brand that won’t have many collections in the future and won’t produce hundreds of watches. But if the Honoris I is anything to go by, he might just be one of the most low-key exciting independents around – and if you didn’t know about him before, you do now. You’re welcome.

More details at Haute-Rive.

For the past two years if you go to the website of popular Dutch watchmakers Grönefeld, you will be instantly met with a pop-up that reads “Sorry, for the moment we can’t take new orders until further notice. We are now processing the overwhelming amount of reservations we’ve received after the launch of our 1969 DeltaWorks and 1941 Grönograaf. Thank you for your patience and understanding.” In the words of DJ Khaled, they are suffering from success. It’s consequently a massive surprise that they’ve now announced the launch of an entirely new brand called Grøne and an all new wristwatch, the Grøne Manueel One ‘Sjef’s One’.

Grøne is designed to be a more widely available and more accessible take on the same design language and principles that have made Grönefeld a success. Essentially, while people wait many years for a high end Grönefeld they can sate their appetite with a Grøne. Or if like the vast majority of people you will never be able to afford one of their top end models, a Grøne is a dramatically more realistic prospect to buy. It’s essentially the same concept used by Japanese master horologer Hajime Asaoka with his extremely exclusive eponymous brand and his accessible Kurono brand.

What of the Grøne Manueel One ‘Sjef’s One’ itself? Well, the official name of the model is the Manueel One, which is a reference to the fact that it houses a manual movement. The nickname ‘Sjef’s One’ is then a dedication to the founding brothers’ father, Sjef Grönefeld. It has a 38.5mm diameter case in stainless steel with an equally svelte thickness of 9mm, putting it right in the pocket of the current zeitgeist for smaller, vintage proportioned timepieces.

The dial has a central tremblage engraved disc in copper, salmon colour surrounded by a brushed, steel coloured hour scale. The hour markers are then delicately facetted wedges that overlap the two sections. Combining all these features together you realise that this is technically a sector dial design. There are even hints of Art Deco influence though it’s nowhere near as strong as the majority of sector dials.

Inside, the Grøne Manueel One ‘Sjef’s One’ houses a modified Sellita SW210. As I briefly mentioned earlier it’s a manual winding movement, meaning it has to be wound using the crown in order to run. It’s actually the winding mechanism that’s been modified by Grøne as they have adjusted the torque for a more satisfying winding experience. It has a 42-hour power reserve, which is pretty standard in today’s market.

As for pricing and availability, the watch is priced at €2,150 excl. VAT (approx. £1,790) and is a limited edition of 388 pieces. Compared to something like a Tissot, that’s not exactly accessible and is still very exclusive. However, on the other hand, compare it to a six figure Grönefeld with less than 200 pieces available and they might as well be giving these Grønes away. Preorders start on the 19^th of November 2024 at 2pm GMT. They are also limited to one purchase per customer. If watching Kurono launches has taught me anything, these are going to sell out within hours, if not minutes.

More details at GRØNE.

Louis Erard is, in my opinion, a highly underrated watch brand. They produce some of the most distinct and interesting watches in terms of style, design and execution and yet there’s never much buzz around them, at least that makes its way back to me. Just look at the insanity of the Excellence Guilloché Main, it’s utterly mesmerising. Their latest release, the Le Régulateur Gravé Noir, is captivating for a different reason: its purity and gravitas.

Structurally it’s a very classy dress watch with a 39mm diameter case produced in stainless steel. White gold would be a more traditional dress watch material but steel helps keep the watch in a lower price bracket and is also more durable. It has a sleek curve around the bezel and a lovely, polished surface along the top of the lugs.

However, what really stands out about this watch is the dial. It has a grained black base with rose-gilt indexes, numerals and scales arranged in the classic regulator format. There’s a subdial at 12 o’clock for the hours, a central hand for the minutes and a subdial at 6 o’clock for the seconds. Regulator clocks and watches were originally designed to make it easy to set other timepieces from them by isolating the individual timekeeping elements.

The Le Régulateur Gravé Noir emphasises that isolation further by presenting the display in a sector style, where the minute scale is split into sections by its indexes and the subdials have crosshair-like patterns on them. This is the first time Louis Erard have produced a sector display regulator and I really like the look of it. There’s a really strong Art Deco aesthetic to it that elevates the piece with a cool geometric precision.

Beneath the display is the Sellita calibre SW266-1, Sellita’s automatic movement with regulator display. It’s almost a surprise to find a Sellita inside because the style of the watch makes you expect something much more exclusive and expensive. Yet the watch itself is priced only at CHF 2,900 (approx. £2,580). I could easily see a watch like this having a price tag 10x that from a prestige brand.

More details at Louis Erard.

One of the stand out watches of this decade so far is without question the Christopher Ward Bel Canto – and you don’t have to take my word for it, you the Oracle Time readers named it the best watch of the year 2023. The unexpected mega success of the original led to a quick turnaround of a second edition and then eventually some limited editions such as the 10-piece British Watchmaker’s Day edition. However, now Christopher Ward are ready to launch a new generation of the watch called the Christopher Ward C1 Bel Canto Classic.

Off the bat, the biggest improvement and change to the watch is the dial. The previous sunray brushed plate has been replaced with a glorious guilloché piece produced by AJS Production, the same team behind the British limited edition. Here the guilloché has been achieved using a modern laser engraving technique as opposed to traditional methods, which was deemed important in order to keep supply in line with demand. The dial is available in rich blue, golden yellow, verdant green and silver white.

An interesting side effect of the guilloché is that the dial is necessarily thicker to account for the three-dimensional nature of the design. As such, the various components of the Bel Canto’s signature chiming complication at 6 o’clock and the time display at 12 have been pushed forward, closer to the sapphire glass. In order to accommodate this, the sapphire glass has been totally redesigned as a box sapphire to provide more space inside the display.

Another update for the C1 Bel Canto Classic is the time display at 12 o’clock, which features a new hand set and Romen numerals. The hands are slimmer and the Roman numerals mean that you actually have actually have numerals to read instead of blank batons. Both of which emphasise the fact that this is a dressier style watch compared to the original, leaning more into the traditional elements of dress watch design – hence the name Classic.

The case and the movement held inside of it are the same as the original Bel Canto. It measures 41mm in titanium and is powered by the FS01. If you’re unfamiliar with the FS01 it’s a heavily adapted version of the Sellita SW200-1 that adds a chiming complication – a module that uses a hammer and gong to give an audio cue to chime the hours. Most chiming complications are incredibly expensive yet the Bel Canto makes it downright accessible in comparison.

Specifically, the Christopher Ward C1 Bel Canto Classic is £3,495 on Seta leather strap or  £3,745 on titanium Bader bracelet. I think the Classic helps to refine the idea of the Bel Canto to a more cohesive state. Previously there were mismatched elements that were either dressy or sporty but now the watch has a better-defined identity as a dress watch. Do you prefer this or the original?

More details at Christopher Ward.

“The difference between a madman and me is that I am not mad.” It’s not too much of a surprise Salvador Dali had to come up with a pithy response around his ‘paranoiac-critical method’. The idea of deliberately causing hallucinations for your art smacks of more than a little madness. He wanted to allow his brain to form links between things that the rational mind would not conceive, deliriously associating disparate objects or concepts.

If that all sounds a bit much, this was surrealism and surrealism revelled in the strange. For them, dropping mescaline was a perfectly fitting way to create art – and it worked. In 1931, the results of Dali’s method presented themselves in one of the most famous works of art ever created: The Persistence of Memory.

The Persistence of Memory

Even if you don’t know the name, you know the painting, with its melting clocks. As a work, it’s easy to extrapolate themes from, perceptions of time, the surrealist collapse of established order or, in the artists own words, a camembert melting in the sun. No matter your own interpretation, it’s a fascinating piece and one that has inspired generations of creatives from its home at New York’s Museum of Modern Art.

So, why does this all matter? Other than the link between surrealism and watches that The Persistence of Memory represents, of course. Well, that’s because one watch brand has decided to interpret the ambiguous work very, very literally: Exaequo. Exaequo does one thing and one thing only, a physical interpretation of Dali’s melting watches dubbed, intuitively, the Melting Watch. This isn’t just ‘inspired’ by surrealism; the case has been rendered to that it looks like a round watch that’s been pinched in the middle, squashed into some approximation of a figure of eight. There’s nothing else quite like it on the market – and the dial takes things even further.

Exaequo has opted for Roman numerals, with the numbers themselves expanding into their space between the railway minute track and the lower, stepped down centre of the dial. That means they go from, larger at 12 and six o’clock to tiny and cramped at three o’clock and nine. Even that railway minute track around the edge of the two-level dial fits in a show of serious dedication to that surrealist theme.

The Melting Watch is available in a few colourways. Firstly, the case is available in steel or gold PVD. The gold is definitely a striking option, but I only really like PVD on a sports watch personally. Sure, it’s unique, but the Melting Watch is ostensibly a dress piece, so a proper gold case wouldn’t risk damage. It would however jump the price up hugely and accessibility, as we’ll get onto, is a good part of Exaequo.

Dial-wise you’re looking at the usual suspects: black, silver, blue and green, with a funky yellow dial rounding things off with a twist. The green version has gold numerals in the PVD case, silver numerals in the steel, but the rest are the same between models. It’s a solid selection, but I would have liked to see it with Arabic numerals as an option. After all, the watches in The Persistence of Memory have them, and that’s a large part of the inspiration here.

Obviously, this isn’t the first weirdly asymmetrical watch to ever be built; the Cartier Crash is a grail watch that most collectors would drop more than mescaline for. But where that haute horology rarity often achieves eye-watering auction prices, Exaequo offers their slice of surrealist madness for a fraction of the price – fitting given the name translates to ‘on equal footing.’

That’s largely due to the movement more than anything else, which is an ever-reliable quartz number, the Ronda 751-1. Sure, I’d like to see something like this with an automatic, but given the unique case shape, that’s easier said than done. Quartz can be smaller and slimmer at this price point, making sure that the curvaceous case doesn’t balloon to a weirdly inflated size.

This isn’t high watchmaking, far from it in fact. The stainless-steel version will set you back CHF 520, around £465, with the PVD version a tiny increase on that. But for the artistically inclined this is a fantastic, accessible and inspired take on surrealism made real. If someone told me that someone was going to create a melting watch based on Dali, I’d have probably called him a madman. The difference, it turns out, is that he’s not mad. Here’s hoping that not-madness extends to automatics in the future.

More details at Exaequo.

Image credit: Analog:Shift

The uptick in brand recognition lately for Cartier is palpable. Post-peak sports watch hype, the Parisian jeweller’s creations have become mascots for the small and dressy trend that has entered the spotlight over the past four years. So much so that the idea of turning towards La Maison for something unsung feels like going to Lamborgini for something subtle. With more than a century of expressive watchmaking and design to their name, one may assume that all stones have been overturned.

But that’s not entirely true. Cartier’s creativity remained steadfast during the 20th century, with captivating and sophisticated timepieces crafted in design-conscious forms decade after decade. In fact, the most favoured models today have origins over 100 years ago, and visually, they have mostly stayed the same. As a result, some, like the Tank Obus, have stayed undetected from the wider population’s attention.

Cartier Tank Obus circa. 1920s, image credit: Collector Square

Based upon arguably one of the only watches that truthfully deserves the designation of ‘icon’, the Cartier Obus was first conceived in 1923 and offered an extra dose of creative flair compared to the original Tank Louis that came out six years prior. Obus, which translates to ‘shell’ or “artillery shell’, refers to the cylindrical shape of its lugs. Archetypal dial design cues such as large Roman numerals, a chemin de fer track, blued hands, and a cabochon-tipped crown are present but gone are the rounded brancards that effortlessly blend into the lugs, and in are sets of bullet-shaped lugs and a beautifully square case.

“Cartier is well known for rectangular and more elongated watches, but the Obus being square makes it unique,” says Alex Stevens, a London-based watch dealer and curated of Alex Stevens Vintage with a wealth of first-hand experience of numerous decades of Cartier watchmaking. “Often, people new to Cartier default to the Louis, even if that’s through the new Must line, as its shape and dimensions are prominent in popular culture. But some of those people could easily prefer an Obus but have just never seen one. As a result, the Obus remains overlooked; I think people don’t even know it exists.”

Cartier Santos Dumont, circa. 1904

Timekeeping 100 years ago was notably distant to today, with even the concept of society telling the time by looking down at their wrist still in its infancy. It’s tough to imagine today, but in the grand lineage of horology, the wristwatch represents only a slither of time initially viewed as an elaborate women’s accessory while the pocketwatch reigned the supreme choice for men.

World War I was the first time men began to wear a watch on the wrist at scale due to its practicality and utility, despite a creation ten years before the war being widely recognised as the first modern men’s wristwatch – the Cartier Santos Dumont.

Cartier Grand Tank Cintrée, circa. 1941, image credit: Phillips

Regrettably, there isn’t enough time to detail the illustrious history of Cartier and its significance to the progression of the wristwatch, but at the time of the first Obus, Cartier was regularly experimenting with different shapes, configurations, and executions of their graceful design precedent, albeit as special orders. Some of the brand’s most celebrated watches exist as evolutions from the Tank, including the Cintrée, Asymétrique, and Chinoise, to name just a few.

Its inventory of adaptations is endless and unmatched, yet despite this breadth of creativity, Cartier had only produced 2,200 wristwatches across the entire production before 1965. As such, all Cartier from the early to mid-20th century are exceptionally scarce, handcrafted rarities highly revered by the true connoisseurs, including the Obus.

Cartier Tank Obus Ref. 16302, circa. 2000s, image credit: Fellows

However, the references that remain unsung today hail from the era of serial production at Cartier. Scale at La Maison arrived during the 1970s, and like every European watch manufacturer during this time, the French jeweller wasn’t immune to the challenges of this era. The dawn of quartz timekeeping, a shift in styles towards modern and sporty, and an acquisition by several investors saw the house move away from being an outright bespoke creative and more into a commercially conscious brand with bottom lines and a need for chic creations for new audiences.

The newly led Cartier management transformed a demanding spell for the industry into a success due to the likes of a revitalised Santos, the Pathère and the gold-plated Must De Cartier line. Equipped with cutting-edge quartz-powered movements, the bullet lugs and square case of the Obus played a role in this new direction, entering the collection in the ‘80s through two very different executions. First was the 1630, and it was kept elegantly quintessential.

Cartier Tank Obus Quadrant circa. 1980s, image credit: Analog:Shift

However, the Obus Quadrant looked remarkably more like a piece from the early 20th century than the late, as a large bezel expanding over the top of the watch housed enamelled Roman numerals, leaving just enough space for a minimalist dial aperture. A good 1630 can be had for between £5,000 to £7,000, whereas a solid large-sized Quadrant will set you back around £10,000.

Cartier Tank Obus CPCP, circa. 1998, image credit: Watch Works Haarlem

The 1990s and 2000s were two favourable decades for the industry, with a positive uptick in watch collecting and mechanical appreciation across the board. Cartier’s response was to introduce a new collection of watches that revisits some of their most decorated historic designs and re-imagine them. Called the ‘Collection Privée Cartier Paris’ but known as the ‘CPCP’, these curated models celebrate timeless and proprietary Cartier creations while maintaining authenticity to the details of the originals. The Obus received the CPCP treatment during this time, with models powered by mechanical movements and featuring guilloché dials, these examples are achingly beautiful. While these references were limited to around 150, you can still find examples today for prices around £10,000 to £12,000.

“If you want a beautiful Tank with lots of the DNA of the Louis and you’re open to a slightly different shape because of its smaller, square footprint with its bullet lugs, the Obus is a very unusual choice that stands out for the right reasons,” says Stevens.

Cartier Tank Obus CPCP, circa. 1998, image credit: Watch Works Haarlem

‘CPCP’ and ‘£10,000’ together is seen as an oxymoron, as the yearly CPCP releases are some of the most celebrated aspects of Cartier production today. And yet, the Obus is readily available. It’s one of the least talked about Cartier watches today, and considering the CPCP creations and adjacent pieces, that’s quite remarkable. It’s one of only a few completely square Tank models, and with the obsession for Cartier showing zero signs of slowing down, now might be the right time to make one of these unsung heroes yours. I know I’m certainly considering it.

A.Lange & Söhne are the archetypical Saxon brand, epitomising the elegant watchmaking of the Glashütte region. One of their most loved collections is the Lange 1, which is now celebrating its 30th anniversary. In honour of this occasion Lange have released the Lange 1 30^th Anniversary Limited Edition series featuring four watches, split across two little and large pairs.

By little and large pairs I mean that the two colourways available are each presented in a standard Lange 1 edition and a smaller Little Lange 1 version. Structurally there’s very little to differentiate between the standard Lange 1 and the Little Lange 1 other than the sizes, the standard being 38.5mm in diameter and the Little being 36.8mm, which is not even a particularly drastic difference. Beyond that they all house the same movement and have the same overall case shape and knurled crown.

The first of the pairs is the 950 platinum case edition. Platinum is one of the most prestigious precious metals in the world and on top of that is regarded as one of the hardest to work with.  A. Lange & Söhne are no strangers to the material and it has long been a staple of the Lange 1 range. Here the metal provides a particular brilliance to the polished bezel that contrasts nicely with the onyx dial. This is the first time that the Lange 1 has been dressed with an onyx stone dial, the gem providing a slightly shinier finish than alternative black displays.

Second of the two little and large sets is presented in a pink gold case with a blue dial produced in 925 silver. Pink gold is a very traditional dress watch material as it provides a warm tone that’s very inviting compared to yellow gold which can appear abrasively ostentatious. The combination with the blue works really well too, giving it rich, luxurious feel. In fact, it feels very French, reminding me of the golden fleur-de-lis against a field of royal blue on France’s coat of arms.

Regardless of the colours, materials or size of the watches, they all have the classic Lange 1 display. An oversize date is positioned at 2 o’clock above a power reserve indicator that is itself about the small seconds subdial. Occupying the largest portion of the dial, offset towards 9 o’clock, is the primary time display with hours and minutes. The hands are in Lange’s typical alpha shape, which you can learn more about with our handy-dandy (pun intended) guide to all styles of watch hands.

All four watches in the Lange 1 30^th Anniversary limited edition house the same movement despite the differences in size. It’s the L121.1 manual winding calibre with 72-hour power reserve. This movement was first introduced in 2015 and almost a decade later it’s still an impressive piece of machinery. Hand-assembled and precisely adjusted in five positions for great precision as well as being finished immaculately with Lange’s signature untreated German silver plate with Glashütte stripes.

In terms of availability the two Lange 1 models are limited to 300 pieces each while the Little Lange 1s are more exclusive with only 150 of each available. As for price, the figures haven’t been announced at time of writing but I wouldn’t be surprised if they’re not announced at all. A. Lange & Söhne are still a proponent of ‘price on request’ especially for their platinum watches and limited editions.

More details at A. Lange & Söhne.

Raymond Weil has collaborated with notable brands across a range of industries including music with The Beatles and motoring with Meister Engineering. Now though, they’re striking out into a new domain, graphic novels and comics. Specifically, they’ve created the Raymond Weil Millesime Chronograph Limited Edition Largo Winch.

I must admit that I was not initially familiar with Largo Winch as his stories were originally written in French (he’s Belgian in origin) and designed to appeal to an American audience. As such he has mostly passed the UK by. In terms of plot, the comics cover the story of the eponymous orphan who rises to lead a billionaire business conglomerate and who is constantly challenged by villains who seek to take his business from him. It’s a story of the gold-hearted every man triumphing over various trials.

As for the watch, the character finds himself presented on the exhibition caseback in front of the Geneva flag illustrated by Philippe Francq, the original comic illustrator. On the dial side of the watch, we see a tricompax chronograph display in the Millesime’s signature sector style with a silver base and green subdials. On the small seconds subdial at 9 o’clock you can also see the comic’s W logo, derived from the name of the business Largo Winch controls, Le Groupe W.

I like the combination of colours here. The green tone is just vibrant enough to pop without being lurid or distracting and the peripheral tachymeter being green is a nice touch as well. The subdials display a small seconds counter, 30-minute timer and a 12-hour timer. Meanwhile the silver sector portions work really well too, creating an Art Deco aesthetic that suits the business thriller genre of Largo Winch. It’s restrained enough for the office but with enough colour and flair to give it main character energy.

Powering the Raymond Weil Millesime Chronograph Limited Edition Largo Winch is the calibre RW5030, an automatic movement with a really solid 62-hour power reserve. It’s housed inside the 39.5mm x 12.9mm steel case, which is engraved with the limited edition number on the back. Speaking of which, there are 300 pieces available at a price of £3,195. That’s only £100 more than the standard Millesime Chronograph, which after a long build up is finally being launched at the same time as the Largo Winch.

More details at Raymond Weil.

Vacheron Constantin have shown the Patrimony collection a lot of love already this year with a handful of standout models such as the Manual Winding and Moon Phase Retrograde Date. However, with its 1950s inspiration and sleek dress watch charm, it’s a collection well worth loving and 2024 does mark its 20^th anniversary. In honour of said milestone, VC have released one of the most unique editions of the watch I’ve ever seen in the form of the new Vacheron Constantin Patrimony Self-Winding x Ora Ïto.

Ora Ïto is a French designer who has worked with Vacheron Constantin many times before as part of the “One of Not Many” talent program. A true polymath when it comes to design, he’s tackled everything from cars, to shoes, perfume bottles, headphones, glasses frames, furniture, cookware, public transportation, baggage and jewellery. And much, much more. When it comes to his work at Vacheron though, one concept rules above all others, “simplexity”.

“Simplexity” is neologism that combines the notions of simplicity and complexity. Effectively it’s the concept of creating a complex object that is disguised as a simple one. Or alternatively finding a simple solution to a complex problem. The Patrimony collection is itself the ultimate expression of this concept, presenting VC’s immaculate horology under the guise of a refined and elegant timepiece.

In order to highlight this, the Vacheron Constantin Patrimony Self-Winding x Ora Ïto is made from one of the most classical dress watch materials in existence, yellow gold. The case measures 40mm in diameter with a thickness of just 8.5mm giving it interesting proportions. It’s a touch wider than you’d expect of a vintage inspired dress watch but that added size allows the dial to shine all the more.

It’s a tone-on-tone yellow gold dial with an engraved concentric circle pattern motif. Compared with the smooth dials of the existing Patrimony dial, seeing it textured with an additional level of three-dimensionality is particularly striking. Taking us back to the concept of “simplexity” the circle motif is itself very simple but its addition adds a layer of visual complexity to the design. The same can be said of the applied hour markers and pearl shaped minute indicators.

Beneath the distinctive dial is housed the calibre 2450, a time and date movement with a 40-hour power reserve. It’s finished to a high degree with circular graining, Côtes de Genève and an openworked Maltese Cross rotor. It’s a solid movement though not particularly outstanding by VC standards, which is likely a mirror of Ora Ïto’s desire to keep things intentionally simple.

The Vacheron Constantin Patrimony Self-Winding x Ora Ïto is a limited edition of 100 pieces and is presented on a burgundy calf leather strap. As a celebration of the Patrimony’s 20^th anniversary, I think it works nicely. It’s distinctive enough to feel special while retaining enough of the core design elements of the collection to be recognisable. Perhaps not surprising as a watch built in the 2000s inspired by the 1950s with a 70s design is sure to be distinct. It’s priced at £34,000, which is appropriate for a gold timepiece in today’s market.

More details at Vacheron Constantin.

Following the launch of the Prospex GPS Solar Chronograph Seiko are continuing to explore adding new complications to existing collections. Admittedly this new launch is less extreme than smashing the Astron into the Prospex line with the force of a Large Hadron Collider. Instead, they’ve added a GMT hand to the Presage Craftsmanship series for the first time. The resulting watch is the Seiko Presage Craftsmanship Urushi GMT.

If you’re unfamiliar with the Craftsmanship series, it’s Seiko high end line of Presage watches that have dials produced using traditional Japanese crafts. Previous models feature dials made from materials like porcelain but this one is made Urushi lacquer. It’s a form of traditional lacquer made from sap from urushi trees and is often used on dials with dark colours. It gives an exceptional smoothness to the black dial.

It’s been paired with understated baton hour markers and spade shaped hands to add a classical edge. As a touch of luxury the seconds hand and GMT 24-hour hand are in a sparkly golden colour, which matches the 24-hour scale around the periphery of the dial. A GMT function allows you to keep track of two time zones at the same time, the main hour hand tracks one while the GMT tracks another. Typically, this is local time and home time, making it the ultimate travel companion.

Powering the watch is the calibre 6R54, which is one of Seiko’s top grade movements with a 72-hour power reserve and an accuracy of -15/+25 seconds per day. In addition to the hours, minutes, seconds and GMT complications it also has a date window at 3 o’clock. It’s housed inside the 42.2mm x 12.35mm stainless steel case with an exhibition caseback.

The Seiko Presage Craftsmanship Urushi GMT is priced at £1,590, which seems about right for the traditional crafts on display with the dial as well as the good specs of the movement. A few years ago that would’ve been on the higher end for Seiko but these days it’s more of a mid-range price. It’s also nice to see the craftsmanship range expand its horizons beyond time and date models turning it into more of a sub-collection in its own right rather than a novelty at the fringes of what Seiko does.

More details at Seiko Boutique.

Jean-Claude Biver is undoubtedly an icon among watch enthusiasts and industry stalwarts. And it seems it is a laurel wreath that he is uncomfortable resting on. JC is still energized at 74, and along with the late Nicholas Hayek credited for turning around the Swiss watch industry. In fact Oracle Time might not be here if it wasn’t for his judicious moves in the nineties. But with widespread success comes jealousy.

Cue March last year when fast-talking Jean-Claude dropped his own-brand bombshell, Biver Watches. At the launch my image was one of JC and his son Pierre tiptoeing through a minefield of skeptic opinions. Every media personality wanted a say on the surprisingly modern Carillon Tourbillon minute repeater. In fact, many voices were very critical of the too-modern design, with a price tag starting at CHF 520,000. A value befitting its complex, hand-finished nature. Interestingly most changed their minds when handling the actual watch, a debut that set the brand standard sky high for the next reveal – which I got hands-on with at Geneva Watch Days.

As promised at the launch, Biver and Son are back with the same modern case design. This time, it is reduced from 42mm to 39mm. All the previous and rather modern details are still around, but they are surprisingly understated here. Plus, the Biver airship has descended from above the clouds and flies at a much lower altitude in terms of price. Mind you, after a £500K debut, no watch bearing the capitalised Biver logo could possibly be a daily driver, or could it?

My eyes are widening as I write this because of how ridiculous it sounds, but the three-hand Biver Automatique with its CHF 75,000 starting price has all the ergonomic qualities of a daily fave. I have worn all four versions, and casting aside my own budget restraints, I was smitten. Viewing the Biver Automatique at its own merit, it is an eminently readable, exceptionally finished watch with the best lugs in the business and an exceptional movement.

During my meeting with the brand, I shared a few words with Pierre Biver and what became very clear was his passion. JC has obviously passed on his passion for detail, and Piere has a keen eye for modernity. This becomes abundantly apparent when wearing and examining the circular case with its strong brushed side section. And I’m all about those lugs, quite possibly the sharpest detail on the accomplished 39mm case.

The new Biver Automatique has the same DNA as the high-shooting first release, with soldered lugs. With a gentle curve where they connect with the case it makes the details stand out even more, and their angular drama frames a soft and rounded bezel. The platinum and rose gold versions with precious metal dials offer the cleanest design of the quartet, a relief railroad minute track encircling a vibrant dial with circular-and vertical brushed finishes. To add contrast, all indices and hands are in white gold, but finished with a dark anrthacite colour.

Bold indices traverse the two middle rings of the rose or white gold dial surfaces, with razor sharp dauphine hands to match. The Biver Automatique is a no-date design and the quadrant indices echo the angular drama of the lugs design to great effect. On-wrist I would say that the full rose gold version does dazzle in indoor lighting, making the flamboyant stealth wealth of the platinum version more legible. But viewing both in the warm Genevan sun the rich glimmer of 18K rose gold takes some beating.

Soft, matte leather straps come with the immaculate fit of a matching big-logo buckle, and I am a big fan of the alligator versions for the two Atelier editions. The twin precious metal versions are the regular production models, while the rose gold and platinum Atelier series have stone dials. These will be released in minimal editions each year, and with different semi-precious stone dials.

To maximise the impact of the stone dials, the two Atelier versions of the Automatique come on matte-finished alligator straps. However, precious metal bracelets will also be available for both these and the regular models. As with the standard models, the platinum case is the understated one. But with a matte, brushed obsidian dial that gives it a melancholy charm. The pietersite stone in the rose gold version is like capturing a thunderous night sky or a dark subsea current. It might seem overpowering in the images, but on the wrist, it was spectacular. And in a mid-sized 39mm watch, it offers a massive wrist presence. Sure, the price for this limited piece of stone art-imbued wristwear is considerable. It retails for CHF 89,000 and CHF 108,000 on the upcoming bracelet, but it might just be worth it if you ask me.

Within all four new Bivers, you will find an equal artisanal flourish under the rear sapphire crystal. The JCB-003 movement with its solid 22k gold micro-rotor was developed in close collaboration with Dubois Depraz and considered a base for future releases. Sharp inner angles of hand-finished anglage abound, and the bridges are carefully sculpted. Hand-finished cut-back bridgework reveals elements of the drive train, barrel, and winding system. It is an enigmatic combination of guilloché, anglage and black polishing, giving it character. I especially enjoy the Clous de Paris guilloché patterns that adorn the bridges while adding sculptural drama. I am also drawn in by more guilloché flourish swirling out from the centre of the micro-rotor, making the JCB-003 a visual high point. The 36-jewel movement boasts a 25,200vph running frequency and a solid 65-hours of power reserve.

In hand and on my wrist, I would be hard-pressed to pick a favourite. I was seriously smitten by the smooth charm of the platinum version with its vibrantly brushed white gold dial. It is also very hard to look away from the full-on cinematic experience of the Atelier Collection. Especially the rose gold with its hypnotizing pietersite stone. I am left with a different and more understated image of the brand than at last year’s launch. In my chat with Pierre Biver, while wearing the Automatique, my lasting impression is nuanced. As a person, Pierre emanates a curated, studied passion and it is this passion that is deeply reflected in this dazzling quartet.

Learn more at Biver.

Let me preface this article by saying I don’t know how it will be possible to succinctly convey the scale and magnitude of Bulgari’s latest haute horological project in a single, coherent article. They have produced three minute repeater watches, each with their distinct attributes and features that simultaneously make them impressive individual watches while also coming together to create a stunning series when viewed as a whole.

To steal some terms from the music industry, there is a dissonance between them all that somehow melds with the overall harmony of the collection. The watches that form the collection are the Octo Roma Grande Sonnerie Tourbillon, Octo Roma Carillon Tourbillon and Finissimo Minute Repeater Carbon.

Before we delve into the individual watches, let’s take a look at an overview of the collection. A minute repeater, a carillon and a grande sonnerie are all variations of chiming complications with the grande sonnerie being the most prestigious of the three. The easiest way to express that is with the number of hammers and gongs (the hammer strikes the gong to produce the chiming sound) present in each type of watch – the more hammers and gongs a chiming watch has, the more complex and varied a tune the chimes can emit. The Bulgari minute repeater has two hammers, the carillon has three and the grande sonnerie has four. There are more differences than that but it’s enough to get us started.

What’s special about this 2024 series of chiming watches is that Bulgari have teamed up with Swiss conductor Lorenzo Viotti to produce a bespoke tune for these watches’ chimes. A focal point of this collaboration was the use of tritones in the chimes. As I’m no music expert, I’ll let Viotti explain: “The tritone, often referred to as the ‘Devil’s Interval,’ spans six semitones or three whole tones. It divides the octave in half and brings dissonance and tension.”

“It strongly contrasts with the modern preference for consonant harmonic intervals. In medieval symbolism, certain chords were linked to spiritual concepts. The tritone was considered disturbing, and due to its asymmetry, contrary to the religious canon of reflecting divine harmony – hence the nickname associating it with the devil’s workings.”

Bulgari Octo Roma Grande Sonnerie Tourbillon

Starting with the most prestigious of the three we have the Octo Roma Grande Sonnerie Tourbillon 103962. It’s equipped with a 45mm diameter titanium case in the signature round shape of the Octo Roma. The dial is partially skeletonised with a perforated pattern made from brass with a dark grey PVD coating. It makes for a very modern, technological appearance that reminds me of a high-end speaker in a hi-fi system.

The movement visible is the BVV800, a manual-winding calibre with a 72-hour power reserve. A grande sonnerie automatically chimes the hours and quarters as they pass and can also repeat the hours, quarters, and minutes on demand, which is the base function of a standard minute repeater. Due to the power intensive nature of these chiming complications, there is a separate power reserve indicator for the chiming mechanisms and time keeping functions.

On top of that it also has a tourbillon located at 10 o’clock. The combination of these many and varied complications has led Bulgari to describe this watch as the most complicated they have ever produced. That’s quite an accolade from one of the most cutting-edge brands who consistently push the boundaries of what is possible.

Bulgari Octo Roma Carillon Tourbillon

Sitting in the middle of the series is the Octo Roma Carillon Tourbillon. It’s aesthetically similar to the Grande Sonnerie except that its case is made from rose gold and is slightly slimmer at 44mm. Beyond that, the aesthetic is virtually identical with the same perforated skeleton dial with exposed hammers and tourbillon. On this model the position of the tourbillon and hammers is inverted compared the Grande Sonnerie with the rotating cage of the tourbillon at 6 o’clock.

Powering it is the modified BVL428 manual-winding movement with a 75-hour power reserve. The name Carillon comes from the fact that its minute repeater has three hammers and gongs, giving it a more diversity of chime compared to a standard two gong minute repeater. In the music world, a carillon is a set of bells played using a keyboard, albeit one with at least 20 more chimes than Bulgari’s.

As the middle child of the series, the Carillon is arguably the least interesting of the three – which is mad to say because in isolation this is an incredibly technical and stunning watch, but it’s overshadowed by the Grande Sonnerie which is yet more complex and the Octo Finissimo Minute Repeater for reasons we’re about to discuss.

Bulgari Octo Finissimo Minute Repeater Carbon

The Octo Finissimo range is where Bulgari typically flex their horological muscles, especially in their endeavour to create the thinnest examples of all the common watch complications, a quest that has led them to several world records. In 2016 they added the record for producing the thinnest minute repeater with the calibre with the BVL362, a movement that has been reissued in the Octo Finissimo Minute Repeater Carbon with a new carbon case.

That case measures 40mm in diameter with a thickness of 6.85mm in CTP (Carbon Thin Ply). It looks very striking with the layered pattern across the case, bezel and dial. The dial in particular is very unusual with a pockmarked like appearance that reminds me of an eroded and crumbling concrete wall – especially in combination with the openworked hour markers and subdial. It gives it a cool urban decay sort of vibe that I’m a fan of, a post-apocalyptic minute repeater discovered by the survivors in the same way that the Antikythera mechanism was discovered.

Between the cool case and world record movement, this is quite a special and unusual minute repeater. The same could be said for all three of these watches, which brings me back to my opening statement that while each of these watches is unique and separate from the others, they work in harmony as a trio. Three watches with a dissonance that works to create a broader harmony in the complete work, or in music terminology, a tritone.

More details at Bulgari.