Stories

At its Atelier Lucerne, Chronoswiss has sandblasted a hand-guilloché dial so that it diffuses light rather than reflecting it, which the brand calls a Chronoswiss first.

At GT Cadrans, near Lausanne, each slice of Gibeon meteorite is acid-washed and polished by hand to reveal its Widmanstätten lines before any tint is applied.

AMIDA co-founder and creative director Matthieu Allègre sees the brand not as a heritage archive but as a way to pick up where AMIDA left off.

URWERK co-founders Martin Frei and Felix Baumgartner turned a science-fiction gesture into a complication, and for the last UR-120 they dress it in deep blue and gold.

Founder Maximilian Büsser wondered what would happen if a robot’s head were a watch, and product designer Maximilian Maertens spent four years shaping the answer.

At the Chronoswiss Atelier Lucerne, the dial of the new Delphis Glacier is guilloché by hand, with textures inspired by glacial ice.

At Donzé Cadrans, only four craftspeople apply the enamel to the rippled dial of Czapek’s Promenade Goutte de Rosée, and each dial takes up to five hours of work.

Over ten years ago, MB&F and independent Irish watchmaker Stephen McDonnell rethought the perpetual calendar from a blank sheet; now Geneva gem-setters have framed it in colour.

Armin Strom’s Dual Time GMT Resonance gives travellers two time zones, each with its own hours, minutes and day/night indicator, and a new edition sets them on aventurine.

The UR-10 grew from a Gustave Sandoz clock with three astronomical dials, discovered and restored by Gérard Baumgartner, father of URWERK co-founder Felix Baumgartner.

Louis Erard spent three years with Worn & Wound shaping a regulator dial of fluted sunray lines and lacquer, and it now joins the brand’s Métiers d’Art collection.

Armin Strom’s new minute repeater lets the wearer choose: chime the time shown, or play its longest sequence, 12 hours, three quarters and fourteen minutes, at any moment.