I kept going back to the Sero Signature more than I expected, and that’s a huge compliment. It’s one of those watches that only starts to make sense once you begin placing it against other things you already know, once you start measuring it mentally against references that defined this category in the first place. Not to say that it’s « du vu et revu » as in something we’ve seen before, but to hammer down my point that there’s a clear respect of the traditional way of doing things.

Because whether Sero intended it or not, this watch lives in a space that’s already been written. You don’t approach Breguet numerals, a slim manually wound profile, and a restrained case without inevitably entering the orbit of watches like the Patek Philippe Calatrava ref. 96, the Vacheron Constantin ref. 6073, or even more modern reinterpretations like the F.P. Journe Chronomètre Bleu. Different price brackets, different intentions, but the same underlying language. Again, a compliment.

And that’s where the Signature becomes interesting. Not because it competes with those watches (it doesn’t) but because it clearly understands the framework they established.

The case proportions are the first indicator. 37.5mm is the easy number to read (sweet!), but the 46.5mm lug-to-lug is where the watch really positions itself. It stretches just enough to avoid that compact, almost fragile stance you get with smaller Calatrava-style pieces. It wears more like certain oversized references from the 40s, where lugs carried more visual weight and extended the watch across the wrist. It’s a subtle shift, but it changes the entire posture of the watch.

The 9.5mm thickness is exactly where it should be, and that’s largely due to the Sellita SW210-1. There’s nothing mind blowing about that movement, but from a construction standpoint, it’s coherent. Around 3.35mm in height, manual winding, stable architecture. It allows the case to remain slim without forcing the watch into ultra-thin territory, which often introduces compromises in durability or water resistance; AKA having to take it off to wash your hand. The 100 meters rating here is not just a spec, it tells you the case has been built with actual use in mind. 

But to get into the main part, the dial is where Sero takes a more deliberate position.

Engraving the numerals directly into the dial instead of printing or applying them changes the reading entirely. From a horological perspective, you move from surface decoration to taking away from the material itself. The numerals exist as negative space, and that means light behaves differently. You don’t get the crisp contrast of printed lacquer or the shadow line of applied markers. Instead, you get something more variable, more dependent on angle and intensity.

This is closer, in spirit, to how traditional guilloché dials interact with light, although achieved through machining rather than hand-turned patterns. The vertical brushing underneath adds a directional grain, which keeps the dial from becoming too static while maintaining control over reflections. It’s a measured approach. 

The consistency of execution is what stands out here. The chemin de fer, the numerals, even the signature text all follow the same engraved logic. That avoids the common issue where different techniques compete on the same dial, printed tracks next to applied markers next to stamped logos. Here, everything is resolved within the same surface.

The handset is another area where the watch holds together, and honestly the first thing I noticed. Heat-blued spade hands, correctly dimensioned, doing exactly what they’re supposed to do. The minute hand reaches the track with precision, which is something you’d expect, but not something you always get. The hour hand sits cleanly within the numeral ring, and the seconds hand remains visually light. 

It’s basic watchmaking discipline, but it’s often where watches lose coherence.

Looking at the different dial configurations, the variations don’t try to reinvent the watch. The silver and champagne dials stay closest to classical references, where the engraving becomes more subtle and the watch reads almost like a study in restraint, to be a little more poetic. The blue dial increases contrast and sharpens the overall presence, pushing it slightly closer to contemporary tastes.

The red dial is the outlier, but it still respects the underlying architecture, which keeps it from feeling disconnected. A little different, but different strokes for different folks.

Now, where the Signature really needs to be placed is in its price segment. At around €1,100 to €1,200, it sits in a very competitive space. You’re looking at watches like the Nomos Tangente, the Longines Heritage Classic, vintage Omegas…

Most of those watches take a different route. Nomos focuses on Bauhaus minimalism and in-house calibres, Longines leans heavily into archival design, vintage Omega Genèves are iconic and reliable. Sero doesn’t really sit directly with any of them. It’s closer to what smaller independent or collector-driven brands have been trying to do in recent years, tightening classical codes rather than reinterpreting them.

That’s also where the watch finds a bit of cultural relevance. There’s been a clear shift in the last few years, especially among younger collectors, away from oversized, overly expressive pieces toward something more controlled. Not necessarily vintage, but informed by it. The Signature fits into that movement as a very clear participant.

That doesn’t make it perfect. The “Signature” text still feels slightly more present than it needs to be when you look at how low-key everything else is, and the longer lug-to-lug will not work for every wrist. But when you place it where it actually belongs, within that €1,000 segment, against watches that often get one or two things right and miss the rest, the Signature holds together in a way that’s harder to dismiss.

What was interesting, and something that came up in conversation with Sergino, the founder, after I shared my thoughts, is that none of this is accidental. The positioning, the proportions, even the way the watch sits in this slightly uncomfortable but very deliberate space, it’s all been thought through.

And that also reflects in how they’re bringing it to market. The initial presale starts just under the €1,000 mark, with the first pieces at €899 before taxes, then €999 during the two-week window, before settling at €1,199 retail. It’s a detail worth mentioning because, at that earlier entry point, the watch shifts slightly in how you evaluate it. You’re no longer just comparing it to its immediate peers, you’re looking at it against a much broader field, and in that context, the level of attention given to proportions, dial execution, and overall coherence becomes harder to overlook.

If I were to discribe it in 1 word, I’d say traditional.

Check them out here.

The most beautiful watches this year are the ones on gold bracelets. Period. 

I wanted to start by making that strong statement, to set the tone for this article and the ones to come. Because my dear friends, this year’s W&W was actually really good, and we intend to highlight the beauty and technical genius behind some of the most notable releases (From both big and smaller brands, more to come in the upcoming hours)

And The Most Beautiful Bracelet Award Goes To… 

For those of you who don’t keep up with the watch world drama, a big chunk of the criticism directed towards watch brands and their novelties has been about their bracelets. AKA the most important part since it’s what actually makes them wearable and not pocket watches.

The links, the clasp, the adjustment technology… And the overall aesthetics of the whole thing.

Let me cut to the chase and go through 3 of the watches with (in my humble personal opinion) the most mesmerizing bracelets from this year’s Watches & Wonders.

(In Order)

Reverso Tribute Monoface Small Seconds

Design wise, this sits at the top spot for me. 

Jaeger-LeCoultre is back with another stunning take on the Reverso Tribute Monoface Small Seconds, this time in a refined pink gold execution (ref. Q713216J). If you’re familiar with the Tribute lineup, you’ll know JLC has been offering similar models in both steel and pink gold for some time. But this one comes with a fresh twist: a grained-texture pink gold dial that plays beautifully with light, adding an extra layer of sophistication to the already iconic Art Deco design.

The biggest talking point, though? That bracelet. JLC has paired this Reverso with a pink gold Milanese mesh-style bracelet, a rare sight in the collection and one that brings a distinctly vintage charm while maintaining a luxurious presence. It’s flexible, comfortable, and secured with a sliding clasp for a precise fit—perfect for those who want an elegant, dressy Reverso with a bit of extra flair.

Of course, inside the sleek 27.4mm x 45.6mm x 7.56mm case, you’ll find the in-house, hand-wound caliber 822. This ultra-thin movement keeps things traditional with hours, minutes, and a small seconds display, all while delivering a respectable 42-hour power reserve. It’s a nod to the Reverso’s long heritage of manually wound movements—just like the ones that powered the earliest models in the 1930s.

I can’t not come back and say this again but, that pink gold-on-pink gold combo !! God… I can’t wait to visit my Jaeger friends.

The Rolex Perpetual 1908 On The Settimo Bracelet

At Watches & Wonders 2025, Rolex has given a refined glow up to its Perpetual 1908 collection by introducing the Settimo bracelet, a fully polished seven-link design crafted in 18-carat yellow gold. This new bracelet enhances the watch’s dressy appeal, transforming it into a piece that seamlessly blends horological precision with jewelry-like sophistication.

The Settimo bracelet comprises seven small, highly articulated links polished to a mirror finish, offering mainly flexibility. It features a concealed Crownclasp, keeping the watch’s clean and uninterrupted aesthetic. Additionally, Rolex has developed a special attachment system for connecting the bracelet to the middle case, for which a patent has been filed. Notably, the Settimo bracelet is exclusively reserved for the 1908 model, underscoring its unique status within Rolex’s catalogue.

While the bracelet introduces a fresh dimension to the 1908, the watch itself retains its distinguished features. A 39mm diameter, 9.5mm thickness with an in-house calibre 7140. It comes in both black and white dial options, maintaining the distinctive handset that combines a Breguet-style hour hand with a sword-style minute hand.

On our Time-Telling Watch Club Facebook group, one of the members asked “Why would someone buy this €35k Rolex over a Calatrava?” 

And I replied:

“Although I have been guilty of comparing the 1908 to the Calatrava multiple times, I don’t think it’s fair to do so.

The 1908 has Cellini roots that nobody is ever allowed to underestimate or undermine. That’s not me being biased, and you guys knooooowwww how much I dislike modern Rolex.

To keep it short and to let you guys enjoy the upcoming article, the answer to the question would be that this watch is Rolex dipping its finger into the design well. Meaning, all we’re seen are generic and predictable pieces that show 0 creative instinct from their design team.

But this one is actually genuinely very pretty. A time only gold dress watch. Everything but a tool watch (Rolexes are typically tool watches).

Notice how the bracelet is NOT integrated on this one while it is in the 2526 Pateks…”

Let me also add, the geezer watch effect is in full action here. What I mean by that is, a Calatrava will not give you the same smooth and spotless effect the Settimo’s hidden clasp will do. The closest Calatrava equivalent as I mentioned before would be the 2526 or even the 2586 and NONE of them will hug your wrist like the Rolex will. They also don’t have an open caseback for their automatic in house movements.

This obviously is very subjective and to be fair, not enough to justify the absurd price tag to your life partners or financial managers.

A. Lange & Söhne ODYSSEUS in 750 HONEY GOLD

They COOKED with this one. 

At Watches and Wonders 2025, A. Lange & Söhne introduced the Odysseus Honeygold, a refined iteration of their sport-luxury timepiece. This model showcases the brand’s exclusive Honeygold alloy, a proprietary 18-carat gold known for its warm hue and exceptional hardness, surpassing that of traditional gold alloys. The use of Honeygold not only enhances the watch’s aesthetic appeal but also contributes to its durability. I mean it’s still a sports watch.

The Odysseus Honeygold features a 40.5mm case with a thickness of 11.1mm, maintaining the dimensions of its predecessors. What we’re here for  is the integrated Honeygold bracelet, marking the first time this material has been used for the bracelet in the Odysseus line. The bracelet’s five-row design integrates seamlessly into the case, ensuring both aesthetic harmony and supreme comfort. It includes a micro-adjustment mechanism, allowing wearers to fine-tune the fit without removing the watch.

The Odysseus collection, introduced in 2019, marked A. Lange & Söhne’s entry into the luxury sports watch segment. Initially released in stainless steel with an integrated bracelet, the line expanded to include white gold variants paired with rubber or leather straps. The introduction of the Honeygold model with a matching bracelet represents a fusion of the brand’s proprietary material with the sport-luxury design ethos of the Odysseus. 

People have been loving this one. And although it’s limited to 100 units, enthusiasts and critics have praised the Odysseus Honeygold for its harmonious blend of luxury and sportiness. The warm tones of the Honeygold alloy, combined with the brown dial, have been highlighted as particularly appealing, offering a distinctive alternative to traditional steel sports watches. 

3 watches. 3 beautiful gold bracelets. No Cubitus propaganda, that’s for Hodinkee

Do you agree with this ? Did I miss something ? Tell me in the comments.

Stick around for the W&W 25 articles spam !