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.

Banking into the Chep Lak Kok’s approach for the first time in more than a year, a refreshing sense of familiarity dawns on me. Hong Kong was once home to me, in a stage of life where watches were never within my reach or interest. I saw the city in a very different light, one where  its cultural vibrancy and sheer visual overload obsessed me from a young age. 

As the wheels touched down, I realised that I was arriving with a completely different purpose this time around. I had booked this trip with multiple intentions in mind, with my first week revolving around the seasonal auctions from Phillips, Christie’s and Antiquorum. None of these houses were unfamiliar territory to me, likewise with the whole auction experience, however I had a strong feeling that the overall experience would differ at a professional and personal level. My experiences in Geneva and New York last year presented a frenetic, “in-your-face”, and quite frankly intimidating atmosphere. I felt like a fish out of water, watching unknown faces glide in and out of previews while greeted with smiles and handshakes by the staff… The imposter syndrome was overwhelming but it never crossed my mind as a feeling to deter me. While those stories can wait for another day, the lessons learned through previous seasons have imbued me with a strong sense of ambition, even audacity, to ply my way through such uncharted waters in Hong Kong.

It’s not a return to Hong Kong if you can’t distinguish the Ngong Ping Cable Car towers through the warm haze.

With general dealer visits as soon as I touched down on Tuesday afternoon, the Phillips previews beckoned for me on my first full day. Bleary-eyed, I dragged myself to their imposing West Kowloon building to have a look at their lots. If attending an auction in person, I tend to leave first impressions as my selling point, so looking at catalogues beforehand is a big no-no; I want to see what will catch my eye in person, as you never know what you may have missed by flipping through the pages. I pursued the traditional Hong Kong pastime of getting horrifically lost in the maze of Kowloon’s MTR station, eventually emerging via the help of the kind concierge at the base of IFC into the West Kowloon Cultural District. While it was mostly in construction during my time living in Hong Kong, I never fully got over how massive of an endeavour it is for the city. Wide spaces, tall windowless concrete channeling people towards the views over Victoria Harbour, all planned to a tee… It felt like the most blatant exercise of urban planning that I’d witnessed in a while. Eventually, I find myself at the base of their headquarters, aptly designed by Herzog & de Meuron. The house’s art gallery spans the ground floor, drawing in curious gazes from passers-by, while I take a step through their front doors and up the escalator to their preview room.

The ever-imposing monolith that are the Phillips Asia offices.

My Phillips experience was incredibly pleasant over the previews and auctions themselves, with incredibly kind specialists who were more than willing to impart their knowledge on me. Obviously, we know why they do it, but doing it with the correct amount of tact and professional encouragement can be a very fine line. Over my time as a collector, one becomes attuned to reading between the lines of both auction houses and dealers as you come to understand that they must move their selection for the sake of business, which can be tricky to build a sense of a welcoming community. Regardless of the fact, their selection was thoroughly impressive. With personal highlights ranging from a Patek ref. 2597 in pink gold in astonishing condition (Lot 993) to a monstrous 51 millimetre Richard Mille RM25-01 CA (Lot 990) – I believe the compartment for a water filtration capsule is absolutely necessary – or a bevy of pocket watches from various eras, their 10th anniversary sale had all the hallmarks of a Phillips auction: incredible rarity, strong condition, and a real sense of excitement in the air. Their landmark 10th anniversary for Hong Kong auctions allowed for a monstrously large catalogue of more than 300 lots, with many of them sourced from single-owner collections. After joking with the specialists from their Shanghai office that I’d be invoicing them directly for my unreasonably overweight bag, I got stuck into the ever-exciting event of examination.

Phillips’ ability to use natural light for daytime viewings is a fantastic change from the spotlighted spaces of Geneva.

Let’s work through some trays, shall we?

Now, what was I looking at for myself? Well, as an intentionally picky collector – much to the chagrin of the specialists – there was very little that truly compelled me. The two standouts which got me on the verge of raising my paddle were two repeater complications: a Cartier minute repeater pocket watch from circa 1930 (Lot 1039), and a Jules Audemars with a carillon minute repeater from 1998 (Lot 1119). Clearly, there’s something to unpack with my absolute adoration for a minute repeater, an experience which few consider and even fewer get the chance to experience. 

The European Watch Company movement ticking within the Cartier provides a “clear and elegant chime”, as per the catalogue’s words, which after chiming at multiple times I can concur with the specific wording: feeling the strikes from the hammers through its case into your hands is a deeply marking experience, substantiated by close friends of mine who tagged along with me. With both of them being novices in the space, their innate reaction to its function spoke in volumes to me compared to more seasoned collectors, whose experience hones in on the specific sound and consistency of the repeater. Putting aside my collector hat and switching it out for my enthusiast’s one, it’s just incredibly cool that someone made that 95 years ago, that it still works, and that it can invoke that same sense of “holy shit it actually does that?” nearly a century later.

What an elegant way to house an EWC movement…

On the other hand – for lack of a better pun –  The Jules Audemars takes the function to a whole new level, with the addition of a third hammer and subsequently squeezed into a case with 30 millimetres less of diameter. Having it on-wrist and getting the opportunity to handle it over the course of multiple days was really special, its platinum case and 33-jewel movement feeling surprisingly weighty for a watch of its size. It’s an incredibly discreet watch, which makes it all the more compelling, and wore incredibly well on my wrist, but most importantly for me is that it is one of the last compelling Audemars Piguet’s made in this day and age. Bearing very little in resemblance to current design identity, it struck me as a piece which sought to be beautiful in its presentation rather than simply choosing to impress through technical prowess. 

With my current principles for what I’m seeking to build, neither of them could truly find a place, yet I consider myself incredibly humbled and lucky to have handled them in case my mind and opportunities later down the line change in their favour. My experience in handling them has satiated my taste for minute repeaters, and I will always seek to hunt down one which fits my collecting guidelines. For now, my fixation remains on dial design through the medium of two/three-handed pocket watches from the turn of the century until the 1940’s, and best believe there’s no rush on that end either!

Dainty yet exuding presence, even on my wrist.

For something different out of their New York sale in December, a Gilbert Albert-designed Patek Philippe! Considering the price which the one fetched on Loupe This, and this bracelet remains particularly long, I remain curious to see what it’ll fetch…

Now, onto the more entertaining aspect: the auctions themselves! While I hadn’t attended the physical auctions in New York or Geneva for Phillips specifically, I had a good idea of how they tend to look and feel like. The rooms are always well under capacity unless something truly special to the wider horological space is going under hammer, and seeing the two elevated lines of telephone bidders was quite a sight. It was a veritable “who’s who” of their global offices, with Aurel presiding over the main session that I attended. The excitement of impassioned bidding is a sight to behold, watching telephones and people bid in the room in increments of life-changing sums of money makes you realise how easily you can get swept up in it all. Located on their ground floor, you walk through from the entrance surrounded by their substantial art collection. Previews for later auctions – in this case a Yayoi Kusama-themed one – dominated the path up to the bidding room, and as I turn left it feels considerably different than previous experiences. Comparing it to Antiquorum in Geneva, this tailor-made space felt grander despite its lack of ornate details. Far sparser in decoration, your eyes can only focus on the screens, displaying the lots with varying currencies beside them, along with the rostrum. There’s a certain aesthetic uniformity which has become clear to me, this sterile slate being equally present in their New York offices – it is in 432 Park Ave. after all!

While I may not know the Asian collectors well by face or name, the Italian ones were there in force. Bernardini, Zenga, Caso, di Simone,… all names we know from the big publications and news surrounding landmark sales, gathered around towards the back of the room. Their presence occupied far more than their table, with furtive glances cast their way by people such as myself. You don’t often get the chance to watch Mr. Paramico dart out for a coffee while bidding is ongoing, shuffling his way through an unknowing crowd back to his seat. There’s also the fun of recognising people in the room, mostly former Phillips specialists who moved onto working with prominent dealers in Hong Kong, so quickly scurrying out behind the crowd for a handshake and brief catch-up became the norm very quickly. Definitely a position which is not acquired by everyone, but one I definitely forged through previous auction seasons elsewhere. 

The main man himself, fixated upon his telephone bidders.

As most publications have probably reported by now and on the general state of the market, results have been very strong across the board. It’s a market which favours both sellers and buyers, as quality and quantity have emerged into a more discerning and active buyer pool. I don’t think anyone who bids at Phillips is there to find a bargain, but occasionally some things do fly under the radar; I’d argue the Cartier minute repeater represented a fantastic proposition, with an all-in price of 279,400 HKD. My friends have struggled to win bids throughout Monaco, Geneva, and now here in Hong Kong in the hopes of retailing their auction finds. Watches seem to be going into good long-term homes, as such strong and public prices make for them to be favourable long-term holds in distinguished collections. I would’ve mirrored this same mentality if there was anything which fit my tastes, but overall I remain happy for all involved parties that there’s such strong sentiments in an otherwise turbulent climate. The fact that they are able to conduct such a large sale and incur zero passed lots was tremendous, and over pleasantries at The Armoury I congratulated both Aurel Bacs and Alex Ghotbi on this. Ever-charismatic and polite, they thanked me for my kind words as we went our separate ways, yet the interaction left me marked as having the opportunity to speak with them, however briefly, outside of their usual environment makes for a different impression of Phillips altogether.

A final wrist shot from the previews: one of their specialists modelling a wonderful Patek ref. 1526, a reference which has grown on me very much since handling theirs, along with Paul Engel’s phenomenal deep dive on Hodinkee.

It dawns on me as eyebrows furrow, bidders drop out, and glances dart across the room from rivals, that this space lives an entire world apart from the one mere metres outside, on a calm and sunny Sunday afternoon. Living in the knowledge that domestic helpers are congregating on their sole day off of the week, families are preoccupied by their children flying kites and graduation pictures for HKUST students are being taken, I get to witness the pinnacle of my passion in full swing before my very eyes. Hong Kong will always have a special place in my heart for memories far beyond the world of watches, but this trip adds yet another beautiful facet to my own personal story with the “Fragrant Harbour”. Forging a sense of shared passion, whether it’s imagined in my own head or not, has been the highlight of the experience with Phillips, as the specialists were eager to show their personal favourites alongside the ones I sought for myself. My mild trepidation was wiped away quickly by their hospitality, a word which doesn’t often appear alongside Hong Kong and the auction world, however events during my time in Hong Kong have highlighted how “community” in this city will always rally behind a shared cause.

A quick 5 minutes to examine what’s on other wrists in the room leads to moments such as this!

I think it’s well worth having a more tender reflection on how these few days have marked me. Perhaps I differ from the usual crowd of journalists and dealers, who see Hong Kong as a brief 48 or 72 hour work trip which is packed with appointments, business always coming first before they board their evening flights back out to Europe or North America. Hong Kong was, and perhaps, still is the home of my passion and of a very important part of my life. It’s the city where I tried on my first “proper” watch, a small white gold Cartier Baignoire, and returning a couple of years later as a seasoned collector and auction attendee has made me realise how far I’ve come in my journey. Collecting is a privilege, but collecting with intent and focus remains a duty towards myself and the wider community. Seeing the nodding looks of approval or gazes of curiosity at what I wore to their previews and event was very humbling, but it only adds fuel to a fire which I intend to nurture over the coming decades. It can be deduced that I may not be as susceptible to the temptations of an auction space at a personal level, as what I seek simply doesn’t emerge through this lane, yet it serves as a space to congregate with fellow collectors, and to share with curious onlookers from my personal life. It also is an ideal space to gather knowledge, to try on watches you’d never consider purely from an online background, and to let my intentions be known in my collecting path.

Do I plan on attending next year’s season? Well, the sale itself is unlikely to match the grandeur of this one, so a smaller lot pool is to be anticipated, but I still believe the community matters more at the end of the day. I made some good friends and got to reinforce stronger connections with prior acquaintances, so that in itself is well worth nurturing. I plan to spend a little less time around the auction world on this subsequent trip, while also making sure to bring more friends along for the previews. The greatest joy I experienced out of my time around Phillips was watching friends taking notes while I explained the differences between print and enamel signatures, information which I’m sure will come of no substantial relevance in their day-to-day, but understanding that their intrigue came from my unbridled passion for the craft itself meant a lot to me in the moment. Any passion can be infectious if presented appropriately and without ego, so seeing the result of it firsthand was very touching. While I realise this is a very long introduction to you, dear reader, filled with personal thoughts as an anonymous contributor, I found myself writing this article with real intent; I wanted to share something a little different, with more focus on feeling rather than fact, as I wish to preserve the emotions element which draws everyone to their respective passions. I could’ve written thousands of words on a completely different interest of mine, yet writing on watches for the first time has brought me great joy. I hope to contribute again if my writing is well-accepted, but regardless I thank you for taking the time to read my thoughts on the Phillips experience. 

直到下次！

I’ve been around watches long enough to know when one’s just a fling and when it’s a full-blown horological crush. You know the type—where you’re checking your wrist more to admire the dial than to tell the time, and you start timing things just for the joy of pressing a pusher. That started the moment I unboxed the Anders & Co AC1.

Let me take it back to when and where it started. This isn’t one of those giant heritage maisons or obscure Swiss indies charging a kidney and a half for a manually wound minute repeater. No, Anders & Co is a fresh face from Sweden, founded in 2024 by Mr. Alexander Larsson. This wasn’t some VC-funded hype machine either. Mr. Larsson’s story has roots. He was the U.S. brand manager for David Candaux, one of the most respected names in high-end independent watchmaking. But when COVID pulled the rug out from under his job, Larsson packed up and moved back to Sweden with a mission: make well-designed, vintage-inspired watches that real people could afford.

He named the company after his grandfather, Anders. Class move for sure. Even the brand’s logo has a story since it’s inspired from Pucon, a Chilean town close to Larsson’s heart. 

The Anders & Co AC1 Chronograph.

As of today, the AC1 Chronograph is their debut piece. And frankly, they could’ve stopped there, mic-dropped, and left the room. It’s that good. Mine? The Rose dial configuration. That dial… oh, that dial. It’s not just “Rose”, it’s the kind of Salmon dials that you only see with Patek or other high watchmaking names. It changes tones in different light like it’s got moods. And the Breguet numerals? Come onnn… That’s a flex. They give the whole thing this old-world charm without getting mainstream-y.

Specs-wise, it’s hitting all the sweet spots: 38mm in diameter (finally, someone’s listening), just over 11mm thick, double-domed sapphire with anti-reflective coating (More on this in a bit), and a Seiko VK64 Mechaquartz beating inside. Yes, mechaquartz. I can already hear a few mechanical-only purists sneering, but this movement hits the perfect note: quartz accuracy with a satisfying mechanical chronograph snap. You push the button, and you feel it. It’s tactile.

Once you own a few mechanical chronographs, you’ll learn to appreciate the loyalty of a Mechaquartz piece.

Wearing it? Effortless.

I’ve got mechanical divers, Swiss chronos, and a couple dress watches that probably think they’re royalty. But since the AC1 arrived, they’ve all taken a back seat. The AC1 slides under a cuff, shines in the sun, and starts conversations with people who don’t even know what a tachymeter is. It’s a vibe.

The case is stainless steel, the finishing: Crisp. It’s not over-engineered or trying to be something it’s not. It just works. Every element—from the 20mm leather strap (thank you for keeping it standard, Anders & Co) to the 3 ATM water resistance—is well considered. It feels like it was designed by someone who wears watches, not someone trying to reinvent them.

It’s not just me who noticed that the brand clearly cares. They’re not mass-producing this thing to death. Limited runs, thoughtful details… 

What really got me, though, is the community they’re building. Anders & Co isn’t just selling watches—they’re building a club, a vibe, a little corner of the internet (and the world) where people care about design, details, and stories. I registered early, shared a bit of my collecting journey with them, and it felt like talking to fellow watch nuts—not customer service bots in disguise. I even had the chance to talk to the founder ! 

Speaking of building a club, Anders & Co is now involved in the world of sailing. A sport I personally adore (Can’t wait for them to invite me on a sailing trip haha). I’ll let Mr Alexander tell you about it:

Yes, absolutely, we’re based on the west coast of Sweden, where sailing is quite big. We’re in Marstrand, which hosts a stop on the World Match Racing Tour. I got to meet Chris Poole there last summer after he won the event. He’s really into watches, so the ambassadorship came about pretty naturally.

My grandfather Anders was also very into sailing, so this all feels kind of full circle. It was a bit of a spontaneous partnership, since most of our designs have leaned vintage, but it’s opened the door for us to start working on high water resistance watches in the future, which we’re really excited about.

Everything about Anders & Co feels personal. It’s a tribute. A family story. A passion project that actually delivers.

Aside from the amazing dial and the very useful chronograph complication (I like to time everything guys, I’m a freak), the double-domed sapphire with anti-reflective coating makes the watch what it is. I’m not being dramatic, let me explain. 

With this type of crystal, one is able to appreciate some of the finest details on the dial. For instance, the ripple effect on the subdials would not have been apparent if the glass wasn’t so smooth and anti-reflective. The curved edges magnify the tachymeter scale, which allows me to nerd out on every millisecond. 

A Traditional Chronograph Design Identity.

A thought I shared in my recent Instagram Reel has stuck with me. This watch scratches my itch for a Patek Philippe ref.1463 “Tasti Tondi”.

YOU SEE IT RIGHT !? The Breguet numerals on 12 and 6, the tachymeter scale, the double domed sapphire…

I’m not saying that the AC1 is inspired by this reference whatsoever. What I’m saying is: This 2024 chronograph respects traditional design elements that make it feel and look like a proper luxury watch. 

Mr Alexander is no newcomer, which explains how fine this watch is.

Would I call it my favorite watch? Currently, yes. Today, right now, the AC1 is the one. It’s on my wrist as I write this, and it’ll still be there when I step out later—whether I’m grabbing coffee or heading into a work meeting. It just works.

So yeah, consider this my love letter to the AC1 Chronograph. Not because it’s flashy. Not because it’s hyped. But because it’s the rare kind of watch that reminds you why you got into this hobby in the first place.

Let me say it again. Patek Philippe did not disappoint. 

The face of high watchmaking had a –how can I say it nicely– a “setback” this past October 2024, with its leaked Cubitus collection. The 3 watches that quite literally SHOOK the watch world as well as our flawless perception of the brand and its executives. Full article here.

Especially when the CEO basically called all of us poor peasants… But I digress. 

2025’s Pateks were BEAUTIFUL. I use “beautiful” to reaffirm a point made by Hodinkee’s Ben Clymer when he said: “I need for Patek to be beautiful…” and I couldn’t agree more. I know I’m repeating myself here, but Patek Philippe IS Haute-Horlogerie. Just look at something like the ref. 1518. Do yourself that favor. 

This article is about Patek Philippe’s Watches and Wonders 2025 releases. 

Not all of them, but the ones that I consider to be modern day classics. The watches we will 100% see in auctions in about 40 years from now. The watches that hit every spot. The watches that truly matter.

My number 1, the 5370R.

The Patek Philippe Reference 5370R is a distinguished timepiece that exemplifies the brand’s commitment to haute horlogerie, combining intricate complications with exquisite craftsmanship. It marks the first iteration of this model in rose gold, expanding upon its predecessors by offering a warmer aesthetic. This release continues Patek Philippe’s tradition of creating sophisticated split-seconds chronographs, a complication highly esteemed by watch enthusiasts for its complexity and functionality. In other words, what sold it for me.

Concerning the boring technicalities, the watch is crafted in 18K rose gold, the case measures 41mm in diameter and 13.56mm in thickness, providing a substantial yet elegant presence on the wrist. The piece features a brown Grand Feu enamel dial, a testament to Patek Philippe’s mastery in dial-making (as well as everything else to be honest). The dial is adorned with beige champlevé enamel subdials and a tachymeter scale. The whole package is on a dark chestnut alligator leather strap, secured with a rose gold fold-over clasp. Nothing out of the ordinary.

Okay but what’s inside ? 

At the heart of the 5370R is the manually wound Caliber CHR 29-535 PS, an in-house movement renowned for its traditional architecture, including a column wheel and horizontal clutch. This movement is a culmination of Patek Philippe’s expertise in chronograph design.

This advanced caliber contains a split-seconds chronograph complication. Meaning, it allows the measurement of intermediate times—a feature highly valued in precision timekeeping. Additionally, it includes a tachymeter scale for calculating speed over a known distance. The newcomers must be loving this LOL…

Let me make something clear, this is not a new watch. Prior to the 5370R (R for rose gold), Patek Philippe released the Reference 5370P (P for Platinum) in 2015, featuring a platinum case and black enamel dial. The transition to rose gold with the 5370R introduces a warmer aesthetic and one that in my opinion gives it more depth and emphasizes the point made earlier about Patek being BEAUTIFUL.

I said it before and I’ll say it again, this is my favorite watch from this year’s W&WG.

But we’re definitely not done yet.

IT’S CALATRAVA TIME !

 The Patek Philippe Calatrava Reference 6196P-001, unveiled at Watches & Wonders 2025, made me tear up from joy. This platinum timepiece draws inspiration from Patek Philippe’s storied history, notably the iconic Reference 96. Again, tears. 

I will always ALWAYS love Calatravas. 

Hell, my grail watch is a vintage yellow gold Ref. 96 with Breguet numerals. 

Please note that these watches are from the 50s. As in the 1950s. So to get a 2025 release that is SO true to the original and traditional Calatrava design… I think you get my point.

Specs time !!

The 6196P-001 features a 38mm diameter and a thickness of 9.33mm, crafted from platinum. The case design merges brushed surfaces with a polished bezel and slender lugs. The opaline rose-gilt (salmon) dial adorned with applied white gold faceted “obus”-style hour markers and a small-seconds indicator at 6 o’clock. 

The point here again, is the preservation of the true identity of the “Calatrava”.

Priced at $47,130, it is no “entry level Patek” despite its incredible simplicity and lack of complications. Again, it’s a Calatrava. 

The Patek Philippe 4946R: This one deserves way more applause from us.

So, the Patek Philippe 4946R doesn’t scream for attention. It’s not trying to win chronograph battles or one-up other complications. What it does instead is offer one of the cleanest annual calendars you can wear without feeling like you’re trying too hard. This reference—in rose gold, naturally—keeps things refined, functional, and cool as hell. If the 5370R (Mentioned previously as my fav) is a grand statement, the 4946R is a whisper that still gets heard.

Now for the boring bits (you asked for it):

This model comes in an 18K rose gold case, measuring 38mm in diameter. So yeah, smaller than what most modern buyers are used to, but that’s the point—it’s elegant, not shouty. The dial? Opaline silver-gray with gold applied numerals and leaf-shaped hands. Just enough detail to make it interesting, but not enough to make you stare at it confused. On the dial you’ve got the day, month, 24-hour indication, moon phase, and a date subdial—all in perfect balance. It’s like Swiss graphic design in watch form.

Under the hood (or caseback if you’re being literal), you’ve got the self-winding Caliber 324 S QA LU. That’s Patek’s go-to annual calendar movement—one that only needs adjusting once a year in February. Yes, it’s that smart. And no, you don’t need to take it to your watch guy every other month.

This reference as I said will probably stick around for a while. Why? Because it works. Because it’s beautiful. And because not everything needs a reinvention to stay relevant. The 4946R is for people who understand that winning doesn’t always have to be complicated—even though, in this case, it low-key is.

Closing statement: No matter how many case sizes it gets or materials they make it with, I will always be a certified Cubitus hater. 

Stay tuned for the upcoming indie watch releases article and subscribe to the newsletter to get notified. 

I had so much fun writing this, I love you guys.

Walid Benla.