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.

There are some projects I cover for Time Telling Magazine because they are interesting, and others because they feel like an ongoing conversation between me and the people behind them, and this one definitely belongs to the second group. Especially because it sits in a place I personally love, a place where Arabic artistic identity meets European watchmaking know-how (le savoir faire), and I always feel like that combination creates something that feels both ancient and modern at the same time. Whenever Abdulaziz and Arnaud work together, it feels like two worlds meeting somewhere in the middle, one driven by emotion and language, the other by precision and craft, and I think that is exactly why I naturally found myself pulled into this new story (again).

So when Abdulaziz told me about this new watch, he started the story very casually, the way he always does. He said his brother in law is the typical tech person who loves devices and numbers, but really hates having anything on his wrist. Nothing at all. Which already makes the idea of building him a watch kind of funny. But before his birthday, Abdulaziz’s sister told him she wanted a watch made specifically for her husband. Not bought, made. Something personal enough that even a person who does not like watches would probably wear it anyway. I immediately understood what she meant because their relationship has this warm and positive energy that you can actually see.

Their family even has a phrase that belongs to them. They always say “أبرك الساعات”, and for anyone who does not speak Arabic, it means something like “the luckiest hours” or “the most blessed moments”. It is the short version of another phrase they say, “أبرك الساعات اللي شفتك فيها”, which means “the most blessed hours are the ones in which I saw you”. It is one of those lines that becomes part of a couple’s identity, very natural, sentimental in an effortless way, and extremely personal. That is why Abdulaziz placed the short version on the dial. It belongs there. It carries their warmth.

Since the phrase needed to look as meaningful as it sounds, he asked Jassim Alnasrallah to write it. If you know Jassim’s style, you already understand why he is the right person. He writes calligraphy like he is building a structure. He chose Thuluth script, which has a formal and elegant tone, and he composed the words in an oval shape that guides your eyes naturally around the dial. Even the tiny details, like the dots and the little hamza and the miniature kaf (look these up), were arranged so that they line up symbolically with the main hours on the watch, meaning three, six, nine and twelve. It’s the type of detail no one notices unless someone points it out, but once you know it, you feel the intention behind it.

Then the whole thing went to Arnaud from L’Artisan Horloger, who now knows exactly what happens each time Abdulaziz brings him a new idea. The first thing he told me was that this was his first experience with something like this, and that it was eye opening, that Abdulaziz always pushes him to new places. 

They are actually developing four different stone dial variations for this calligraphy collection (hence my journalistic involvement), Lapis Lazuli, Meteorite, Tahitian mother of pearl with a blue tone, and white mother of pearl. 

The calligraphy itself is laser cut in a very thin stainless steel, brushed so it has texture, and it is extremely delicate. Arnaud told me it was the most fragile and meticulous part he has ever worked with, especially on the meteorite dial which has an uneven surface that makes everything more difficult.

Inside, they used the Miyota 9015, which beats at four hertz, has hacking seconds, and is accurate and reliable. It is a nice upgrade compared to the usual entry level movements people expect, and it fits the whole spirit of the watch, which is emotional on the outside and practical on the inside.

Before we finished our conversation, Abdulaziz told me to share one last message with my readers, and he insisted on it. The calligraphy watch is now available for order! 

Anyone who wants one can contact Arnaud directly, either on the website or through the brand’s Instagram. It is not a mass piece, it is simply the continuation of the creative relationship I have been lucky enough to witness up close.

And that is honestly what I enjoy most about writing these stories. The watches are beautiful, of course, but it is always the people and the emotions behind them that stay with me the longest.

Some watches are precise. Others are beautiful. But Venezianico watches well, they feel. They don’t just tell time; they whisper stories. They remember places. They connect people.

What began in Venice as a dream shared by two brothers, Alessandro and Alberto Morelli, has grown into something quietly revolutionary: a brand that places humanity at the center of horology. And in a world where most watchmakers speak through catalogues, Venezianico speaks through conversations—real ones.

From the first moment I came across their creations, it was clear this was something else. Their designs had heart, but also curiosity. I didn’t just see watches, I saw journeys. I didn’t just feel tempted, I felt invited. You don’t browse Venezianico the way you do other brands. You explore it, like a city. Like Venice.

The dial is often where a watch reveals its soul. And Venezianico dials? They are pure soul. I remember wearing their  Ultrablack for the first time. That texture of black absorbing 99.4% of light was a celestial void… It was like wearing a fragment of the universe. And then came the

Aventurine dial, a dial that seems alive, like a night sky glazed over with infinite depth. With each glance, it changes. It breathes. These dials don’t just impress you. They move you.

Their Special Editions are stories sculpted in steel. The Nereide GMT Emirates Edition, with its warm mother-of-pearl dial and elegant complexity, feels like a tribute to movement and modernity. And the Redentore Marco Polo 700th is not a watch. It’s an artifact—a sculpted homage to exploration, dialogue between worlds, and adventure.

These are not watches created to impress algorithms or chase trends. They are made for people who feel. And perhaps what’s most telling is that even those with extensive collections from Rolex to AP are now drawn to Venezianico. And not as a novelty, but as a must-have. Why? These watches transcend them and bring something fresh to a world that so often repeats itself.

And what truly cements that feeling is the relationship you build with the brand. I’ve never seen founders so present, humble, or engaged as the Morelli brothers. Alessandro and Alberto are not there as figureheads, but as voices. Whether replying personally to collectors in the Venezianico Facebook group or offering thoughtful recommendations at watch events across the globe or through WhatsApp, they treat every interaction as meaningful. It’s not a pure marketing strategy but a genuine closeness. You don’t feel like a customer, you feel like you belong.

Their innovation, too, flows from that human touch. They don’t innovate for headlines, but innovate because they listen. The bold shapes of the mighty  Arsenale remind us they’re not afraid to challenge tradition. They take risks. They dare (No Pun intended, Tudor).

But their finest expression yet is one that blends every element, craftsmanship, poetry, and soul into one object: the Redentore Utopia. A project born from years of dialogue, built entirely in Italy, powered by their first proprietary caliber, and finished with painstaking, artisanal care. From the hand-guilloché dial by Riccardo Renzetti to the leather strap crafted in Tuscany, every detail is slow, deliberate, and honest. There’s no flash. No excess. Just pure, essential beauty. A watch that feels less like an accessory and more like a philosophy. A Utopia not just named, but realized.

Because behind every detail, every stone dial, every limited edition… There are two brothers present, passionate and profoundly human. They’re not watching from afar. They’re walking with you. Listening. Creating. Evolving. Together with their community. And that’s why Venezianico is unlike anything else.

It’s not just a brand. It’s a family that opens its doors. It’s a story you don’t just admire. It’s one you join.

È arte. È familia. È Venezianico.

It is no secret that I am a japanese watchmaking fanatic. I mean, every watch enthusiast in their right mind and with some kind of knowledge would be. 

These people have mastered the art of precision. Not only in their movements and calibers —since that’s a given in the field of high watchmaking— but also in their finishings and every microscopic element of aesthetic perfection. 

Names like Grand Seiko — considered the face of high japanese watchmaking — and Naoya Hida & Co — the company that in my humble opinion is the equivalent of 1930s Patek Philippe with their extremely-limited-production artisanal masterpieces — are testaments to everything you’ll ever need to witness to believe in the miraculous work of japanese watchmakers. 

But here’s the catch. 

These brands are not an approachable option for the regular Joe. Meaning, this is dangerous and intimidating territory for beginner collectors who are not willing to spend the large sums of money necessary to acquire entry level pieces from these companies. 

Plain and simple. 

The equivalent ? 

As of these past few years, we have been witnessing the popularization of a new kind of Japanese watch brands. Affordable ones. Affordable small charming watch brands that can make a lasting impact on a beginner collector. And this is where Karl Leimon comes to play. 

Karl Leimon is a young Japanese watch company founded by two friends in 2017. Karl and Leimon aimed to fill a gap in the market by offering high-quality, classically designed watches at accessible prices. 

Their vision was strong and convincing enough and the brand gained significant attention through a successful crowdfunding campaign in Japan, raising over 100 million yen (approx $1 million USD).

The vision was clear and is very present to this very day: “Keep Modest Classic”. A brand slogan that can only be applauded, since the watch world is clearly in need of such fresh perspectives on more approachable timepieces like Karl Leimon’s.

My relationship with the brand.

If you have been following our instagram pages, I have taken it upon myself to introduce more niche/smaller brands to our Time-Telling community. You guys. I am thankful and grateful for the impact we have had on the African horology community, and I decided to take a more direct approach on you guys’ collecting journeys. 

So when I got in touch with the kind people of Karl Leimon, I couldn’t be happier. The variety of options really impressed me, and the impression I got was one of a company that is NOT slowing down. Quartz collections for the amateurs of precision as well as automatic ones for those who are always on the go… There is literally everything for everyone. 

The Standout Piece.

Speaking of collections, their latest is the automatic Classic Field. An assortment of field watches with the classiest of designs (pun intended). And that’s the one I have currently on my wrist while writing this article. 

Let me tell you, this watch is going to get a LOT of wrist time. Why ? It’s everything someone as active and as “On the go” as I am would ever want to accompany them. 

Quick spec run before I get into the details of my passion for this piece: 

The Ice Blue Applied Indices Classic Field

• Case Material: 316L Stainless Steel
• Case Finish: Polished, satin-brushed
• Glass: Anti-reflective sapphire glass
• Case Diameter: 38mm
• Case Thickness: 9.5mm
• lug to lug: 46mm
• lug width: 20mm
• Water Resistance: 10ATM
• Screw down crown
• Movement: Miyota 9039, Automatic and Hand winding, 42 Hour Power Reserve
• Strap: Rubber, Pin buckle + Navy Blue Calf Leather strap

Let me dig into my personal reflections.

So when I got the watch and went through the very pleasant unboxing experience, I took a second to go back to the website and look at a few pictures and details in order to see if anything jumps off. I wanted an authentic and strong first impression. 

And boy was it strong ! This watch is exceptionally more beautiful in real life. 

I could talk about the quality, about the dial, about the finishing… but what I’d rather do is congratulate Karl Leimon for their excellent work on the case of this watch. 

More specifically, its dimensions. As mentioned before, we’re talking about a 38mm, 9.5mm thick case. And THAT was the deal breaker for me. 

This watch wears so thin and by extension SO LIGHT. 

I know a lot of you guys here love your dress watches to be as slim and sleek as possible. This Classic Field scratches that itch in every possible way. 

I’m wearing it today with a quarter zip and an oxford shirt, with that Navy Blue Calf leather strap, and I could not feel more complete. 

Yesterday ? on its original blue rubber strap while I was out at a construction site. A place where the “field” in its name truly comes out. Having full confidence in its 10 ATM water resistance, I did not shy away from putting it into the test. 

As with all construction sites, the lack of light is to be expected. But with the Classic Field’s powerful super luminova, one can not complain.

A very robust and reliable tool, yet such a classy and sleek upgrade. 

As you can tell, I wrote this article/ review with incredible passion for this microbrand. I’m known among my peers as the person who’s going to point out every single flaw in a watch (AKA a hater), but here, and while trying my best, I really can not bash down anything about this piece. 

Okay, maybe the movement, yes. But for $550, you are not going to get anything fancier that a 42 hour power reserve Japanese caliber. Let’s not fool ourselves here.

Check out https://karlleimonwatches.com/en/ for more incredible options ! 

We are excited. 

About this event. About the innovations. About these watches. About Cartier… But mainly about this new way of transmitting this excitement to you, our dear readers.

This article is a collaborative effort between myself, Walid, and Ms. Inass Akisra. The beloved Time-Telling Magazine writer and editor that never seizes to nail design oriented articles. So for something like the Cartier Tank à Guichets, or Cartier in general as a design driven brand/studio, we had to link up.

We had to link up for a good old “Cartier history lesson” article, from the sleek outsides to the intricate insides.

Inass here !

There are reissues, and then there are resurrections. Cartier’s 2025 revival of the Tank à Guichets falls firmly in the latter category — a design by Louis Cartier, so ahead of its time in 1928, it’s still on top of the design game nearly a century later. Originally conceived as a defiant rejection of traditional timekeeping aesthetics (hands? visible dials? overdone.), the Tank à Guichets ditched everything ornamental for a full metal face and two small windows: jumping hours, dragging minutes. It was modernism on the wrist — the horological equivalent of a steel skyscraper in a world of Edwardian mansions.

This year, Cartier brings it back under the Privé collection, and it’s as sculptural and self-assured as ever. The 2025 edition lands in platinum, rose gold, and yellow gold — each with a vertically brushed façade that makes the case itself the dial. But the real flex is in the details: a limited edition of 200 pieces features the apertures offset at 10 and 4 o’clock — a deliberate break from symmetry that feels both measured and subversive. The minute disc now drags horizontally. There’s no logo. No numerals. Just presence. More on the technicality in a minute with Walid.

In a landscape flooded with maximalist skeletonized timepieces, this watch brings us back to the basics. Pared down, precise, and quietly radical. It’s Cartier doing what it does best: power in understatement. You already know what time it is — what matters is how you wear it.

About that “You know what time it is”… one of the major “personality traits” about the Tank à Guichet is, well, how you tell the time (pun intended). And that’s the thing… 

Okay, Walid here.

Let’s get one thing straight: the Cartier Tank à Guichets isn’t your average Tank. No Roman numerals, no blued steel hands, no dial even. Just two tiny windows cut into a brushed metal face—like a time machine trying to stay incognito. Behind those Guichets (that’s French for “little windows,” by the way), Cartier is hiding a very specific kind of mechanical chaos: a fully mechanical jump hour and jump minute complication.

Now pause. About visibility and legibility. 

Due to its dimensions, and those of the apertures, an instant read of the time is not what one should expect with this watch. Although it’s what it’s designed for… 

Christian Zeron from Theo&Harris made a comment that I couldn’t stop thinking about. He said that on the legibility spectrum, A Luminor from Panerai and the Tank à Guichets fall on opposite extremes. 

While handling a vintage 2817 a few months ago in a private collectors’ dinner, one thing was on my mind. Of course aside from the wow factor of holding an art piece, I kept saying to myself “Walid you are too blind for this”.

But anyways, here’s how it works.

 Instead of hands rotating around a dial, the time is displayed on two spinning discs—one for the hours, one for the minutes—that jump to their next position instantly. The hour jumps every 60 minutes. The minute disc, every five. The result is this very stealthy, very snappy digital time readout. 

That sudden “click” isn’t just for drama—it’s what watchmakers call an instantaneous jump, and it takes a lot more finesse than you’d think. The whole movement has to build up tension over time, storing energy in a spring-loaded cam system, then SNAP releases it at just the right moment to throw the disc forward exactly one notch. Miss the timing or mess up the torque, and the whole illusion falls apart.

This clever complication goes way back. The first Tank à Guichets dropped in 1928, and it was one of the earliest digital wristwatches—mechanically speaking—in history. Back then, Cartier most likely used a LeCoultre ébauche as the base and modified it in-house or through their U.S. branch, the European Watch and Clock Co. These early pieces were hand-wound and charmingly temperamental. 

The jump mechanisms were kind of energy hogs, meaning they drained power like a phone on 3% running Google Maps. Jumps weren’t always crisp, power reserves were short, and timing could get a little fuzzy. But even then, it was clear: this was a radical little machine hiding in a classy case.

When Cartier decided to bring it back in the 2000s under the CPCP (Collection Privée Cartier Paris) line, they gave it a movement makeover. The Caliber 9752 MC, a hand-wound movement based on the ultra-thin Piaget 450P. Cartier took this sleek little base and reworked it to handle the stress of the jumping discs—no small feat considering how much punch those jumps need and how tight the case tolerances are. It offered around 40 hours of power reserve and was finished like a show car: Geneva stripes, beveling, and a platinum case to match.

Then came the 2021 reboot, and Cartier didn’t just update the look—they built a new engine for it. The Caliber 9917 MC was developed in-house specifically for this model, and it’s got that lean, modern movement vibe. Manual wind, 36-hour power reserve, and a beat rate of 4 Hz (28,800 vph), which means it’s ticking fast and steady—perfect for precise jumps. It’s got skeletonized bridges, optimized energy flow, and super-clean engineering focused purely on making those discs land with pixel-perfect alignment, every single time.

And speaking of those discs—they’re not just random rotating plates. They’re made of super-light materials like aluminum or titanium, which matters a lot because heavier discs mean more torque is needed to move them, which in turn messes with the rest of the movement. By keeping them feather-light, Cartier makes sure they jump smoothly without dragging down the balance wheel. The numerals are either engraved and filled or perfectly printed, and the discs are laser-aligned during assembly to make sure they always land square in their windows. No half-jumps, no bounce, no blur. Just clean digital readout, Cartier-style.

None of this works without serious attention to energy management !!

The movement’s mainspring doesn’t just power the time—it also has to deliver bursts of energy strong enough to flip those discs without throwing off everything else. That means cams that build and store tension, intermediate wheels that act like mechanical buffers, and precisely shaped gear teeth that reduce friction and keep things moving like silk. Every five minutes, a miniature mechanical explosion happens inside this watch. And it doesn’t even break a sweat.

With no dial to hide behind, the discs and their positioning have to be flawless. There’s nowhere to tuck a misalignment or cover a mechanical hiccup. So Cartier engineered fixed guides inside the movement to keep the discs perfectly concentric. They use ultra-precise positioning during assembly, and some modern versions even include shock protection to keep your time aligned even if you knock it against a doorknob. The margin for error? Basically zéro…

So yeah, the Tank à Guichets may seem like a “chill girl” but lemme tell you she IS working hard under that brushed façade. It’s been a masterclass in minimalism waaay before it became an aesthetic. 

Whether you’ve caught a glimpse of it on the wrists of seasoned collectors like Mr. Auro Montanari, or immortal artists like the infamous American pianist and composer Mr. Duke Ellington; the Tank à Guichets could fairly be classified as the most emblematic Tank ever made. Some even dare to say, the best Cartier watch ever made. 

Either way, you are not wrong. Because this article was only about the basic concepts that make the à Guichets what it is. However, one thing we have deliberately abstained from discussing —Or else this would become something else rather than an enjoyable story— is the large catalog of configurations and references that fall under the Tank à Guichets umbrella. 

And as with significant pieces like these, rarity is often of second nature. Especially since production for these watches ceased from the 1930s, when they were a special order model, then back in 1996.

First joint article was fun. Let us know if you want more !

*We do not own the rights to any of these photos. please note that all images and copyrights belong to their original owners. no copyright infringement intended.*

Let me get this out of the way: I’m really happy the TAG Heuer Formula 1 is back.

I didn’t live through the 80s hype, but I’ve always had a soft spot for that cheerful, racing-inspired watch that didn’t take itself too seriously. And while the vintage versions always looked a bit too plasticky for me (don’t cancel me, collectors), this new one? I love it. It keeps the spirit, but finally looks like a watch I’d actually want to wear every day — and not just ironically.

TAG did a great job capturing the retro vibe without falling into the trap of making it a museum piece. The shape? Nailed it. The colors? Spot on. The energy? 10/10. Even the fact that they went solar is kind of cool. Eco-friendly, no battery changes, and still feels like a legit sports watch. So far, I’m all in.

But then — oh then — comes the price tag.

€1,850. For plastic. (Sorry: biodegradable polymer. My bad.)

Now don’t get me wrong, I get it. The materials are better. The solar movement is neat. The sapphire crystal adds points. And hey, it’s a TAG — not a cereal box giveaway. But still, when I look at this cheerful little thing and its vibe that screams “collect me all,” I can’t help but think… isn’t this watch begging to go full MoonSwatch mode?

Swatch got people queuing for plastic watches like it was the new iPhone. And TAG could’ve done the same — Formula 1 liveries, team editions, tracks of the world. Gotta catch ’em all. But instead, they priced it like it’s already on the podium with champagne in hand. Don’t get me wrong, it’s still charming. But that charm hits a little different when it costs the same as a nice night in Tokyo… for two.

Also, side note: I stumbled across the KITH collab and literally said “meh.” Which is shocking, considering I usually say YES to anything Ronnie Fieg touches — like, he could collab with a toaster and I’d ask for the colorways. So if I wasn’t excited, maybe that says something.

All jokes aside: Am I still excited? Definitely. Do I want one? Absolutely. But will I be daydreaming of a £650 version that makes me feel like I’m building a collection of pit lane champions on a budget? You bet.

Final thought? The Formula 1 is back, it looks better than ever, and deep down, I’m not rooting for this price tag. Not even close. I’ll just keep waiting (and hoping) for another Snoopy MoonSwatch livery, because at least that’s what I call funny, collectible, and budget friendly — all the things a Formula 1 watch revival should be.

Microbrands are about the only thing in this world that still gives me goosebumps. Bonus points if the microbrand is Japanese. So you can deduce the emotions I got after getting my hands on one of KUOE KYOTO’s best looking watches.

There’s a lot to be said here. A lot of emotions as I said, a lot of opinions and a lot of conclusions. So allow me today to talk about KUOE and their first dive watch, the SOMBRERO 90-011.

You guys know me well enough to know that I like to put things in context. So how about a little background about the brand and its beginnings ? 

From Kuoe’s website, we can understand that the origin of the KUOE brand and concept dates back to 2010.

Mr. Kenji Uchimura, the designer and founder, was a university student studying language in London, England when he just so happened to enter a shop that was handling antique watches.

There was a line-up of hand-wound watches from the 1940s – ‘70s. He was instantly drawn to them and their ability to keep time even after the rich accumulation of history in the decades that had passed. Although the watches were antiques, they somehow felt warm and refreshing, and were naturally appealing to wear on the wrist.

There, in that shop, Mr. Uchimura found the strong appeal of classic design, and realized that something that is truly classic is loved and revered universally around the world and across generations. Deeply influenced by this experience, he was inspired to create a classic design watch brand of his own.

After graduating university, Uchimura began working for a watch company in Kyoto –a city steeped in Japanese tradition. For a few years, he gained experience in the business and learned more about watches until he was ready to launch a sub-brand which was dedicated to his idea of introducing the classic design he had seen in those antiques in London into new models of wristwatches.

 In 2020, he was finally able to establish his own classic watch brand, KUOE. The first model, Old Smith 90-001 in April. 

Other iconic models include the sleek but robust Old Smith 90-002. Inspired by British military watches from the 1940s to 1970s, the piece features a 35mm case, thick Arabic numerals, and luminous hands. It houses a Seiko NH35A automatic movement and is available in various dial colors, including Dark Navy, Black, Deep Green, and Ivory.

Can’t forget about the Royal Smith 90-006, or what I call the proper gentleman’s watch. The Royal Smith 90-006 is considered KUOE’s premium offering, featuring a 35mm case and a dial with a traditional Japanese “Waffle” texture. It is powered by the Miyota 9039 automatic movement, which makes it an upgrade on the 006 model line, and has been even more popular than its predecessor.

Okay but what does the public think ? 

KUOE KYOTO has received positive feedback from watch enthusiasts for its vintage-inspired designs, build quality, and value for money. More on that in a bit.

Collectors appreciate the brand’s attention to detail and the nostalgic appeal of its timepieces. The dimensions, the dials… These are keywords that are constantly repeated in client reviews. I mean just type the brand’s name on Reddit and you’ll see how peaceful and positive everybody is; something we never see on the platform… 

Let’s dig into the watch I now have on my wrist.

The Sombrero 90-011. 

The SOMBRERO 90-011 marks KUOE KYOTO’s entry into the dive watch category. Please keep this in mind while reading the rest of this article, because that’s SIGNIFICANT !

Named after the Sombrero Galaxy, the watch draws inspiration from the galaxy’s distinctive appearance, featuring a linen-textured dial and a compressor-style case.

  Quick spec rundown: 

• Case: Stainless steel with a diameter of 37mm, featuring a cushion-shaped design reminiscent of mid-century dive watches.​
  
• Dial: Available in various colors, this one in a distinctive green variant, with bold hour markers and a minute track for enhanced legibility.​

• Super-LumiNova hands and dial.
  
• Movement: Miyota Cal. 9039 Automatic. -10 to +30 seconds per day (23º± 2ºC)

• Water Resistance: 20 BAR or 200 Meters, designed to withstand water exposure, suitable for everyday wear and diving activities.
  
• Strap: Comes with a stainless steel bracelet (Flat link or Jubilee) and an additional leather strap.

MY OPINION AND PERSONAL REFLECTIONS: 

I really like this watch. 

And the whole brand if I’m being honest. I have been in close contact with the company’s media managers for more than 4 months now and that tells you something. I remember mentioning KUOE on my instagram story once and my DMs were flooded with messages along the lines of “Walid are you working with them ?”, “You need to reach out to them and review their watches”… And here we are now.

So, off the bat, that dial is absolutely mesmerizing. The linen texture is so rich and beautiful, especially when you get the chance to play with it under a sunray. Mamma Mia ! 

The credit should be given to the single-domed sapphire glass with AR coating and AF coating, for the transparency and ease of legibility. 

Speaking of that, the finishing on the case and the bracelet are very nice. I took a picture of a Matcha drink for my friend (Terrible drink by the way), and that bracelet was SHINING ! 

On the topic of first impressions, and as I mentioned before, the 38mm case wears smaller than you’d expect. BUT and here’s the catch, the bracelet does give it more definition of the wrist. It does come with a brown leather strap and let me tell you, it completely changes the perceived dimensions of the wrist. 

About that, bracelets and straps, one negative thing about the amazing piece that the Sombrero is, is the clasp. It’s huge. And might I even say, it can be uncomfortable. It really hurts me to say it, but that clasp needs an upgrade. Yes it has the quick adjustment option which comes handy throughout the day, but maybe something lighter, less chunky. 

Love the case, love the dial, love the flat links, love the finishing, love the crowns, love the Internal and bidirectional bezel, LOVE the unboxing experience and all the accessories… 

But should you get this watch ?

I mean, why not ? Priced at $‌859.00, it does have some competition but it certainly stands its ground. A sub 1000$ dive watch like the Sombrero is perfect for anybody trying to graduate from their G SHOCKs or Citizens. It’s well fitting, well designed, well proportioned and well, very practical. AND it’s from a Japanese brand that pays this much attention to details, so again, Why not ?  

*Bonus points for the incredible customer service

I don’t want to make this any longer and keep throwing my personal opinions on you guys, so please tell us what you personally think ! 

Check out KUOE KYOTO here, and see you later !

All the pictures are either ours or taken from https://www.kuoe-en.com/

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.

The Swiss watch industry is now ticking to a more anxious rhythm.

President Donald Trump’s 3rd of April’s decision to slap a hefty 31% tariff on Swiss imports has sent shockwaves through the horology world. This move not only threatens to inflate the price tags of coveted timepieces but also casts a shadow over the industry’s future in the U.S. market. Sounds intense right ? Well, it is, and it’s definitely not an April Fool’s joke.

Imagine eyeing that sleek Rolex Submariner, previously priced at $10,000. With the new tariff, you’re looking at an additional $3,100, pushing the pre-tax price to $13,100. Add state sales tax, and your dream watch now demands over $14,000 from your wallet. As Business Insider succinctly puts it, “Buying a Rolex is about to get more expensive.” 

Rolex is obviously just an example to simplify the urgency of the matter to the newcomers. But the reality is actually worse when you look at it from other smaller brands’ perspectives. More on that later.

The United States isn’t just another market for Swiss watches; it’s the crown jewel, accounting for 16.8% of exports, translating to a substantial 4.4 billion Swiss francs. A 31% tariff could dampen American enthusiasm, leading to decreased sales and a potential reshuffling of global market dynamics.

To the Swiss, the mood among watchmakers is a blend of concern and contemplation. At the recent Watches and Wonders show in Geneva, the atmosphere was palpably tense. Many brands chose silence over speculation, underscoring the uncertainty ahead. Hodinkee wrote a good article about CEOs’ potential reactions, check it out here.

Speaking of CEOs, luxury conglomerates are bracing for impact. Richemont (Vacheron Constantin, JLC…) and Swatch Group (Breguet, Omega…), both heavily invested in the U.S. market, anticipate financial strains. Analyst Luca Solca from Bernstein Research predicts a 2% contraction in luxury growth for 2025, citing tariff pressures. 

The politics of it ?

The tariff tiff isn’t confined to Switzerland. President Trump has also targeted the European Union with a 20% tariff and the U.K. with 10%. In retaliation, French President Emmanuel Macron is rallying European companies to reconsider U.S. investments, emphasizing the need for a united front. In smaller, much clearer words: Separations. A cold tariff war.

While luxury brands have historically wielded pricing power, the current scenario tests their limits. The resilience of the Swiss watch industry will hinge on strategic pricing, market diversification, and perhaps a dash of diplomatic finesse. As the hands of time move forward, the industry watches and waits, hoping that this tariff tempest will soon pass.

But on the other hand, big watch brands will certainly be forced to rethink their pricing. A positive scenario would be decreasing marketing budgets, which as we know is everything some of these companies care about, in order to stop inflating prices. Tariffs impact the buyer not the seller. But they start damaging the seller the moment there’s no buyer. I’m obviously trying to simplify this as much as possible without any BBC lingo.

What does this mean to Horology enthusiasts and smaller watchmakers ?

Not to catastrophize, but while we are already struggling with creativity, freedom of expression and lack of personality in the releases from major watch brands, the only place we could still look to for a drizzle of artistry is with the small independents. Emphasis on Independent. 

My point is, it is actually VERY fair to say that these little sparks of light will be dimmed in no time. In other words, if they stick to their small production quantities and experimental designs, they will either: 

1- Die. Or 2- Get acquired by luxury groups or private investment companies who will undoubtedly limit whatever creativity they were known for. 

I was very moved by this news as you can tell, but I took my time before publishing this piece in order to have a much more realistic, unemotional view of the situation.

Did anything change ? Nop. 

Do I still think that this is very sad ? Yes. 

What’s the solution ? 

Exploring other markets. The Asian, Middle Eastern and African markets are in my opinion very overlooked. I seriously believe that these companies should take the chance to at least raise awareness of their products’ greatness and heritage. Why ? to get fresh, unbiased and potentially better clients than the ones they’ve been desperately trying to please in the U.S.

Image Credits:

https://www.theguardian.com/us-news/2025/apr/02/trump-new-tariffs-liberation-day

https://www.en-vols.com/en/inspirations-en/switzerland-places-watchmaking

https://english.news.cn/europe/20250402/e706aac8b62b4c44ab6420647cbd3b6e/c.html

In the following piece, let’s take a moment to discover one of the most existentially fabulous releases at Watches & Wonders Geneva 2025: the Hermès Cut collection, reimagined with the Le Temps Suspendu complication — now in a larger diameter (39mm instead of 36mm), rendered in rose gold, and enhanced with bold new dial tone.

Now yes, there were plenty of shiny, head-turning releases this year, but this one stands out for a totally different reason. It’s not just about looks — it’s a concept piece wrapped in elegance. Because, and here’s the twist: it doesn’t just tell time — it lets you turn it off. (And pretend to be Flash for a while)

What Even Is “Le Temps Suspendu” ?

Let’s break it down. “Le Temps Suspendu” literally means “Suspended Time,” and that’s not just poetic marketing fluff. 

With the press of a button, the hands on this watch jump to a fixed position — like they’re frozen — and just stay there.

The kicker? The movement inside keeps running the whole time.
So when you press the button again, the hands snap back to the real time, right where it should be. 

To animate that fascinating machination Hermès had to use the  H912 Movement — a self-winding caliber developed by Vaucher (which Hermès partly owns). To that, Hermès adds its own proprietary Le Temps Suspendu module — the magic trick that freezes the hands without stopping the heart of the watch. So while time appears to stop, the mechanism quietly ticks on in the background, keeping track for when you’re ready to rejoin the timeline.

And here’s a perfect quirky trait woven right into the dial: the petites secondes subdial? It runs counterclockwise on a 24-second rotation. It defies time by running in reverse — just because it can. A small but sharp reminder of the watch’s playful, thought-provoking nature.

Because Hermès believes that sometimes, the most meaningful moments are the ones we don’t measure. The suspended time complication is whimsical, useless in the best way, and entirely poetic — which is exactly why it’s so unique.

Do you want to tune out during a long dinner, get lost in a sunset, or just forget you’ve got a meeting in 20 minutes? Press the pusher. Time, suspended.

(Editor’s Note: Think Doctor Strange’s Eye of Agamotto — but make haute horlogerie)

Variants, Versatility, and Design Language

Meanwhile, the watch’s versatility is cultivated through a range of versions, including two silver-toned dial models — one with a diamond-encrusted bezel — and a one-shot sunburst red dial variant already stirring up collector buzz. 

Adding to its modularity, a system of interchangeable bracelets that features 2 options: a white rubber strap, and a rose-gold bracelet to match the case.

Through all the constituting elements of this timepiece (Design, Concept, Complication, Material…) Hermès embodied its most quintessential “Hermès” definition traits. Elegant. Poetic. Quietly disruptive. Timelessness (quite literally here). It’s a reminder to live in the moment — and choose when time matters. And the fact that Hermès could take something so poetic and abstract — and make it tangible through engineering? PURE MASTERY

My take ?

That said, we’d love to have seen one more size variation: a 36mm diameter — the same size as the original 2024 Cut collection. Why? Simple: choice. 

While more women are embracing bolder, oversized cases, many still prefer traditional proportions or simply have smaller wrists. At 36mm, the Cut would hit that modern sweet spot — contemporary, elegant, and universally wearable — especially for fashion-first buyers and enthusiasts alike.

Spec Rundown: Hermès Cut Le Temps Suspendu

Caliber: Self-winding Manufacture Hermès H1912; 45-hour power reserve
Functions: 360° retrograde hour and minute hands; 24-second running indicator; pusher-operated start-stop function for suspending time

Dial: Sunburst red-tinted or silver-toned opaline
Case: 39mm; rose gold; 100m water-resistance
Strap: Interchangeable rose gold bracelet with butterfly clasp; additional white-coloured rubber strap