Geneva pulsed with the rhythm of horological excellence this Thursday 13 November 2025 for the 25^th GPHG awards ceremony. On stage, Antoine de Caunes hosted the evening with wit and elegance, which celebrated contemporary watchmaking and those who passionately strive to capture time.

The Academy and the 2025 Jury chaired by journalist, author and historian Nick Foulkes rewarded 19 exceptional creations reflecting the industry’s dynamism and awarded the coveted “Aiguille d’Or” Grand Prix to Breguet, for the Classique Souscription 2025 watch.

The brands Angelus, Anton Suhanov, Audemars Piguet, Bovet 1822, Bvlgari, Chopard, Daniel Roth, Dennison, Dior Montres, Fam Al Hut, gérald genta, Greubel Forsey, L’Épée 1839, M.A.D. Editions, Urban Jürgensen, Voutilainen and Zenith also distinguished themselves with timepieces pushing the boundaries of design, technology and mechanical poetry.

This year’s Special Jury Prize honours Alain Dominique Perrin, president of the Fondation Cartier pour l’art contemporain, for his visionary role in promoting high-quality watchmaking.

The 90 nominated timepieces, including the 19 winners, are on display at the Geneva Musée d’Art et d’Histoire until 16 November 2025. The award-winning models will then be presented from 19 to 23 November as part of Dubai Watch Week.

Relive the best moments of this 25^th edition on our social media channels and find all the pictures from the event on our official gphg.org website.

1. “Aiguille d’Or” Grand Prix: Breguet, Classique Souscription 2025
   
2. Chronometry Prize: Zenith, G.F.J. Calibre 135
   
3. Horological Revelation Prize: Anton Suhanov, St. Petersburg Easter Egg Tourbillon Clock
   
4. Audacity Prize: Fam Al Hut, Möbius
   
5. Iconic Watch Prize: Audemars Piguet, Royal Oak Perpetual Calendar
   
6. Mechanical Exception Watch Prize: Greubel Forsey, Nano Foudroyante
   
7. Chronograph Watch Prize: Angelus, Chronographe Télémètre Yellow Gold
   
8. Tourbillon Watch Prize: Bvlgari, Octo Finissimo Ultra Tourbillon
   
9. Sports Watch Prize: Chopard, Alpine Eagle 41 SL Cadence 8HF
   
10. Men’s Complication Watch Prize: Bovet 1822, Récital 30
    
11. Men’s Watch Prize: Urban Jürgensen, UJ-2 : Double wheel natural escapement
    
12. Time Only Watch Prize: Daniel Roth, Extra Plat Rose Gold
    
13. Jewellery Watch Prize: Dior Montres, La D de Dior Buisson Couture
    
14. Artistic Crafts Watch Prize: Voutilainen, 28GML SOUYOU
    
15. Ladies’ Complication Watch Prize: Chopard, Imperiale Four Seasons
    
16. Ladies’ Watch Prize: Gérald Genta, Gentissima Oursin Fire Opal
    
17. “Petite Aiguille” Watch Prize: M.A.D. Editions, M.A.D.2 Green
    
18. Challenge Watch Prize: Dennison, Natural Stone Tiger Eye In Gold
    
19. Mechanical Clock Prize: L’Épée 1839, Albatross L’Épée 1839 X MB&F
    
20. Special Jury Prize: Alain Dominique Perrin

Created in 2001 and overseen since 2011 by a Foundation recognised as a public interest organisation, the Grand Prix d’Horlogerie de Genève (GPHG) has for 25 years been pursuing its mission to celebrate and promote the watchmaking art, thanks to the support of its public and private partners, notably its main partner, FGP Swiss & Alps, as well as the involvement of industry stakeholders.

The first timepiece with a simplified architecture, the design is epitomised by the purity of the white enamel dial, the time displayed by a single hand, yet with a remarkable legibility. More than two centuries ago, it was presented through an advertising pamphlet, the likes of which had never been seen before. Today, the historic, groundbreaking Souscription pocket watch is reborn as a wristwatch.

The face of the Souscription 2025 model is adorned with a dazzling white, grand feu enamel dial that faithfully reproduces the spirit of the timepieces once produced at the Quai de l’Horloge workshop, such as the No. 246, No. 324 and No. 383 watches. The back is directly inspired by the architecture of the first Souscription watches signed by A.-L. Breguet.

Classique Souscription 2025, hand-wound VS00 calibre, 3Hz and 96-hour power reserve, fine shot-blasting, guilloché and hand-engraved, 40 mm-diameter 18K Breguet gold case, satin-brushed case middle, traditional grand feu white enamel dial, Breguet Arabic numerals and minute track in black petit feu enamel, single opentipped Breguet hand, flame-blued and curved by hand, alligator leather strap and 18K Breguet gold pin buckle.

G.F.J.: A NEW COLLECTION BRINGS BACK AN ICONIC MOVEMENT TO CELEBRATE ZENITH’S 160^TH ANNIVERSARY
When Georges Favre-Jacot established his manufacture in 1865, his objective was to create ‘the perfect watch’: the finest, most precise and most reliable timepiece ever made. This quest for perfection is reflected in the very name of his brand, ZENITH, referring to the highest point in the sky. To celebrate its 160^th anniversary and its quest for excellence in all fields of watchmaking art, the brand releases a timeless classic powered by an exceptional movement. Named after the initials of Georges Favre-Jacot, the sleek, slender and elegant G.F.J. brings back to life the legendary calibre 135, the most awarded movement from the golden age of observatory chronometer competitions.

Decades ago, observatory trials were extremely important. Beyond chronometric science, the fame associated with these timing competitions was considerable. Observatories witnessed and vouched for the level of precision that expert watchmakers were able to achieve. Aware of the prestige they could acquire, brands submitted specifically prepared movements to these trials. ZENITH took part in trials as early as 1897, and over the years, its movements have won a record 2,333 chronometry prizes, more than any other brand.

Among these, a movement outshone all others, the legendary calibre 135. Designed by Ephrem Jobin at the request of Charles Ziegler, Technical Director of ZENITH, this chronometer calibre was specifically developed to compete in chronometry competitions at the Observatories of Neuchâtel, Geneva, Kew Teddington, or Besançon. Its name is derived from its dimensions, 13 lines (or 30mm, the maximum size allowed in the wristwatch category competition at the Neuchatel Observatory trial) and 5mm in thickness. It was produced from 1949 to 1962 in two distinct versions: a commercial variant (135), and an “O” iteration (135-O) created exclusively for observatory chronometry trials. The calibre 135-O received 235 chronometry prizes, an absolute record in the history of watchmaking. Regulated by renowned Zenith “chronométriers” Charles Fleck and René Gygax, this movement set an extraordinary record with five consecutive first prizes in the wristwatch category at the Neuchâtel Observatory, from 1950 to 1954.

The calibre 135-O legend was revived in 2022 through an exceptional collaboration with Kari Voutilainen and Phillips in Association with Bacs & Russo. Ten vintage movements from the 1950-1954 "serial winning" years were restored and decorated to the highest degree possible by master watchmaker Kari Voutilainen within an ultra-exclusive limited edition that struck a deeply resonating chord with discerning collectors. Icons stand the test of time, and the beauty of having such a rich heritage is being able to share it.

Today, ZENITH takes things a step further, resurrecting the Calibre 135 and bringing it into the 21^st century. This new version of the movement uses the dimensions, the look and the architecture of its ancestor. It incorporates an offset center wheel, creating space to accommodate the oversized balance wheel that improves both precision and stability.

Yet, far from being a reproduction of the historical calibre, it is a modern re-engineering that integrates up-to-date technical solutions and materials wherever possible. The barrel now delivers 72 hours of power reserve compared to 40 hours in the 1950s version. It drives a new gear train featuring an optimized tooth geometry for enhanced efficiency. Operating at 2.5 Hz, the balance wheel features regulation screws and a Breguet overcoil. A signature feature of the 135-O, the double arrow-shaped regulator allows for precise adjustment, while a stop-second mechanism has been added to set the time to the exact second. The balance staff is now protected by spring-mounted jewel settings. The movements are regulated to be precise within +/-2 seconds per day, and their precision is officially certified by the COSC.

The sophisticated yet sober decoration of the calibre 135 is a testament to its history of excellence. Each component is meticulously finished. The bridges are distinguished by their “brick” guilloché finishing, inspired by the distinctive façade of red and white-painted bricks of the ZENITH Manufacture that proudly spell out the letters G.F.J., the initials of Georges Favre-Jacot. The barrel features circular a satin finish and the crown wheel is black-polished. The large jewels add another refined touch.

After 160 years, the ambition to create a watch at the Zenith of perfection continues to guide the brand’s watchmakers. In tribute to this unique legacy, ZENITH designed a timepiece distilled to its quintessential characteristics, where perfection is in the details. True to the era of the calibre 135, the new G.F.J. watch captures the essence of the 1950s, seamlessly blending vintage elegance with contemporary accents. Its slender, elegant 39mm platinum round case features a stepped bezel and curved stepped lugs. Its thin profile and sculptural lines are graced by exceptional finishes with alternating brushed and polished surfaces. The notched crown is emblazoned with the G.F.J. initials.

Beneath the sapphire glass box, the G.F.J. is adorned with a blue dial – the ZENITH signature colour symbolizing, together with the star logo, the brand’s connection to the sky and its relentless search for precision. Its three-part construction creates a compelling sense of depth while meticulously crafted details add a refined touch of sophistication.

The outer ring features a “brick” guilloché pattern, faceted white gold hour markers, and a discreet minute track of 40 white gold beads applied by hand. The central part is crafted from deep blue Lapis Lazuli, whose gold-colored pyrite flecks inevitably evoke a starry sky. Their natural texture makes each dial unique. Lastly, indicating the passing seconds, the oversized subdial at 6 o’clock is in mother-of-pearl. The hours, minutes, and seconds are indicated by thin baton-style white gold hands.

The ZENITH G.F.J. comes with three different straps: a dark blue alligator leather strap, a black calfskin leather strap, and a blue “Saffiano” calfskin leather strap. The platinum pin buckle is engraved with the G.F.J initials and the brick pattern. It is also available upon request with a seven-row platinum bracelet, whose center links are embossed with the brick pattern.


Released in a limited edition of 160 pieces, the G.F.J is available for pre-order exclusively from the brand’s physical and online boutiques, as well as through authorized retailers worldwide.

Anton Suhanov was far removed from the idea of making the St. Petersburg Easter Egg Tourbillon clock in the traditional way. Carl Fabergé’s Easter egg objects are generally an example of luxury jewelry. He did not try to be restrained in his design, which is quite appropriate for the wealth of the customer and the taste of the time. On the contrary, Suhanov strove for minimalism in his design and wanted to give the genre of Easter egg clock a different, modern, relevant vision – even breathe new life into it.

Let’s start with the fact that the St. Petersburg Easter Egg Tourbillon clock looks like the legendary egg of Columbus, which mysteriously remains in a perfectly vertical position as there are no supporting parts. The Suhanov version of the Easter egg object is the most laconic image of a pure egg shape, which combines three main parts: a base made of mirror-polished stainless steel, the main part (“shell”) made of a hand-guilloched silver case decorated with translucent hot enamel, and finally a domed sapphire crystal placed above the tourbillon and time displays.

The only detail that stands out a little from the immaculately smooth egg-shaped figure is the bezel with the notches and markings of the 24-hour time scale; this scale also allows the seconds to be measured by the tourbillon, which makes one revolution in exactly 24 seconds. The time can be set by turning this bezel – in all 24 time zones simultaneously. The sector with the local time of Moscow (and St. Petersburg) is highlighted by a radial brushing that contrasts with the surface of the other 23 sectors of the city disk.

Fam Al Hut introduces the MARK 1 Möbius—a bold debut that redefines technical miniaturization and spatial design in haute horlogerie. At its heart is an in-house bi-axis tourbillon, housed within one of the most compact wristwatch formats ever created.

The Möbius is the result of a creative collaboration between Xinyan Dai and Lukas Young, a pioneering figure in contemporary Chinese watch design. Young brings his forward-thinking vision to the Fam Al Hut marque, setting the tone for a new chapter rooted in innovation and refined engineering.

Compact yet mechanically sophisticated, the MARK 1 Möbius measures just 42.2mm x 24.3mm x 12.9mm. Inside, a capsule-style movement unfolds like a microscopic mechanical city—layered, intricate, and mesmerizing. The dual-axis tourbillon rotates on two axes at 150 seconds and 60 seconds respectively, forming the kinetic centrepiece of this architectural marvel. Despite its complexity, the manually wound in-house movement offers a 50-hour power reserve.

A lugless design enhances the watch’s refined ergonomics, offering a wrist presence similar to traditional 36-38mm timepieces. The exterior contrasts the movement’s intricacy with radical minimalism—its concave stainless steel case and polished sapphire crystal front and back flow seamlessly into an integrated strap, creating a sleek, modern silhouette.

The MARK 1 Möbius is more than a timepiece; it is a statement of intent—a convergence of aesthetic purity and mechanical depth, built to challenge conventions and captivate collectors with its uncompromising vision.

To mark the beginning of its 150^th anniversary celebrations, Audemars Piguet unveils a new generation of selfwinding perpetual calendar movement, Calibre 7138, which for the first time ever, enhances user comfort by making the corrections of all functions possible via its “all-in-one” crown. The result? An intuitive complication that revolutionises the perpetual calendar experience while improving legibility. This new movement makes its debut on a 41 mm Code 11.59 by Audemars Piguet in white gold, on two 41 mm Royal Oak models in a choice of stainless steel or sand gold.

GREUBEL FORSEY PRESENTS THE NANO FOUDROYANTE
Greubel Forsey unveils the first official limited edition of its Nano Foudroyante: a breakthrough timepiece born from years of research, now matured beyond its Experimental Watch Technology (EWT) origins. Limited to just 22 timepieces, this creation marks a significant new chapter in Greubel Forsey’s 10^th Fundamental Invention.

From prototype to timepiece
Originally presented in 2024 as a commemorative EWT edition, the Nano Foudroyante was Greubel Forsey’s most technically radical concept to date. Today, it has evolved into a fully realized and independent creation – no longer tethered to an anniversary or prototype designation.

The new Nano Foudroyante is crafted entirely in white gold, replacing the original combination of white gold and tantalum. It presents a different architectural identity: the gold dial is now finished in rhodium with a blue minute track, while the hands are rendered in blued steel with matching cannon pinions. The foudroyante dial itself is now white with transferred numerals, enhancing legibility and echoing the crisp visual language of the tourbillon aperture. A blue textured rubber strap completes the aesthetic – a clear evolution from the original edition, and a declaration of this timepiece’s own distinct personality.

Nanomecahnics: reinventing the impossible
At the heart of this timepiece lies a disruptive idea: nanomechanics – the control of energy at the nanojoule scale inside a mechanical movement. This paradigm shift enables the Nano Foudroyante to operate its eponymous complication using just 16 nanojoules per jump, compared to 30 microjoules in traditional designs – a staggering reduction by a factor of 1,800.

The complication divides each second into six segments using a lightweight, red-treated hand that rotates once per second, driven directly by the oscillations of the 3 Hz balance wheel. There is no traditional gear train; instead, a minimalist series of low-inertia wheels efficiently distributes energy through the movement.


A compact and refined architecture
The Nano Foudroyante mechanism is embedded within Greubel Forsey’s first flying tourbillon, creating a visual and technical centerpiece. The foudroyante’s dial remains permanently oriented to twelve o’clock, even as the tourbillon rotates – ensuring optimal readability.

The timepiece features a hand-wound flyback with 2 patents, totaling 428 components (including 142 for the tourbillon cage). Despite this complexity, the movement measures just 31.60 mm in diameter and fits within a 37.90 mm white gold case – Greubel Forsey’s most compact ever.

The case is fitted with a high-domed sapphire crystal, straight-grained finishing on the caseband, and a transparent caseback. Subtle engravings – “Nano Foudroyante” and “Greubel Forsey” – stand out in polished relief over a hand-hammered background.

A new chapter, fully realised
This timepiece embodies maturity and intent, created for 22 collectors who will experience Greubel Forsey’s most energy-efficient, compact, and conceptually advanced timepiece to date.

The La Fabrique collection welcomes the Chronographe Télémètre — a 15-piece limited edition in yellow gold — that recalls Angelus’s functional and aesthetic history. Founded in 1891 in Le Locle by the Stolz brothers, Angelus quickly specialised in alarm clocks, minute repeaters, and, above all, chronographs.

Distance and time
A telemeter is one of the measurement scales linked to a chronograph’s sweep seconds. Telemeters measure the distance of an event. The chronograph starts when the event is seen and stops when it is heard. The scale is finely graduated in kilometres and corresponds to the duration divided by the speed of sound (approximately 1,240 km/h).

Body and face
With a diameter of 37 mm, the Chronographe Télémètre is the smallest contemporary Angelus model. The case middle presents characteristic curves that run from lug to lug. The polished edges, plunging at the top and twisted on the flanks, highlight the complex shape of the lugs. These dynamic details contribute to the characteristic vintage signature of the timepieces in the La Fabrique collection.

The dial is available in white, evoking the subtle shine of nickel. The satin-finished flange echoes the finish of the case and contrasts with the grained effect in the centre of the dials. These finishes are illuminated by a delicate diamond-polished thread that separates the two areas. The small seconds and 30-minute totaliser counters are snailed, while the appliqué hour-markers and Arabic numerals have been given a 3N gold finish.

Heart and soul
The Chronographe Télémètre is powered by the in-house A5000 calibre. This chronograph movement, with an integrated mono-pusher, presents a two-tone finish: the elements of the mainplate and the bridges are golden-finished, while the components of the chronograph function are finished in palladium. The overall effect is completed by pronounced bevelling and stretching.

With its hand-wound movement and a 42-hour power reserve, a small seconds at 9 o’clock and a 30-minute totaliser at 3 o’clock, the A5000 calibre is a highly flexible technical cornerstone for Angelus. It has a slim profile of 4.20 mm and a diameter of 24 mm (10½ lignes), making it the perfect match for the 37 mm case of the Chronographe Télémètre. Last but not least, its regulating group oscillates at a frequency of 3 Hz (21,600 vibrations per hour). The chronograph function is controlled by a column wheel with a horizontal clutch, just as it was in chronographs produced between the 1940s and the early 1970s.

Beyond setting a new thinness record, the new Octo Finissimo Ultra Tourbillon stands as a manifesto. By integrating a skeleton tourbillon into the movement of a watch with a total thickness of just 1.85 mm, the Roman jeweller’s Swiss watchmaking division demonstrates its horological expertise with watchmaking’s most emblematic complication.

Skeletonisation or the art of sculpting transparency: Today, Bvlgari has taken skeletonisation to the next level on the new Octo Finissimo Ultra Tourbillon – to maximise light diffusion throughout the movement. This approach creates striking contrasts through contemporary decorative techniques applied to key visible components.

A 40 mm case with sandblasted titanium lugs, bezel and middle case. Tungsten carbide main plate. Winding and time-setting wheels in stainless steel with circular brush finishing. Steel ratchet with circular brush finishing engraved with a geometric decoration. Sandblasted titanium bracelet with fully integrated folding buckle, 1.50 mm thin. Hour and minute display counter in sandblasted brass with anthracite DLC coating, polished brass hands with rhodium coating. BVF 900 manual winding tourbillon mechanical ultra-thin movement.

Since its inception in 2019, the Alpine Eagle collection has been continually enriched with new technical feats. With its third edition of high-frequency timepieces, it marks yet another achievement by introducing the lightest watch ever presented in the collection. The 41-millimetre case, crown and bezel of this Alpine Eagle 41 SL Cadence 8HF model – issued in a 250-piece limited edition – are crafted in ceramicised titanium, teamed with a special-shaped rubber strap. Even its high-frequency, chronometer-certified Chopard 01.14-C movement is lighter than its predecessor, thanks to a mainplate and bridges also made of ceramicised titanium. This cutting-edge technology is complemented by a perfectly mastered aesthetic: the ceramicised titanium features a sporty bead-blasted finish, while the Pitch Black titanium dial plays on contrasts with subtle orange accents. Precision, style and sportiness – the Alpine Eagle 41 SL Cadence 8HF has it all.

High frequency improves chronometry, a theme particularly dear to Chopard’s Co-President, Karl-Friedrich Scheufele. While shocks are part of the life of a watch, they nonetheless disturb the oscillations of the balance. Due to a statistical effect however, the faster the balance beats, the less effect each impact has on the average rate. This high frequency is also high speed, thus implying rapid recovery of the isochronous rate.

More technical and complex to produce than a movement with a conventional escapement, the new Chopard Calibre 01.14-C leverages the properties of monocrystalline silicon to optimize its 8 Hertz frequency. This lightweight, self-lubricating material is used to minimise the high friction experienced by the pallet-lever, escape-wheel and impulse pin. The lightness of silicon, its tribological properties along with the flexibility offered by its manufacturing technology have enabled Chopard to develop an escapement dedicated to high frequencies without increasing energy consumption.

The Récital 30 is the ultimate world timer, focusing solely on the ground-breaking world time system on rollers from the Récital 28 Prowess 1, which won the GPHG Mechanical Exception Award for 2024.

Prior to the Récital 28 and the Récital 30, all world timers were wrong during the Daylight Saving Time periods. Collectors either had to set their world timers for the countries that changed or for the countries that didn’t change (only about a third of the world changes, 70 countries out of 195) – either way, a large part of the world was always wrong.

The breakthrough was deciding to use rollers instead of a conventional display. Because the dates when the USA and Europe change to Daylight Saving Time are not fixed from year to year, it was impossible to do it in a traditional way. The 24 city rollers are printed on four sides, and the time period roller is printed with the four different periods: UTC, American Summertime (AST), Europe and America Summertime (EAS), and European Wintertime (EWT). When you press the upper pusher of the Récital 30, all the rollers turn 90 degrees at the same time. The cities that don’t change for Daylight Saving Time are printed four times that city (e.g. Beijing), and the cities that do change, like Geneva, are printed three times Geneva and one time the city next to it, in Geneva’s case London, so Geneva and London both change position on the dial when they go to Daylight Saving Time.

The Récital 30 allows world travelers to accurately display the global time zones during the four time periods of the year – so it is never wrong.

The Récital 28 was limited to a total of 60 movements, as only six can be handcrafted each year. The Récital 30, however, which was developed alongside its big brother, is not limited in this way, meaning that anyone and everyone now has access to this world time system, which required over six years of development. Very rarely does a timepiece start its life in the most complicated iteration, but with the Récital 30, this is exactly what happened – the Récital 28 (very complicated and very limited) came first and its little brother the Récital 30 democratized BOVET’s ground-breaking Daylight Saving Time solution.

The Récital 30 emphasizes the essentials needed for keeping track of world time. The world time rollers cover nearly the entire dial, making it the clear focus of this timepiece. In the center is a day/night indicator linked to local time. As a result, the Récital 30 is the perfect companion for world travelers.

Highlighting New Delhi
Le Récital 30 affiche fièrement New Delhi sur le cadran. L’Inde The Récital 30 features New Delhi prominently on the dial. India has a very unique 30 minute off-set, and Mr. Raffy came up with an idea to include this challenging time zone on the dial.

New Delhi is in black on the dial with a yellow indicator, and the second color-matched yellow minute hand is linked to New Delhi minutes (with its 30 minute off-set).

“India is a country growing fast on the global stage, and I wanted to honor this exciting region on the Récital 30,” explains Mr. Raffy. “The collectors in India are very knowledgeable and demanding of true excellence, and I was proud to include this unique 30-minute offset, something that has rarely been done before.”

The Récital 30 comes on light blue cordura strap -- who says a ground-breaking complication like this can’t be light-hearted and fun?

Customization
Thanks to BOVET’s emphasis on verticalized manufacture and the human touch, the House is uniquely open to customization and requests for bespoke timepieces. With no assembly lines and with every component passing through the hands of BOVET’s artisans, bespoke creations are welcome and encouraged at BOVET, and the Récital 30 presents an invitation to make it unique, offering the perfect canvas. Collectors can change the city names, choose from a number of different colors of the 24-hour dial and the minute track, and even change the Indian version to the Universal version or vice versa if they move from one region to another in the future.

A New Chapter – In-house cases
For the first time ever, BOVET is making its own cases in its facility in Tramelan. All titanium Récital 30 cases will be made in-house in their entirety, while the 18K red gold Récital 30 cases will be produced in the Tramelan manufacture starting in 2026.

For high watchmaking timepieces, it is important to craft as many components in-house as possible to maintain control over the very demanding quality of the cases and other components. Handcrafting the Récital 30 cases in-house means enhanced interaction between the technical office, the engineers, the production team and the watchmakers.

“I need to offer to my artisans new challenges,” says Mr. Raffy. “At BOVET, we combine art and innovation, and we perform the exceptional every day. The case is an exercise in design, integrating a domed sapphire crystal and shaped hands, recalling a window to the universe, while the timepiece itself has an undeniable vintage look and feel. I knew from the start that the case and overall design of the Récital 30 had to be exceptional, unexpected, and have real meaning.

“The Récital 30 was always in the back of my mind, from the very beginning of our research into solving the Daylight Saving Time problem, which started six years ago,” continues Mr. Raffy. “When I sit in the courtyard of the castle, I always think about useful and meaningful timepieces. On the wrist, we have to have the indication of time and it’s more important than ever to have it linked to the world, which has become so small and accessible today. I wanted to offer our collectors a wearable, very intuitive timepiece to guide them and remind them where they are from and where they are going. Complicated yet simple to use, this timepiece is the result of the innovation, the outstanding attention to detail, the exceptional knowledge and the human touch of all our artisans, showcasing BOVET’s unique qualities.”

With the Récital 30, BOVET continues to revolutionize world time timepieces and has created the ultimate men’s complication.

Through the UJ-2’s understated beauty flow Urban Jürgensen’s philosophies – that the purest things demand our greatest efforts; that excellence is a goal in and of itself; and that the pursuit of perfection and doing things right is the key to joy. This timepiece is by a Maison that seeks the challenges posed by exceptional watchmaking and doesn’t skirt them.

At its heart is the double wheel natural escapement – a mechanism whose elegance belies the complexity of its creation. Each component, from the hand-finished wheels to the pristine bridges, to the decoration on parts unseen by the naked eye, exists because that’s the way it should be.

When the escapement wheels perform their intricate ballet – each tooth precisely engaging and releasing in a mesmerizing rhythm, orchestrating time with microscopic precision – they represent generations of watchmakers, from Urban’s teacher Abraham Louis Breguet to the watchmakers of today, who looked at accepted solutions and strove to make them better.

The UJ-2 is not about complexity for complexity’s sake. It is about the relentless pursuit of perfection in even the simplest things. Every element, visible or hidden, exists as a testament to the belief that marking time beautifully matters – that the way we choose to count our moments shapes how we experience them.

The DANIEL ROTH Extra Plat Rose Gold is an evolution that reaffirms a commitment to timeless elegance and traditional haute horlogerie. The iconic double-ellipse silhouette has a refined 7.7mm profile and introduces a warm, contemporary character using 5N rose gold. With an open case back and a two-tone dial crafted from solid white and rose gold, the watch seamlessly bridges tradition with a modern sensibility.

The dial is distinguished by handcrafted guilloché en ligne. Visible through the sapphire case back is the calibre DR002, a movement developed exclusively for the Extra Plat collection by Master Watchmakers Michel Navas and Enrico Barbasini at La Fabrique du Temps Louis Vuitton. The DR002 mirrors the double-ellipse shape of the case and is decorated with hand-polished bevels and flowing bridge lines. Technically advanced, the calibre beats at 4Hz and features a free-sprung balance with variable inertia weights for optimal chronometric performance, while delivering a practical 65-hour power reserve.

The Extra Plat Rose Gold represents purity and savoir-faire, masterfully balancing modern elegance with time-honoured craft.

In 2023, Victoire de Castellane unveils the majestic Les Jardins de la Couture High Jewellery collection, marking the beginning of a new way of expressing nature with blossoming garlands of ‘couture bushes’ that evoke the artistry of intricately embroidered florals.

This acclaimed collection served as an inspiration for Dior Jewellery Creative Director Victoire de Castellane who further explored the garden topic, encapsulating it in a precious timepiece. This new creation is all about beauty, sensuality, emotion and softness, both echoing the world of Victoire de Castellane and of Monsieur Dior, fervent garden and flower lover.

This new la D de Dior reflects meticulous craftsmanship, with a discerning selection of stones chosen for their hue and shape to reproduce a luxuriant yet delicate garden. Each gem acts as a delicate petal, artfully placed on the dial, on the bezel, the crown and the case back.

The making of this creation is a true technical feat. Indeed, the ateliers managed to recreate an effect of volume and density thanks to the close settings between the various stones, which also guarantees that the metal stays invisible and does not harm the gems.

La D de Dior Buisson Couture is a lush bouquet of diamonds, pink sapphires of different shades and delicate tsavorite, with brilliant, pear, oval and marquise cuts, perfectly reproducing the natural effect of a luxuriant garden. Each ‘bush’ is distinguished by its harmonious colors, ranging from delicate green to soft and vivid pink, highlighted by the sparkle of white diamonds and the softness of pink gold.

Feat of beauty as much as feat of art, this stunning creation celebrates the art of gem-setting in all its details. Off centered, the time indication at 3 o’clock almost disappears with its gold hands delicately set by hands with diamonds. An additional detail of refinement completed by the gem-setting on the crown, case-back and buckle for a piece of art requiring 480 hours of work and more than 150 hours for the manual setting of the 1088 precious stone of its dial.

The Voutilainen 28GML SOUYOU is a true masterpiece that unites the extraordinary Japanese lacquer art of Mr. Tatsuo Kitamura with the Voutilainen workshop’s dedication to longevity, precision and classical watchmaking tradition. This timepiece offers a perfect balance of aesthetic and mechanical excellence, harmoniously blending Eastern and Western influences.

The mesmerizing dial draws inspiration from the motto, “SOUYOU” — a coined word that is reflected in the striking contrast between blue, green, gold and red colours. “SOU” evokes, in the outer part of the dial, the sea represented by the deep, clear blue-green hues, while ‘YOU’, with its shades of gold and red in the center, signifies a natural organic form symbolizing solar energy. Created using the Urushi lacquering technique, it requires over a thousand hours of meticulous work. This extraordinary creation incorporates raw materials such as “Urushi” (tree sap), “Kinpun” (various gold powders), “Kirigane” (cut gold sheets), and “Kirigai” (cut shell from New Zealand abalone and the great green turban).

Perfect for world travellers, this unique piece displays hours, minutes, and a central second time zone via a disc that completes a full 24-hour rotation, designed to indicate the home time. Subtly integrated into the gold motif on a red background, the second time zone pointer is easy to read at first glance. Meanwhile, the central hour hand can be easily adjusted to the local time of the destination with a simple push on the crown.

The mechanism was designed, built, fabricated, hand-finished and assembled to the highest standards by the expert artisans of the Voutilainen workshop with the utmost precision, care and passion. Technically, the caliber of the 28GML is equipped with a very large balance wheel crafted in-house, ensuring precise rate stability and accuracy within strict tolerances. Additionally, a rare and unique balance-spring system has been used. The exterior of the spring has a typical Phillips overcoil, while the internal curve uses the little-known Grossmann curve further increasing accuracy. It is also particularly remarkable due to its two escapement wheels, which provide a direct impulse to the balance through the roller/jewel. This innovative construction improves efficiency by requiring less energy than the Swiss lever escapement and allows for notable benefits, for everyday use, such as longevity, stability and a longer power reserve.

The case back offers a captivating view of the caliber 28GML ’s intricacies that is meticulously finished to the highest standards by the expert artisans of the Voutilainen workshop. The surfaces of pinions and wheels are completely flat and polished with exceptionally uniform tolerances. The main plate and bridges, made from German-silver, are decorated by hand to achieve the utmost levels of surface finish. Screws and all steel parts are also finished and polished by hand.

Completing the overall design, the 39 mm timepiece in platinum features an elegant hand-sewn strap.

Since its inception in 1994, the IMPERIALE collection has embodied Chopard’s vision of regal elegance and horological excellence. In 2025, this iconic line welcomes a new chapter with the introduction of a dreamy complication: the IMPERIALE Four Seasons, a timepiece capturing the eternal rhythm of Nature through the artistry of watchmaking.

At the heart of this creation lies a rotating disc that completes a full revolution over 365 days, evoking the gentle cycle of the seasons. Crafted in painted textured mother-of-pearl marquetry, this miniature tableau is a moving landscape, shifting subtly with time. The disc is ingeniously indexed to the hours hand in a seamless merging of mechanical ingenuity and poetic expression. The dial is a masterpiece of craftsmanship. Its upper half is adorned with a lacework pattern in 18-carat ethical white gold, sculpted into the delicate silhouette of a lotus flower – a recurring motif in the IMPERIALE collection, also echoed in the shape of the crown. Satin-brushed gold petals with polished veins create a striking contrast of textures, while the lower dial reveals a painted mother-of-pearl marquetry gradient that evokes the changing hues of the natural world. The 18-carat white gold case, bezel and crown are adorned with diamonds, enhancing the luminous presence of this IMPERIALE timepiece.

The IMPERIALE Four Seasons is powered by the L.U.C 96.31-L movement: a self-winding mechanical calibre equipped with the exclusive Four Seasons module. Comprising 227 components, it offers a generous 65-hour power reserve – thanks to Chopard Twin Technology – and is entirely developed and assembled in-house, a testament to Chopard’s vertical integration and horological savoir-faire.

The IMPERIALE Four Seasons comes with four interchangeable alligator leather straps, each reflecting the palette of a different season, allowing the wearer to harmonise their timepiece with the world around them. Issued as a 25-piece limited edition, this creation is more than just a watch, instead offering a lyrical celebration of time, Nature and Chopard’s enduring artistry.

Sustainability
For many years, Chopard has taken concrete action to help shape a more responsible luxury industry, fully aware of its environmental impact and its responsibility toward the thousands of individuals involved in its activities worldwide. As an early member of key industry organizations such as the Responsible Jewellery Council (RJC), the Maison has distinguished itself through its pioneering commitment to ethical gold and the development of Lucent Steel™, consistently adopting a proactive stance within the sector.

Gold, a fundamental material in Chopard’s production, has naturally become a central focus in the Maison’s Journey to Sustainable Luxury. In July 2018, Chopard reached a major milestone by exclusively using ethical gold in its workshops, meeting the most stringent international environmental and social standards. Within this approach, gold has been sourced through two transparent and traceable channels: responsibly produced artisanal gold and recycled gold certified by the RJC. The RJC’s Chain of Custody (CoC) standard defines the requirements for identifying and tracking eligible materials, including certified recycled gold from legitimate sources.

In 2024, Chopard’s ethical gold was sourced solely from artisanal and small-scale mines accredited by the Swiss Better Gold initiative. Responsible sourcing of artisanal gold is essential to Chopard’s strategy, as it enables full traceability from mine to finished product while generating positive and tangible socio-economic and environmental impact. Artisanal and small-scale mining involves millions of men and women around the world—individuals working alone, with their families, or in cooperatives—using basic exploration and extraction methods. Since 2017, this program has supported lower-impact extraction methods and improved the living and working conditions of over 5,000 miners and gold panners in Peru and Colombia. The Maison does not source from large-scale industrial mines.

A key objective is to continue generating positive impact within artisanal and small-scale mining communities by helping address local challenges related to water access, education, and energy. To achieve this, the Maison works closely with international organizations such as Swiss Better Gold Association, which are committed to helping gold miners adopt more socially and environmentally responsible practices. The premium paid by Chopard provides additional support for energy transition, infrastructure development, and the creation of alternative economic opportunities alongside mining activities.

Since 1978, Chopard has been one of the few watch and jewellery manufacturers to operate its own foundry. This independent approach allows the Maison not only to guarantee the origin of the gold used in its workshops but also to remelt production scraps in-house. This direct reprocessing ensures traceability of alloys, avoids electrochemical refining, reduces energy consumption, and eliminates the use of chemicals. It also significantly cuts emissions linked to material transport.

A radiant tribute to the creative ingenuity of gérald genta, the Gentissima Oursin Fire Opal shines through a fiery lens of natural beauty and craftsmanship. This next chapter in the Gentissima collection explores a connection between vibrant stones and daring shapes that evoke the unexpected. Its 36.5mm yellow gold case is crowned with 137 individually set fire opals, gems of volcanic origin long linked to artistry and energy. Their brilliant hues are echoed in the orange cornelian dial, where an intense texture reinforces the Fire Opal’s identity as a living canvas of design mastery.

The watch houses the GG-005 caliber, a customized Zenith Elite automatic movement, and is completed with a redesigned 18k yellow gold oscillating mass. The faceted crystal and slightly octagonal inner bezel respect the Maison’s signature shape. Every element, from the glass-blasted case finish to the gleaming yellow gold details on the dial, has been designed with audacious elegance in mind to spark joy and curiosity.

The M.A.D.1 kicked off the M.A.D.Editions project - the alternative, accessible label created by MB&F - by breaking the rules; the M.A.D.2 spins a different story. Born from the mind of Eric Giroud – designer, rebel, and longtime MB&F Friend – this timepiece is a love letter to the wild, electrifying spirit of 1990s club culture; it’s the second act in a saga that started with an unexpected hit.

Eric Giroud has been designing MB&F pieces for 20 years with founder and creative director Maximilian Büsser. For the 20^th anniversary of MB&F, it was only fitting: this one’s his baby. But following up a hit? That’s a challenge - like the second album of a band that nailed their debut.

Eric and Max both hail from Lausanne; Giroud’s journey is anything but traditional Swiss design. While others might have been lurking around cold offices, Eric was tearing it up on dancefloors, living the 1990s club scene. Nights at the legendary MAD (Moulin à Danses) and Dolce Vita clubs in Lausanne, surrounded by creatives, musicians, actors and artists, shaped his aesthetic.

Friends called him "Erico". He hung out with Sébastien and Stephan Kohler—DJs who hit international fame with their track At Night. Early house music boomed, Stephan Kohler (Mandrax) spun vinyl on the famous Technics SL-1200 Mark 2, and there was a palpable sense of freedom. The 90s were electric, a time when change was in the air, especially in music. This is the world that inspired the M.A.D.2—a watch born from the heartbeat of a bygone rave era.

The M.A.D.2’s raised central subdials – displaying the hours and minutes – look like the turntables from a DJ mixing console. The central dial over which they rotate is a love letter to vinyl textures, with grooves and satin finishes mimicking music tracks. Surrounding it is the platter, inspired by the stroboscopic band of the Technics SL-1200 – complete with Super-LumiNova stop pins. Every flick of the wrist sets the platter spinning, and if you listen closely, it’s as if you can hear the rhythm of the past pulsing through it. The stroboscopic platter is in fact the automatic winding rotor, visible from both the front and the back. Flip the watch over and you’ll discover the gyroscopic off-centered rotor which will make your head spin.

And there’s a horological surprise: the jumping hour complication. It’s a secret you only uncover after spending time with the watch—nothing screams “bi-directional jumping hours” at first glance. The small metal markers – which look like guitar picks, almonds, or maybe even alien eyes – conveniently indicate the jumping hour and trailing minutes at the very center of the watch.

At 42mm, the M.A.D.2 feels as smooth as it looks. It balances the playful, unexpected approach of M.A.D.Editions without going over the top—like a perfectly polished almond. Despite being visually worlds apart from the M.A.D.1, they share a heartbeat: the same Swiss La Joux-Perret movement found in the M.A.D.1S, now enhanced with a bespoke jumping hour module developed by MB&F. Swiss-made, Swiss-assembled.

A distinguished revival of the classic Dennison cushion case, our Stone Dial watch pays homage to the elegance of the 1960s.

Crafted in PVD gold over stainless steel, the case measures a refined 37mm by 33.5mm, with an ultra-slim 6mm profile, offering a seamless balance of presence and comfort on the wrist. The dial features Natural Tiger’s Eye, a striking stone chosen for its warm depth and pattern, each one cut and polished to reveal its unique character.

Interchangeable leather straps in brown, black, and navy allow for effortless versatility, secured with a thoughtfully designed pin-buckle that echoes the case’s curvature and material finish.

A testament to enduring style and subtle detail.

Albatross features a striking hour function – chiming both the specific hours on the hour and a single strike on the half-hour – and an automaton composed of 16 pairs of propellers that launch into action every hour. A mechanical computer lets the owner choose between full operation mode, full quiet mode, silent mode with the propellers running, or just the chime. There is also a “repeat on demand” button to repeat the predefined chime/automaton setting or to activate the propellers in standalone continuous motion.

The brainchild of designer Eric Meyer, Albatross was inspired by the “Albatross” airship in Jules Verne’s novel Robur the Conqueror, as well as Verne’s broader fascination with flight, rockets, and hot air balloons.

The clock’s technical specifications are impressive: 1,520 components, 17 kg in weight, and dimensions of 60 cm long by 60 cm high and 35 cm wide. Inside the aircraft are two movements and two winding systems: one powers the time and striking hour via two separate barrels, while the other drives the automaton, powered by a third barrel. The first movement is manually wound via the propellers at the front of the flying machine – clockwise for the striking hour and counter-clockwise for the time. The propellers at the rear are used to wind the automaton. In terms of power reserve, the clock runs for an average of eight days – whether the chiming function is activated or not – and the automaton operates for about one hour.

Not only is this the first “propeller hour” clock ever to be created, but it has a mechanical system inside that allows its future owner to turn the actions on or off, as desired. Thanks to the mechanical computer, the propellers can turn independently of the chime, and vice versa.

A closer look at the propellers reveals that they work in synchronized pairs, turning together to create the illusion of increased speed. Each pair rotates at a speed of 7 seconds for half a turn, or 14 seconds for a full turn, ensuring they remain visible and don’t create any wind.

The propellers on the left side of the spaceship turn one way, while those on the right side go the other way, as if the ship really was going to take off. Another detail to note is that when the hour strikes, the propellers operate instantaneously, attesting to the attention to detail that has gone into the Albatross’ creation.