The world of Swiss watchmaking is a small one; everyone seems to know everyone. This is especially true among the exclusive ranks of enamellers. In total, there are about 120 practicing enamellers in Switzerland, largely concentrated in Geneva, which has been a leading hub for fine enamelling for more the 400 years.

Of these, four artisans have recently taken up residence at Émailleurs de la Cité (EC) in Geneva’s Old Town. A newly established enamel workshop founded by Rexhep Rexhepi of Akrivia and Florent Olivier Martin, EC crafts a small number of grand feu enamel dials annually for Mr Rexhepi’s own watches and for select clients like Biver.

Though recently opened, the workshop has the feel of a mature and highly organised operation, benefiting from the obvious experience of the staff – Mr Martin was formerly the production director at the respected dial specialist Olivier Vaucher – and the attention to detail for which Mr Rexhepi is known.

The enamel workshop is a fitting addition to his growing empire, and is conveniently located just steps away from Akrivia’s watchmaking atelier on Grand-Rue, the picturesque cobblestone thoroughfare that runs through the Old Town.

The hand-engraved gratté pattern is applied personally by Mr Rexhepi.

The art of enamel

Brands like Patek Philippe consider enamel a “rare handcraft”, and for good reason. While industrial groups like the Swatch Group seem to have largely mastered the production of quality enamel dials at (vast) scale, the very best dials still require the dexterity of an artist, the patience of a saint, the mind of a winemaker, and the tools of a dental clinic – more on this later.

Due to the complex, sensitive nature of the material, enamel dials are known to have a very high rejection rate; even with painstaking preparation and meticulous effort, many dials develop flaws during production that render them worthless. The cost of this wastage is rolled into the price of finished dials, which can push the value of a single dial into the low five-figure range.

It’s an almost organic process, and there are a lot of things that can go wrong. For example, if the enamel frit (essentially powdered glass and pigments) is not perfectly clean, the impurities can burn and stain the dial. Similarly, tiny air bubbles can act like ticking time bombs, popping when heated, creating pockmarks that can’t be polished out. Even fluctuations in the humidity and temperature in the workshop can change the behavior of the enamel.

But the finished dials that emerge successfully often possess a degree of ethereal perfection and permanence that makes the costly effort worthwhile.

A completed dial for the Rexhep Rexhepi Chronomètre Contemporain II Diamant

The initial stages: Grinding and preparation

The enameller starts by choosing a colour of enamel frit from a vast assortment kept in inventory. This sounds like it should be the easiest part of the process, but colour selection is actually quite nuanced since the colours often change when they are fired, with the final shade being determined by the specific firing temperature.

This requires the enameller to have a sommelier-like understanding of the behavior of different pigments at different temperatures, in order to be able to select the right coloured frit for the desired outcome.

Once the colour is chosen, the frit is ground manually with a mortar and pestle. Distilled water is used to wash the frit at different stages to remove any impurities that may be present. The grinding and washing process is repeated until the desired grain size is achieved; only the smallest, most even particles are used to ensure uniform behavior during heating and cooling.

Washing the enamel frit

The enamel is then carefully painted onto the surface of a grey gold dial base. Grey gold is an alloy of gold and palladium, prized by enamellers because remains stable even after repeated firings. To help the enamel adhere evenly, the dial blanks are left with an intentionally coarse unpolished surface.

Firing

Things start heating up when the dials are transferred to the firing station. The firing process begins by placing the dial in a dental-grade vacuum furnace, akin to a small oven that sucks out all the air while maintaining a precisely controllable temperature. This type of machine is more commonly used by dental technicians to create ceramic crowns, but it works just as well for enamel dials.

From left, the vacuum furnace, oven, and heating plate

By applying heat under vacuum, this device helps eliminate air bubbles prior to firing. In dental work, an air bubble can cause a crown to crack; in dial-making air bubbles can pop leaving behind unsightly divots in the dial surface.

The vacuum furnace in action

After a stint in the vacuum furnace, the dial takes a break on a dehumidifier plate. Once the desired resting temperature is reached, the dial goes into the oven, supported by a special holder designed to facilitate even heating.

The dehumidifier plate

An enamel dial going into the oven

Since enamel and grey gold have different coefficients of thermal expansion, the dials can warp when exposed to significant temperature fluctuations, causing the enamel to crack.

For this reason, all high-end dials, like those made at EC, are counter-enamelled, meaning the back of the dial is also enamelled. The counter-enamel functions like the stays on a suspension bridge, providing a counter-balancing force to keep the dial flat.

Hour markers for the Louis Vuitton x Rexhep Rexhepi LVRR-01 Chronographe à Sonnerie feature translucent enamel; here several are shown cooling

Polishing

After a dial has been fired and found to be within spec, the polishing stages begin. The dials are ground against progressively finer polishing wheels, following the same steps used to achieve the perfect optical-grade finish of eyeglass lenses. This methodical step-by-step polishing process eliminates the dimpled orange peel-like texture that is often seen on lesser enamel dials.

This is a very manual step that requires the artisan to be able to maintain even pressure and ‘feel’ when the dial is ready to proceed.

A look at what the dial looks like between polishing stages

The polishing stages are absolutely critical to achieving the flawless mirror-like perfection that makes the best enamel dials stand out.

A few days after visiting EC, I had the chance to discuss this exact topic over a quick breakfast with Jean-Claude Biver, who selected EC to make the dials for the Biver Automatique Japan Edition. Mr Biver lauded EC for making some of the best enamel dials he’s seen in his 50-odd years in watchmaking.

Tampography

Tampography is the process of printing the dial with a gelatinous transfer pad. A routine practice throughout the industry, we’ve seen this process before at other dial makers like F.P. Journe’s Les Cadraniers de Genève.

In short, the paint used on the dial is applied to a plate engraved with the master copy of the dial, which is then wiped clean with a blade, removing all the paint except what is left in the engraved markings. The egg-shaped transfer pad is then pressed down until it flattens out, picking up a painted image of the dial.

The ‘master copy’ of the dial

The plate then slides away, bringing the real dial into place underneath the transfer pad, which is then brought down swiftly, printing one layer on the dial. The process is usually repeated multiple times to achieve the glossy, domed markings that most collectors expect.

For the black enamel dial of the Chronomètre Contemporain II in platinum, a type of white acrylic paint is used. On the 18k rose gold model, which features a warm, translucent white enamel dial, enamel paint is used for the markings.

The enamel paint requires an extra layer of fondant, or clear enamel glaze, on top. This finishing touch has its roots in the grand tradition of the Geneva school of enamelling, which first championed the use of clear fondant as a means of protection for elaborate miniature enamel paintings.

While the tampography workshop was being renovated, construction workers discovered something strange. Carved into the foundation, which dates back centuries, a carved face was discovered, which seems to be a charming caricature with long lashes and a bowl cut.

The EC team is still deciding what to name this character, but they’ve already finalised plans to make this the ‘face’ of the workshop in the form of their maker’s mark. In the future, all EC dials will bear this emblem as a hallmark hammered into the back of the grey gold dial base.

The EC maker’s mark

Closing thoughts

Over the years, I’ve seen enough enamel dials with dimpled, uneven surfaces to feel slightly jaded about the whole proposition of enamel. But seeing the process at EC end-to-end opened my eyes to just how much control skilled artisans can exert over this unpredictable medium. Yes, the rejection rate is high, but the perfection of the dials that do make it through feels hard-won.

The enamel’s sensitivity to things like temperature and humidity reminds me of winemaking. Like grapes in a vineyard, enamel is capricious and demanding. Like a vintner, the enameller must anticipate the effect that small actions will have on later stages of the process, and the smallest oversight at any point can ruin an otherwise perfect creation.

Reflecting on the process end-to-end, enamelwork is a fascinating blend of art and science. Though the process for creating modern enamel dials benefits from tools like computer-controlled vacuum furnaces, there is a great deal of artistry found in the enameller’s dexterous touch and intuition for transformation.

]]> https://watchesbysjx.com/2025/03/obituary-jean-pierre-hagmann.html Fri, 14 Mar 2025 10:37:31 +0000 https://watchesbysjx.com/?p=259031 Jean-Pierre Hagmann passed away suddenly and unexpectedly on the night of March 7, 2025 at the age of 84. With his passing, the watchmaking has lost the most important case maker of the last 50 years. He was a friend whom I first met some 35 years ago. Born in Geneva in 1940 to a […]]]>

Jean-Pierre Hagmann passed away suddenly and unexpectedly on the night of March 7, 2025 at the age of 84. With his passing, the watchmaking has lost the most important case maker of the last 50 years. He was a friend whom I first met some 35 years ago.

Born in Geneva in 1940 to a mechanic, Jean-Pierre was a living legend whose talent was evident from a young age. Jean-Pierre was an incredibly versatile and gifted precision machinist and craftsman. No mechanical problem was too difficult for him to tackle.

“If you have a complex mechanical problem, you have to break it down into many small steps,” he once told me. On another occasion, he said, “I’m lazy by nature, so I always look for the simplest and quickest technical solution, which is often the perfect one.”

After training as a jeweller at Geneva’s School of Fine Arts in 1956, Jean-Pierre didn’t want to go straight into the profession. His youthful curiosity and fervor led him to seek variety and adventure. Initially, he applied to Holiday on Ice, the iceskating theatre company, as a professional figure skater and taking the role of a clown. When that didn’t work out, he spent two years repairing coffee machines in the bistros of Geneva.

Later, he worked as a mechanic in a racing motorbike workshop. Jean-Pierre’s boss recognised his talent and introduced him to one of the most famous racing drivers of the time, Etienne de la Mar. With his technical finesse Jean-Pierre helped  the Frenchman win the European championship.

Even after that, motorcycling remained Jean-Pierre’s favourite hobby throughout his life.

The “JHP” hallmark, often found on the lugs

A career in case making

Before starting in his profession in 1972, Jean-Pierre quickly built a few sailing boats and giant model airplanes. He then worked for several years for well-known Geneva jewellery manufacturers such as Ponti Gennari and Gay Frères.

His career as a case maker began at the company Jean Ecoffey & Fils in Geneva, a manufacturer of metal watch bracelets and chains. Recognising his talent, the company’s management saw an opportunity to enter watch case manufacturing. In a short time, Jean-Pierre built up the necessary machinery and organized the automation of the work processes.

Around 1983, after a brief stint with the famous dial maker Stern Création, Jean-Pierre decided to open his own case-making workshop in Geneva. By now, he was known in the industry for taking on particularly challenging tasks, and he no longer had to worry about a lack of orders. His first customer was Svend Andersen, followed by Jean-Claude Biver who was then establishing a new brand known as Blancpain. In this way, Jean-Pierre also indirectly paved the way for the emergence of what we now know as independent watchmakers.

In the decades to come, he was to produce special cases for practically all major Swiss watch brands. His specialty were cases for minute repeaters, for which he had developed a unique feature that gave the watches an extraordinary sound. This innovation also led to a collaboration with Patek Philippe on cases for watches with complicated movements. Created for Patek Philippe’s 150th anniversary in 1989, the ref. 3974 with minute repeater and perpetual calendar is particularly well-known among collectors.

The Patek Philippe ref. 3974

Cases with the magical “JHP” stamp now enjoy a price premium in the collectors’ world. However, Jean-Pierre reached the pinnacle and absolute highlight of his career as a case maker with the production of the Star Caliber 2000. Launched at the turn of the millennium, the Star Caliber was a limited series of ultra-complicated pocket watches – five sets of four watches each with a double-sided display and numerous complications.

The Patek Philippe Star Caliber 2000

In 2016, Jean-Pierre sold his workshop to his long-standing customer Vacheron Constantin, which gave him the task of training a new generation of case makers.

After completing his mission, he went into temporary retirement before taking on the Herculean task of setting up the case workshop for the ambitious young watchmaker Rexhep Rexhepi, founder of Akrivia, in 2019. Then aged almost 80, Jean-Pierre made the impossible possible in no time at all. Just months later, the first “JHP” cases were launched by Akrivia, starting with the Chronomètre Contemporain “Only Watch”.

Rexhep Rexhepi (left), and Jean-Pierre Hagmann

Recognition

The year 2024 was the year of public recognition and reward for Jean-Pierre, when he received accolades that that no other supplier in the watch industry has ever received.

First, in September 2024, he received the Prix Gaïa in the Artisanat et Création category that focuses on artisanal craft and creation. Considered by some to be the Nobel Prize of the watch industry, the Prix Gaïa is awarded annually by the MIH (International Museum of Horology) in La Chaux-de-Fonds to individuals who have made exceptional contributions to watchmaking in their lifetime. I had the honour of delivering the introductory speech for Jean-Pierre’s prize.

In his acceptance speech, Jean-Pierre said with pride and humility, “During my long career, I have improved practically every production step in the manufacture of handcrafted housings.

He added, “I’m probably the last case maker in Switzerland who still masters all the traditional production steps and methods.”

Jean-Pierre Hagmann at the 2024 GPHG

Just two months after this unique recognition, he received the Lifetime Achievement award at the 2024 Grand Prix d’Horlogerie de Genève (GPHG).

Two days before his death, I got a call from Jean-Pierre, who full of enthusiasm, telling me about his new workshop at the bracelet manufacturer Laurent Jolliet as well as a mandate to produce the case prototypes for a new collection soon to be launched by the revived Universal Genève.

But more than all his professional achievements, I will always remember Jean-Pierre as a generous personality, someone with high ethical and moral standards, and man for whom respect and recognition were more important than financial gain and professional success.

Au revoir Jean-Pierre.

]]> https://watchesbysjx.com/2024/05/rexhep-rexhepi-chronometre-antimagnetique-rrca-only-watch.html Fri, 03 May 2024 01:31:33 +0000 https://watchesbysjx.com/?p=222712 The two most important examples of independent watchmaking in Only Watch 2024 are arguably the stealthy F.P. Journe Chronomètre Furtif Bleu and the Rexhep Rexhepi Chronomètre Antimagnétique, each a significant creation of a leading watchmaker of his generation (and interesting enough, both are sports watches). Inspired by mid-20th century explorer’s watches that were magnetism-resistant, the […]]]>

The two most important examples of independent watchmaking in Only Watch 2024 are arguably the stealthy F.P. Journe Chronomètre Furtif Bleu and the Rexhep Rexhepi Chronomètre Antimagnétique, each a significant creation of a leading watchmaker of his generation (and interesting enough, both are sports watches).

Inspired by mid-20th century explorer’s watches that were magnetism-resistant, the Chronomètre Antimagnétique (RRCA) is an elegant but robust watch with a stainless steel case and an entirely new calibre equipped with an indirectly-driven centre seconds with a hacking, zero-reset mechanism. In its Only Watch form, the RRCA is a unique watch but also a prototype for a new line of elegant sports watches.

NB: The watch pictured is a work in progress that is not entirely finished so the dial is a prototype and the movement is not perfectly clean. It will be delivered in a perfect state to the eventual owner.

Initial thoughts

Many of the RRCA’s details bring to mind mid-20th century “sports” watches. Not the sports watches we know of today, but rather the water-resistant Patek Philippe watches made in the 1940s and 1950s for gentlemen sportsmen and adventurers. This reflects with Rexhep Rexhepi’s respect for traditional Geneva watchmaking, which is also expressed in the RRCC but in a different manner.

The RRCA subtly marks a new direction for Rexhep Rexhepi’s aesthetics. It’s clearly a thoughtful evolution of the RRCC. While the RRCC is a dress watch, the RRCA has sharper, angular form that gives it a more functional appearance. The scientific-style dial and steel case add to the utilitarian aesthetic. In fact, the design of the RRCA gives it the feel of a vintage military watch.

While the vintage inspiration behind the watch is apparent, I would have liked even more elements drawn from its historical antecedents. Antimagnétique could be rendered in italics, for example. Admittedly that might seem too obvious, I like the visuals of such typography, particularly in contrast with the dial design.

Besides design, the RRCA is entirely new in terms of mechanics. Inside is a calibre that’s recognisably new but still retains the typical hallmarks of Rexhep Rexhepi, including the symmetrical layout and refined decoration.

As with the external components, the movement also has a subtly different style from existing calibres, reflecting Rexhep Rexhepi’s keen eye for details large and small. The architecture is more substantial and does away with superfluous elements, echoing the functional design of the dial and case.

But zoom in and numerous interesting details become apparent, reflecting the thoughtful construction despite the relatively simplicity of function. The hacking and zero-reset mechanism are especially beautiful, as is the bridge for the indirect seconds train.

The RRCA is a striking watch on its face and engaging on the back. More importantly, it reflects the evolution of the Rexhep Rexhepi style and proves he is not a one-trick pony specialised in the RRCC.

A “tool” watch, finely executed

The profile of the RRCA illustrates its essence: the case has more angles and sharp lines, giving it a more sporty feel. The lugs still take the arched form that refined Rexhep Rexhepi’s past watches, but they are now brushed and perfectly flat on the sides.

Size-wise, the RRCA retains the brand’s typical proportions at 38 mm by 9.9 mm. The dimensions are elegant and ideal for a no-nonsense watch. However, I would have increase the diameter a little to evoke vintage military watches that were oversized to aid legibility.

The finishing of the case is impressive and more complex than that found on the RRCC. The surfaces are treated with a mix of brushing and polishing, with the case band being particularly impressive. It’s brushed on its central facet but polished on the upper and lower facets. This is possible because the lugs are soldered to the case, allowing the case middle and lugs to be finished separately.

As with the case, the dial takes its cues from the RRCC. The central “sector” has the familiar alternating blocks that have come to define the RRCC. According to Mr Rexhepi, the alternating sector here is a reference to the opposing polarities of a magnetic field.

The double-stepped bezel enhances the instrument-like feel

The hour hand has the same spear tip found on the RRCC, but the minute and seconds hands both feature tips angled downwards to position them as close to the dial as possible. This is a detail drawn from vintage watches and intended to minimise parallax error when reading the time.

The oversized counterweight on the central seconds hand is a tasteful touch

The RRCA movement is the first Rexhepi Rexhepi calibre with a central seconds. But it is not merely an existing movement with a rearranged seconds. Instead it is a new calibre with twin trains: one is the timekeeping gear train that’s visible on the right of the movement, while the other is the train for the centre seconds that’s visible on the left.

The movement is driven by a single large mainspring located under the large barrel bridge

Even though the movement is largely symmetrical when viewed from a distance, it reveals plenty of fine detailing in both construction and decoration up close.

A key aesthetic element of the movement is the steel bridge that spans almost the entire diameter. Executed in black polished steel as expected for such a movement, this secures the wheel for the seconds hand.

Next to the pivot jewel is a polished steel lever; this is the zero reset mechanism. Concealed under the seconds wheel bridge is a heart cam that interacts with the lever to send the seconds hand back to zero when the crown is pulled to set the time.

The construction of the hacking and zero-reset mechanism reflects Rexhep Rexhepi’s skilful approach that blends both mechanics and design. Next to the zero-reset lever is a small curved spring that serves to tension the hacking lever that stops the balance wheel.

The bridge for the indirect seconds train brings to mind Greubel Forsey, but here the bridge is more slender and thus feels more refined, and it is also modest positioned to be partially hidden by the seconds wheel bridge

The zero-reset lever with its blade-like tip and the heart cam bare visible below the pivot jewel

Needless to say, the decoration of the movement is top class. This is not an entirely perfect piece as the watch had to be sent on a world tour for the Only Watch exhibition, but even in its prototype stage the calibre is luminous. The large, polished steel components in particular are a treat.

Key facts and price

Rexhep Rexhepi Chronomètre Antimagnétique “Only Watch”
Ref. RRCA

Diameter: 38 mm
Height: 9.9 mm
Material: Stainless steel
Crystal: Sapphire
Water resistance: 30 m

Movement: RRCA
Functions: Hours, minutes, and seconds with hacking zero-reset
Frequency: 21,600 beats per hour (3 Hz)
Winding: Hand-wind
Power reserve: 72 hours

Strap: Fabric with pin buckle

Limited edition: Piece unique
Availability: To be sold at Only Watch on May 10, 2024
Estimate: CHF100,000-150,000

For more, visit Christies.com.

Followers of high-end independent watchmaking are likely familiar with Akrivia and its founder, Rexhep Rexhepi. Akrivia’s work, especially its finishing, has earned widespread acclaim and record auction results. Paradoxically the brand got off to slow start at its founding in 2012. Akrivia only rocketed to prominence with the launch of the Chronomètre Contemporain in 2018 and has been on the ascent ever since.

Now just getting into its second decade, Akrivia has achieved a level of success that often proves elusive to upstart independent watchmakers, many of which have come and gone in the past few years. This success is due to numerous factors, but key among them is the brand’s demonstrated ability to evolve and improve.

I recently had the opportunity to visit the brand’s workshops in Geneva’s Old Town to see how far Akrivia has come and get a hint of what’s in store for the future.

Akrivia today

Today, the brand employs 20 staff, up from just 10 in 2021. Considering its annual production of around 40 watches per year, this puts Akrivia in good company among the most artisanal brands in the industry.

It would be tempting to look at this headcount growth and predict that production will soon increase, but that’s not the case. While the team of watchmakers has grown slightly – it now stands at eight – most of the added roles are go bring more manufacturing capabilities in-house and accelerate product development, along with a few administrative positions.

Mr Rexhepi seems happy with the current size of the operation. It’s large enough to enable him to take on new projects, but small enough to keep admin and complexity to a minimum. Mr Rexhepi prizes the time he spends at the bench – prototype, building watches, and even doing servicing to diagnose problems – and the current size enables him to do just that.

Reliant on suppliers like MHC in its early days, the brand has made significant strides in recent years to bring the most critical operations in-house, so as to have greater control of the final product, and in Mr Rexhepi’s view, to imbue his watches with more soul. Components that were previously outsourced, such as cases, some movement plates and bridges, and straps, are now made in the brand’s workshops.

It’s hard to come up with an exact figure for how “in-house” Akrivia’s watches are today, since the percentage keeps increasing. But Mr Rexhepi and his team are pragmatic, and realise there are still some components, such as screws, that still make sense to source externally for now; his own team’s time is too valuable and better spent on higher value activities.

The client reception space

The brand currently operates out of four distinct premises, three of which are mere steps apart from one another, dotted along the historic Grand Rue in Geneva’s Old Town. The fourth is a small facility for micro-machining with several CNC machines that’s staffed by two operators who help produce certain movement components.

The newest of the four locations is an office that’s home to administrative staff and a large office for the technical bureau of engineers and constructors, along with a reception area to host clients.

The atelier

But the heart of Akrivia’s operation is the atelier. Situated at ground level on a quiet street, the open concept floor plan provides a unique spectacle for passers-by outside.

This is where each watch is finished, assembled, adjusted, cased, and tested by a single watchmaker from start to finish. In contrast to larger brands like FP Journe, which has a dedicated finishing department and where watchmakers start with a kit of finished components ready for assembly, the watchmakers at Akrivia are responsible for finishing as well.

Akriva currently employs a team of eight watchmakers

An AK-06 in progress.

Akrivia is perhaps most well known for the quality and style of its finishing. The house style is typified by wide, almost exaggerated anglage and extravagantly black polished steelwork. And critically, the brand never misses the chance to add an inward angle.

This makes watchmaking at Akrivia a very different job, and one that requires even more dexterity, patience, and skill than is typically needed to be a watchmaker. And there are not many people suited to it. The few that are tend to be discovered through word-of-mouth.

But for a certain type of watchmaker, this level of responsibility and ownership is a major benefit that cannot be matched by larger brands. And in an industry where upward mobility can be slow, brands like Akrivia give ambitious and talented watchmakers a place where they can accelerate their development and showcase their abilities.

I commented that by giving the watchmakers so much training and autonomy, Akrivia is likely training the next generation of superstar independent watchmakers; my host acknowledged this with a laugh adding, “Yes, but hopefully not too soon!”

Akrivia never misses an opportunity to add an inward angle.

Akrivia x JHP

Akrivia made headlines in 2019 by attracting legendary case maker Jean-Pierre Hagmann out of retirement, to help make Akrivia’s cases and train the next generation in the traditional methods of case making. This was widely viewed as a milestone for Akrivia, which further contributed to the brand’s differentiated level of craftsmanship.

In the industry today, most watch cases are made using CNC machines, and the knowledge required to make cases by hand is slowly disappearing. After a storied career, Jean-Pierre Hagmann, widely known by his maker’s mark “JHP”, decided he had more left to give and is now an early morning fixture at the workshop, transmitting his lifetime of accumulated experience to two other case makers who have joined the team.

A platinum RRCCII case in progress

Since it opened in 2019, the case making workshop has roughly doubled in size, forcing a move to new premises further up Grand Rue, to an outstanding location across the street from the watchmaking atelier. The original space is being repurposed to become the brand’s strap workshop – more on that later.

Sharing this new space is the logistics office. Akrivia recently hired a logistics specialist for the first time, to help improve efficiency now that the team is getting larger.

With the assistance of lathes and other analog rotary tools, the craftsmen in this workshop produce cases for the RRCCII, as well as all future Akrivia watches and special projects like the recently introduced LVRR-01 Chronographe à Sonnerie. Making cases this way is slow but results in cases with more nuanced detail than those that are produced using CNC.

Not just a pretty face: this lathe is currently used to make Akrivia cases

The future starts now

Though Akrivia has now been producing watches for more than a decade, the brand’s best years remain ahead. In fact, Mr Rexhepi has a clear product vision that will keep the team busy for the next 10-15 years.

And Akrivia is building this future now. There are now four engineers working on-site in a new office above the atelier. Naturally, most of what they’re working on remains secret, but during my visit one of the engineers used a CAD program to demonstrate how they designed the return-to-zero functionality of the RRCA movement in the Chronomètre Antimagnétique for Only Watch.

The RRCA in its digital form

Four engineers in a team of 20 is a lot of engineering horsepower for such a small brand, and a sure sign of good things to come. For context, MB&F employs seven engineers and has developed 20 different calibres in 17 years (some of which were created with external help). This emphasis on new projects is encouraging, and demonstrates a commitment to building a lasting business.

Prototyping at Akrivia

Akrivia is also able to bring its digital creations to life almost in real-time thanks to the prototype department, which shares the case making workshop with Jean-Pierre Hagmann and his team. Using lathes, jig borers, and other manually operated tools, machinists can readily produce one-off components to test new ideas; a capability missing from many industrial brands.

In-house straps

One of Akrivia’s most recent initiatives is its new leather workshop, where the brand is now able to produce its own straps in-house. This workshop was previously home to the case making workshop before its move up the street.

This gives the brand true creative freedom when it comes to meeting a bespoke request; they even have the capability to emboss a client’s name on the inside of the strap.

Alex recently joined the Akrivia team to lead strap production

A machine for thinning leather

The strap making process is more complex than it might seem. In its raw form, animal leather is too thick to be turned directly into straps. For this reason, specialised equipment is used to slice the leather along its length – like a bagel-slicer but for watch straps.

Akrivia-made straps

Summary

Akrivia has been around for more than a decade but has managed to maintain the energy of a brand that has just burst onto the scene. The watchmakers are young and hungry to prove themselves, and Mr Rexhepi has proven himself capable of delivering multiple successive hits.

The fact that Louis Vuitton chose Akrivia as its anchor collaboration to kick off its new independent watchmaking initiative is telling, signalling where the locus of influence has shifted in the field of independent watchmaking in recent years.

Putting real watchmaking on view.

Furthermore, the move to draw Mr Hagmann out of retirement has proven to be a significant differentiator in an increasingly crowded field. Not only that, it’s beneficial to the industry as a whole to have his wisdom passed down. It’s a win-win; collectors appreciate the craftsmanship and exclusivity of a JHP case, and are able to feel like they are underwriting the continuation of traditional craftsmanship in the process.

Passers-by taking a moment to enjoy the view into the case making workshop.

And then there’s the location. To a Geneva resident or tourist walking through the city streets, there’s not much to see in terms of real watchmaking. While Geneva’s Old Town is packed with watch boutiques, most production has moved to the suburbs; the district of Plans-les-Ouates, for instance, is nicknamed “Plans-les-Watch” due to the number of brands located there.

By setting up its atelier the way it has, with watchmakers and artisans visible at street level, Akrivia has added a significant cultural landmark to the map of Geneva. By involving the community in this way, Akrivia is promoting not just itself but the entire concept of artisanal independent watchmaking. And it seems to be working; every time I walked by, there were curious pedestrians lingering in front of the windows, visibly enthralled by the process of watchmaking. As a lover of watches, this warmed my heart.

Much lauded at its launch last year, the Rexhep Rexhepi Chronomètre Contemporain II (RRCC II) was originally available only in two guises of rose gold or platinum, each with a matching enamel now.

Now Rexhep Rexhepi has quietly debuted a small run of the RRCC II in the same metals with gemstone hour markers to match. The platinum version features a black enamel dial with baguette-cut diamond indices that give it a stark, formal beauty. And the rose gold model has a cream enamel dial with ruby markers.

Initial thoughts

Discreetly glamorous gentlemen’s watches with diamond hour markers are a well established tradition in watchmaking, particularly so during the mid-20th century at high-end brands like Patek Philippe and Audemars Piguet. The new RRCC II is clearly a reference to such historical watches.

Despite being a modern watch, and clearly recognisable as such, the diamond-set RRCC II manages to capture the subtle, elegant nature of its historical inspiration thanks to its compact case with graceful lugs inspired by vintage Patek Philippe models, including this ref. 2551.

A possibly unique Patek Philippe ref. 2551 dating from 1957 with a white gold case and diamond indices that sold for almost CHF360,000 at Phillips in 2022

Interestingly, even though the RRCC II was not originally conceived as a gem-set watch, the dial accommodates the diamond hour markers perfectly. The glossy surface of the enamel dial complements the diamonds’ sparkle, while the alternating track for the hours needed only a modest tweak to form a border for each diamond. This minor adjustment to the design changes the aesthetic of the watch more substantially than expected, giving it a cleaner, more contemporary look – an unexpected outcome with the addition of gemstones.

A black-tie watch

The RRCC II with diamonds retains the familiar look of the standard version, though it is distinctive even at a distance due to the removal of the Roman numerals. Diamond-set watches often look more old fashioned, but this is the opposite as the dial is cleaner and more modern without Roman numerals indices.

To accommodate the diamonds, the dial design has been tweaked to narrow the alternating slots for the markers. The standard dial has wider slots for the Roman numerals, while here the slots form a tight border around the baguette diamonds. Perhaps more than the diamonds, the narrow slots are decisive in the contemporary feel of the dial.

One detail I would change, however, are the Arabic numerals on the seconds scale. They serve as a counterpoint to the Roman numerals on the regular-production model, but here they look out of place. Replacing them with elongated hashmarks would have further accentuated the linearity of the dial.

Design aside, the dial remains the same – it is fired enamel on a solid-gold disc with enamel printing. Unlike the first-generation RRCC that had a two-part dial with a recessed seconds, this is a single piece with the seconds register flush with the main dial.

The case is the same as found on the standard model and sports the elongated, curved lugs that are now a signature element of the Rexhep Rexhepi aesthetic. Featuring a fluted edge, the lugs are inspired by vintage Patek Philippe cases, particularly those made by Emile Vichet, which are found in famous references like the 1518 and 2499.

Another notable aspect of the case is the ovoid bezel, a subtle and almost hidden feature. Although the dial is round, the bezel is slightly wider at six and 12 o’clock, resulting in a visual lengthening of the case. This, along with the elongated lugs, gives the watch a more elegant profile.

The calibre is identical to that in the regular-production model, although the serial number is unique to the diamond-set version. Engraved on the barrel bridge as is convention, the serial number includes “D” to indicate diamant indices.

Despite looking much like the first-generation movement at a glance, the RRCC II movement is actually an all-new calibre from its foundations. Characterised by the symmetry that defines all of Rexhep Rexhepi’s constructions, the movement has double barrels and twin going trains, one for the time and the other for the independent deadbeat seconds. In contrast, the RRCC I movement was a more conventional construction with a single barrel and one gear train.

In terms of decoration, the RRCC II movement also exceeds its predecessor. The polished surfaces are more lustrous, while the grain of the Côtes de Genève is finer.

Amongst the most obvious improvements are the wider bevels around the bridges that give the anglage an almost exaggerated appearance. This is matched by equally prominent countersinks for the screws and jewels.

A counterpoint to the rounded bevels are the flat, black-polished steel components, namely the cap for the balance cock and the fourth wheel bridge.

It is difficult to find something to criticise in the movement, but not impossible. It is tiny and imperceptible to most, but the countersink for the screw that secures the steel cap on the balance cock should be done away with, since having a countersink breaks up the flatness of the black-polished steel cap.

Concluding thoughts

The diamond-index RRCC II is a good looking watch that is distinct from the regular model yet subtle enough to be just as wearable. Although the monochromatic palette makes it a perfect formal-dress watch, the diamond indices are discreet and appropriate for everyday wear.

Notably, the rose gold model with its ruby markers is the opposite in terms of aesthetics. It has a warm, vintage feel that evokes mid-century wristwatches, most notably the custom-order Patek Philippe watches made for the state of Saudi Arabia.

The RRCC II with gemstone markers is only about 20% more expensive than the standard model, which is fair value as such things go. Available is unfortunately limited, with production of the gem-set models limited to a handful in each metal.

Key facts and price

Rexhep Rexhepi Chronomètre Contemporain II
Ref. RRCCII

Diameter: 38 mm
Height: 8.75 mm
Material: Platinum
Crystal: Sapphire
Water resistance: 100 m

Movement: RRCC02
Functions: Hours, minutes, and seconds with hacking and zero-reset functions
Frequency: 21,600 beats per hour (3 Hz)
Winding: Hand wind
Power reserve: 82 hours

Strap: Calfskin with pin buckle

Limited edition: Very, very few
Availability: Direct from Akrivia or authorised retailers 
Price: CHF150,000 before taxes

For more, visit Akrivia.com.

In an unexpected movement, Louis Vuitton and Akrivia have just announced the Louis Vuitton x Rexhep Rexhepi LVRR-01 Chronographe à Sonnerie. Reflecting the collaborative nature of the watch, it has two faces – the tinted sapphire dial for the time and a fired enamel dial on the back for the chronograph.

The LVRR-01 also boasts an unusual combination of complications: a chronograph with a chiming mechanism that strikes once every elapsed minute, along with a five-minute tourbillon – and a constant-force gear train.

[NB: The watch pictured is one of two prototypes so the finishing, particularly the cleanliness of the movement, is not up to par.]

Technically-minded enthusiasts will appreciate the sophistication of the movement, since the chronograph and sonnerie are driven by secondary barrel and going train that is effectively a one-minute constant force mechanism.

Limited to 10 watches, the LVRR-01 is the first of a series of five collaborative projects between Louis Vuitton and independent watchmakers. The next project will be revealed in a year’s time, with the subsequent projects following the same annual timetable.

Initial thoughts

The LVRR-01 has the heft and gleam of a finely made watch. The chamfered edges on the platinum case immediately catch the eye, particularly because of the contrast with the brushed surfaces, and then the movement finishing becomes apparent through sapphire crystal.

In fact, the smoked sapphire crystal perhaps obscures too much of the movement in certain lighting, making the artful decoration less obvious. Despite being a prototype, the watch feels like haute horlogerie and certainly lives up to the standards that are now expected of Akrivia and its founder Rexhep Rexhepi, while being an unexpected creation from Louis Vuitton.

It looks the part as well. Even at a distance, the LVRR-01 is evocative of Rexhepi Rexhepi’s other watches, namely the Chronomètre Contemporain I and II (RRCC I and II). Up close the Louis Vuitton elements emerge, but the two identities are cohesive. Unlike the earlier Harry Winston Opus series that were mostly Harry Winston cases containing movements by independent watchmakers, the LVRR-01 feels like an Rexhep Rexhepi creation that seamlessly incorporates Louis Vuitton throughout.

While the familial resemblance to the RRCC I and II is apparent, it will probably be even more apparent in the final production examples that will be further refined. Amongst the details I think need to be refined are the lugs, which feel a bit longer and larger than they should be. Another are the visible screws on the sapphire dial that can probably be done away with while maintaining the integrity of the construction.

The case feels tall for the diameter, though that is inescapable due to the complications. Evocative of the original Louis Vuitton Tambour case that had tall, sloping flanks, the proportions of the LVRR-01 are also reminiscent of older split-seconds chronographs, which often have a similar compact diameter and tall profile.

Still, the LVRR-01 is extremely compelling even in its prototype form. And its price is reasonable as such things go, adding to the appeal. Priced at about US$476,000 before taxes, It is by no means inexpensive. But the combination of a chronograph with sonnerie and tourbillon – along with the exemplary decoration and construction – makes this a competitive proposition in top-level independent watchmaking.

Rexhepi and Louis

The design and concept of the LVRR-01 artfully blends both brands. The sapphire dial, for instance, brings to mind the sector-style dials of the RRCC I and II, but with plique-a-jour enamel cubes that are inspired by the Spin Time, Louis Vuitton’s trademark cubic jumping hours.

Likewise for the platinum case that has high, sloping flanks. The slope starts on the case middle and continues into the bezel, creating an incline that brings to mind the original and thick Tambour.

At 11.6 mm high, the case is a little too tall to be truly elegant, but it certainly has presence. On the other hand, the diameter is 39.9 mm, though the case feels smaller than it actually is due to the height.

But the case is defined less by its dimensions than the style and finishing. The lugs are long and angular – perhaps a bit too exaggerated on the prototype – while the finish is almost entirely brushed, save for polished edges along the bezel, middle, and lugs. The matte surfaces bordered by polished edges gives the case a discreet gleam that is appealing.

The case size was dictated by the LVRR-01, a new calibre devised and produced by Akrivia. The base calibre is a manual wind movement with an 82-hour power reserve with a five-minute tourbillon; the slow rotation is inspired by historical pocket watches.

Integrated into the base movement is the chronograph, which is a traditional set up with a lateral wheel and vertical clutch. More unusually, the chronograph incorporates a chiming mechanism with a hammer that strikes a gong once every elapsed minute when the chronograph is running.

Even more notable is the construction of the chronograph and sonnerie. The two are powered by a separate gear train linked to a secondary barrel that is slightly smaller and produces lower torque.

This gear train contains an escapement that locks and unlocks once a minute, allowing the chronograph and sonnerie to run with no impact on the timekeeping portion of the movement. In other words, the amplitude of the movement remains constant even after the chronograph is engaged, making the secondary gear train a constant force mechanism.

Collaborative production

Like all of the current RRCC cases, the case of LVRR-01 is made by Akrivia’s in-house workshop overseen by Jean-Pierre Hagmann, a veteran case maker with decades of experience, hence the “JHP” hallmark on the reverse of one lug.

The dials, on the other hand, were literally a collaborative effort. Louis Vuitton La Fabrique du Temps (LFT) produced the sapphire dial, and the plique-a-jour enamel cubes were made by Nicolas Doublel, who oversees the LFT enamel workshop. The white enamel dial was similarly enamelled at LFT, but on a gold dial base produced by Akrivia.

And then there is the box, a trunk that is all Louis Vuitton, but customised for the LVRR-01 with painted chronograph scales.

Key facts and price

Louis Vuitton x Rexhep Rexhepi LVRR-01 Chronographe à Sonnerie

Diameter: 39.9 mm
Height: 11.6 mm
Material: Platinum
Crystal: Sapphire
Water resistance: 30 m

Movement: LVRR-01
Features: Hours, minutes, chronograph with sonnerie, and tourbillon
Frequency: 21,600 beats per hour (3 Hz)
Winding: Manual winding
Power reserve: 82 hours

Strap: Leather with platinum pin buckle

Limited edition: 10 pieces
Availability: At Louis Vuitton boutiques
Price: €450,000 before taxes 

For more, visit Louisvuitton.com.

Correction October 10, 2023: The accurate term for the enamel cubes is “plique-a-jour,” as opposed to “flinque” as previously mentioned.

Rexhep Rexhepi is certainly a star in independent watchmaking, particularly in the last three years as “indies” have become fashionable, leading to a proliferation of brands and spike in prices. But like the recent popularity of independent watchmaking as a whole, Mr Rexhepi’s success is relatively recent and its longevity has yet to be proven.

Now just 36 years old, Mr Rexhepi founded Akrivia in 2012 before starting to make watches under his own name when he debuted the Rexhep Rexhepi Chronomètre Contemporain I (RRCC I) in 2018.

Does he have what it takes to become a great watchmaker in the decades to come? I sought to find that out by uncovering his motivations and vision during his recent visit to Singapore.

The interview has been edited for clarity and length.

SJX: Your RRCC I sold for almost US$1 million at auction in May. How does that make you feel?

Rexhep Rexhepi (RR): Honestly, it’s always strange because I never really expected this. As a watchmaker that you want to control everything, even all small details, but unfortunately I’m not able to control that. It happened and I can’t do anything about it.

I feel a little more pressure because people expect more now. I’m also afraid that people will change their minds [about my work]. I don’t want to change what I want to do and I don’t want to attract more people who want only to invest in my watches. I worry about that.

But again, I know that maybe the market will not stay like this, but we try to not think that much about it.

SJX: Do you think that this helps you or makes things more difficult?

RR: I think it will help us because I think we’ll have more interest, but at the same time, I have to choose the real client, someone really wants the watch.

Imagine we some clients that really want the watch but instead of choosing them, we’re choosing another client and he sells the watch immediately. How will the real guy feel about it?

So, we have this pressure. We want to have the right people – it’s long-term thinking for the brand. If I wanted to make money easily I would give watches to my family and they can sell at auction. [laughs]

The RRCC I in platinum

SJX: So now there was a gap between the retail price of RRCC and the recent auction value. So why don’t you increase the price?

RR: [laughs] I think this will be the choice of many people, but I have to come back to reality. I’m a watchmaker and we do it like this: you’re trying to calculate the cost, this your cost, and you’re trying to make some margin on it.

I want to stay like this. I am happy with what I am doing, so let’s keep it like this. I’m 36, so I should not be in a rush for anything. Fortunately today we don’t think about doing it just for money. It’s more about achieving something that I can be proud of.

SJX: But there are watchmakers charging over CHF400,000 for a time-only watch and selling them easily.

RR: For me, I can’t charge that. We have to be reasonable. I can understand that in art, you have paintings where value is hard to know. But in watchmaking, I think it’s different because it’s an instrument at the end.

But again, I don’t know. To pay CHF400,000 for a watch with hour, minute, and seconds is a lot. Maybe I should not say this, but I can understand that some collectors, if they buy just one or maybe a few watches, they will buy at this price.

The RRCC I movement

SJX: Who are your role models in how you develop your brand? Who do you look up to?

RR: Kari Voutilainen and François-Paul Journe.

Kari, because now he builds more and more things like in-house. He does dials, cases, and things like that, which is nice.

I want to do that as well but more for myself instead of supplying to others, in order to have more possibilities [in developing and making watches].

And Journe, because he always follows his own idea, he has a proper style, and he always respects historical watchmakers and tries to follow the tradition.

SJX: One of your early jobs was at Journe, but also you worked at BNB Concept. You started in watchmaking at a crazy time for business. BNB was making all the crazy and silly complications, then everything went downhill. You have seen almost two cycles, up, down, and up again. What have you learned from that that?

RR: I remember when I joined BNB Concept the company was at a high. It grew to the 180 people at the maximum, but when I joined we were just 20 people or so. It was quite an incredible expansion.

I think in life we have ups and downs, so it is very important that we remember that. You have to learn to go slowly.

But I also realised that at this moment we live in, it is kind of the same, because I can see we have more and more brands coming out with this kind of crazy projects.

This moment reminds me of the past, but I believe that maybe the trend is different today. Now more collectors are much more into independents. At the same time, in the past it was a different type of independent that was successful, those more focused on design.

The RRCC II movement, which shares the aesthetic codes of its predecessor but is entirely different mechanically

SJX: Many watchmakers and brands that are popular today do simple watches with very nice finishing, similar to you. But unlike you, often such finishing is outsourced to relatively low-cost suppliers in the Vallee de Joux. In your opinion, how much of a watch you can outsource in terms of finishing, construction, and development? How much do you have to do yourself for it to have soul?

RR: The more you’re doing in-house, the more it’s your own product, the more you have freedom. This is why we’re trying to do more and more things in-house.

Today we do more in-house and our watches are more artisanal than when I started the brand. Usually it’s the contrary for most watchmakers. I remember when I started I did less in-house and honestly, I believe those [older] watches had less soul.

When you rely on suppliers, you face different constraints. It’s not your own constraints, but it’s the constraint of the suppliers, what they can do or what they propose to you.

I will give you an example. When I did my own case some years ago, I did a drawing and I went to see a case maker. These guys had a stock of components, so they proposed a set of components from the stock and if I didn’t take this standard component they charged me a lot. So in the end I had to go back to the standard component.

The Akrivia AK-06 that represents a wholly different face of the brand but boasts similarly fine finishing

SJX: You mentioned you look up to Kari and Journe. Both of them are watchmakers. Today, there are many brands created by founders who are not watchmakers, instead they are constructors or engineers. Do you think there is a difference in the product or the spirit of the creation if somebody is a watchmaker or constructor?

RR: If you’re a watchmaker and you’re looking at a watch, you can tell if it’s a watchmaker or designer or constructor that did it. This is why when you look at Kari or Journe, you can still see the style that doesn’t follow the times or fashion.

The watchmaker will make and when you craft something yourself, you see a little more soul than when someone is just drawing. I really believe if you draw and then you make, you have a different perspective of what it should be. It brings more soul. If I see a watch from Kari or Journe, I can see that they have something to say.

SJX: Even before Kari and Journe, the famous, great, or successful independents were all watchmakers. George Daniels, even Franck Muller…

RR: And they had their own proper style. They believed in something, which can be a constraint as they are not able to change the style because it becomes part of you. It is your education and you stay like this. You can evolve but not that much.

SJX: You are a watchmaker and you were young when you founded your brand. What do you think you have to do to bring the brand to where you want to be?

RR: If I look at Kari and Journe for example, they launched their brands at around 40 years old. I believe that between 25 and 40 is when you learn a lot and you build yourself. So I think I still need to develop my style, to know who I am as a watchmaker, to be perfect.

SJX: Perfect?

RR: Perfect, as in to have the details that show my aesthetic, to build really my aesthetic. And after that to make enough watches to be able to have the confidence to try new complications…

SJX: So in order to create a great brand, a watchmaker needs to have a range of complications?

RR: I think so. My own dream would be to build a collection of complications and you don’t have many people who achieved that, apart from Journe.

SJX: And also new complications…

RR: And new complications. Because today, if I did a simple watch with just hours, minutes, and seconds, I have to bring something more to that. Without that, it doesn’t make sense for me.

If I created a new tourbillon, I can’t just do a tourbillon. In the past the simple tourbillon was interesting because it was something I learned from at one time, so I did few and that’s it.

SJX: Speaking of movements, Kari actually started his brand with vintage Peseux movements. Have you ever thought of using vintage movements?

RR: So vintage movements are always a pleasure to admire and work on. We also used some ebauche from BNB Concept and MHC.

SJX: Would you use actual vintage movements, like Zenith, Valjoux, Venus, and so on?

RR: I will not use any Valjoux or ebauche like that for sure. It depends what do you want to build. If you want to build a brand, I don’t think makes sense to using vintage ebauches from Zenith or others. But I understand that at the start, you do this because it’s easier and less risky.

If you want to build something important for the future, you have to do your own proper movement. When you create your own movement, you are proud of building something.

And for sure the effort is not the same when you build your own movement. When I did the RRCC I, I spent almost like three months to find a problem with the RRCC I movement. Now I look at myself and say, “You’re a stupid guy. How can you not see it?” It was so evident, but this is how it is.

When you’re creating a new movement, it’s different challenges. This is why I always respect watchmakers that are creating their own movements.

]]> https://watchesbysjx.com/2023/08/rexhep-rexhepi-chronometre-antimagnetique-only-watch-2023.html Mon, 28 Aug 2023 08:58:07 +0000 https://watchesbysjx.com/?p=203235 Having dropped tantalising clues about his creation for Only Watch 2023 a few weeks ago, Akrivia founder Rexhep Rexhepi has finally taken the covers off the Rexhep Rexhepi Chronomètre Antimagnétique. A unique creation with a brand-new movement, the Chronomètre Antimagnétique (RRCA) is a time-only wristwatch with a steel case, one that was inspired by the […]]]>

Having dropped tantalising clues about his creation for Only Watch 2023 a few weeks ago, Akrivia founder Rexhep Rexhepi has finally taken the covers off the Rexhep Rexhepi Chronomètre Antimagnétique. A unique creation with a brand-new movement, the Chronomètre Antimagnétique (RRCA) is a time-only wristwatch with a steel case, one that was inspired by the magnetism-resistant chronometers of the mid-20th century. Its design has clear roots in vintage watches, while the movement features an indirect centre seconds with a hacking, zero-reset mechanism.

Initial thoughts

About the half the offerings in Only Watch 2023 are from independent watchmakers, but the creations vary tremendously in their originality and effort. Amongst the independents that created genuinely new watches for the event is F.P. Journe, whose Chronomètre Furtif Bleu is the first of a new sports model and likely the only watch ever made by an independent that boasts a tantalum bracelet. At the low-effort end of the spectrum is Moritz Grossmann that added “Only Watch” to the seconds register of a regular-production model and called it a day.

The RRCA sits alongside the Chronomètre Furtif Bleu as being impressively original. The RRCA has an newly-designed steel case with a removable outer back and within, a calibre that inherits the distinctive Rexhep Rexhepi aesthetic but is newly developed from the ground up.

Even though it is a simple watch with just three hands, the movement is executed in the Mr Rexhepi’s typical style with an elegant and elaborate construction. The indirect seconds, for instance, features a finely constructed zero-reset and hacking mechanism that’s entirely exposed.

The design on the front is equally attractive. Note the subtle details of the case, ranging from the stepped bezel to the chamfered lugs. I like everything about it – except for “Antimagnetique” at six o’clock that feels out of place because of the modern, sans serif font. That said, it might be possible for the eventual owner of this watch to request a second dial with slight design tweaks, especially since he or she will likely pay well past seven figures for the RRCA.

The RRCA with its removable outer back

Unsurprisingly, I expect the RRCA and Chronomètre Furtif Bleu to be the most valuable examples of independent watchmaking in Only Watch 2023, with both easily crossing the seven-figure mark. Considering that the regular-production Chronometre Contemporain I sold for over US$900,000 in May, the RRCA will likely go far past seven figures rather than just inch pass.

Historically-inspired chronometer

According to Mr Rexhepi, the RRCA was inspired by the magnetism-resistant chronometers made by Geneva’s great watchmakers in the 1950s, a period of breakthroughs in science and exploration, both of which required precision timekeepers protected against magnetism. Examples include the Rolex Milgauss that was developed with the help of CERN, the European nuclear research institute, and the Patek Philippe Amagnetic, the brand’s first magnetism-resistant wristwatch.

The Rolex Milgauss ref. 6541, one of the most famous of late 1950s magnetism-resistant watches

In keeping with the historical inspiration, the RRCA has a “sector” or “scientific” dial that features a central motif of alternating blocks that are meant to represent the opposing polarities of a magnetic field.

Finished in black grand feu enamel, the dial features “gilt” markings in gold poudre enamel print. The hands are solid gold and attached to stainless steel bosses that are mirror polished.

The steel case is the first one in the alloy made by the Jean-Pierre Hagmann workshop that is now part of Akrivia. Inside the case is a ferritic steel ring that is easily magnetised, protecting the movement within from magnetism.

Its design and dimensions are classical in the usual Rexhep Rexhepi manner. But the details of the case echo functional vintage timepieces, explaining the stepped bezel, sturdy lugs, and brushed finish.

The case measures 38 mm in diameter and 9.9 mm high, making it slightly thicker than the Chronometre Contemporain II. That is due to the case construction as well as the movement.

The case actually has a double back – an inner sapphire back and an outer steel back that is secured with a bayonet lock. The outer back can be easily unscrewed and locks back into position thanks to a lightning bolt engraved on its edge that serves as a reference point.

As for the movement, it departs from the construction found in prior Rexhep Rexhepi calibres, found in the first and second Chronometre Contemporain respectively. While those featured directly-driven subsidiary seconds and a off-centre balance wheel, the movement in the RRCA has an indirectly-driven central seconds and a central balance wheel.

Even though the fundamental architecture of the movement differs, the design retains the symmetry and highly defined bridges that characterise the brand. The focal point of the movement sits in its centre – a polished, rounded steel bridge holds the seconds wheel that drives the central seconds on the front. On the same axis is a heart-shaped cam, which along with a reset lever and tension spring form the zero-reset function that allows the wearer to pull the crown, sending the seconds hand to a stop at 12 o’clock for more accurate time setting.

Notably, in contrast to the functional steel case, the key elements of the movement are 14k solid gold, namely the pallet lever and all of the wheels. The solid-gold wheels are especially prominent along the indirect seconds train located to the right of the balance wheel.

The zero-reset mechanism

Key facts and price

Rexhep Rexhepi Chronomètre Antimagnétique “Only Watch 2023”
Ref. RRCA

Diameter: 38 mm
Height: 9.9 mm
Material: Stainless steel
Crystal: Sapphire
Water resistance: 30 m

Movement: RRCA
Functions: Hours, minutes, and seconds with hacking zero-reset
Frequency: 21,600 beats per hour (3 Hz)
Winding: Hand-wind
Power reserve: 72 hours

Strap: Fabric with pin buckle

Limited edition: Piece unique
Availability: To be sold at Only Watch on November 5 2023
Estimate: CHF100,000-150,000

For more, visit onlywatch.com.

Correction August 29, 2023: The case back can be unscrewed without any tools, unlike what was stated in an earlier version of the article. 

One of the most anticipated creations by an independent watchmaker at Only Watch 2023 is the Rexhep Rexhepi Chronomètre Antimagnétique. Almost certainly amongst the most valuable watches in the sale, the Chronomètre Antimagnétique (RRCA) is a time-only wristwatch in stainless steel containing a Faraday cage to protect the against magnetism. It is the third timepiece created by Rexhep Rexhepi, founder of Akrivia, for the biennial charity auction.

Though the specifics of the watch remain under wraps, a few facts have been revealed in the announcement. The dial will be “sector” or “scientific” style, while the case is stainless steel and made by the workshop of Jean-Pierre Hagmann.

Classically proportioned in the typical Rexhep Rexhepi style, the case measures 38 mm by 9.95 mm. Interestingly, the case features a double back comprised of an inner sapphire back and an outer back that can be unscrewed by the wearer.

And most importantly, the movement is a new construction. While the Chronomètre Contemporain I and Chronomètre Contemporain II that Rexhep Rexhepi created for past instalments of Only Watch were variants of standard models, the RRCA is equipped with a calibre developed from the ground up for the model.

The RRCCII calibre inside the timepiece made for Only Watch 2021

While I can’t say any more about the watch, I can state that the RRCA deftly combines historical inspiration drawn from the magnetism-resistant watches made by the great watchmakers of Geneva with the distinctive style of Rexhepi Rexhepi, particularly in the dial design and movement execution. The movement is instantly recognisable as a Rexhepi Rexhepi construction, while also being evidently an entirely new construction.

I expect that the appeal and tangible qualities of the watch will easily result in a hammer price of seven figures, compared to the estimate of CHF100,000-150,000.

In addition to the unique watch, the winning bidder will also receive a tour of Geneva’s Old Town followed by a lunch with Mr Rexhepi.

Conducted by Christie’s, Only Watch 2023 takes place on November 5, 2023 at Palexpo in Geneva.

One of the most anticipated watches by an independent watchmaker to go under the hammer this season has set a record: the Rexhep Rexhepi Chronomètre Contemporain I (RRCCI) in pink gold sold at Phillips’ Hong Kong auction for HK$7.24 million including fees, equivalent to US$924,000.

Notable for being in an ordinary, as opposed to charity, auction, the result of almost US$1.0 million puts its maker, the founder of Akrivia, in rarefied company alongside the likes of F.P. Journe, the only other independent watchmakers whose time-only watches can sell for such sums.

The RRCCI that just sold was the first example of the model to emerge at auction, with only one other example having sold on the secondary market but privately. With the watch already sold out and a long waiting list for its successor, the RRCCII, there were high expectations for the watch at Phillips, which originally retailed for under US$70,000.

Everyone’s on it

The excitement as the lot came up was palpable. Auctioneer Aurel Bacs commented that so many bidders were phoning in that every Phillips employee on the phone bank was on the line.

Although there were at least a half dozen bidders to start with – all on the phone save for one room bidder – the contenders thinned out at the HK$4.00 million mark. Remaining were just three bidders: Alex Ghotbi and Tiffany To of Phillips on the phones with clients, and the gentleman at the back of the room.

Both based in Geneva, Mr Ghotbi and Ms To were presumably representing European or Middle Eastern collectors, while the gentleman is a prominent and discerning Asian collector.

It was a three-way battle until almost the end, when Mr Ghotbi dropped out, leaving just Ms To and the gentleman. Ms To’s client clinched it with a bid of HK$5.70 million, or about US$728,000. With buyer’s premium the tally is HK$7.24 million, or US$924,000.

The result handily surpasses the last record for a Rexhep Rexhepi wristwatch, which was CHF800,000 (about US$800,000 at the time) for the unique example made for Only Watch 2021.

The price cements Mr Rexhepi’s place as one of the leading watchmakers of his generation. Now barely in his mid-30s, Mr Rexhepi was a Kosovar refugee who moved to Switzerland as a teenager. After stints at Patek Philippe and F.P. Journe, Mr Rexhepi founded Akrivia a decade ago and then found success with the launch of the RRCCI in 2018.