Earlier this year, I helped a close friend pick out her first mechanical watch: a beautiful blue Seiko Prospex “Save the Ocean” special edition. For me, it was an easy recommendation, given my love of Seiko, their position as the true global king of entry- to mid-level watch purchases, and the prestige of the Prospex diver line itself. For her, as a lover of all things to do with the natural world, it was meaningful thanks to the eco-benefitting twist and oceanic theming. That particular Prospex was not the first, nor the last Seiko to showcase an organization doing work for ocean conservation and education: new for 2026 is the Prospex HBB002, celebrating the Professional Association of Diving Instructors’ (PADI) 60th anniversary. 

Seiko’s connection with the world of diving goes far beyond the simple styling and function of many of their iconic diver timepieces. As the company points out, it released its first diver in 1965, just one year before the PADI itself was founded with the intention of raising training standards and expanding access to education on diving as a hobby and profession. Now operating in 183 countries, PADI also puts promoting ocean conservation at its forefront, a noble cause that Seiko themselves have championed with their Save the Ocean program. So, it makes sense that Seiko has supported PADI as a partner for ten years, and is celebrating that partnership and PADI’s sixtieth anniversary with the new HBB002 model. 

The watch itself brings many hallmarks of other Prospex divers back, with a smooth, rounded stainless steel case measuring in at 45mm in diameter and 13.2mm of thickness—a proper chunky diver, carrying a capable 200 meters of water resistance. The sapphire crystal adds a magnifier over the day-date window at 3 o’clock and anti-reflective coating for legibility, and the screw-down crown at 4 adds to the classically-styled brawny appeal. Inside, a caliber 4R36 automatic movement provides a solid 41 hours of power reserve, and boasts a magnetic resistance of 4,800 A/m. A silicone strap and stainless steel bracelet allow for dressing up and down, and like all Prospex models, the HBB002 should be an ideal tough-as-nails daily driver option.

The PADI partnership comes into play most visibly on the dial and bezel. A subtle longitude-latitude globe motif graces the dark blue dial, and the red seconds hand and “diver’s 200m” text detail above the 6 o’clock position pay homage to PADI’s logo. “Seiko” and the Prospex “X” are mirrored by PADI’s text logo and straddle the hands at 12 and 6, giving the dial a center-heavy feel that keeps the indexes free of distraction. The ceramic bezel insert matches the blue of the dial, with equally legible numerals and unidirectional rotation. 

While the Prospex HBB002 PADI 60th Anniversary Edition doesn’t make any great strides in design or function, it does provide another entry in the Japanese giant’s longstanding relationship with ocean conservation and the diving community as a whole. Members of PADI will likely be the most excited about this release, but if you are in the market for a solid diver with a bold (but not abrasive) color scheme, the HB002 is a great bet. 

The Seiko Prospex HBB002 PADI 60th Anniversary Edition will be available at select retail locations with a retail price of USD $750, and is limited to 8,000 models. Seiko

The microbrand/independent scene in the UK is truly one of the most exciting in the world, with dozens of brands vying for attention and an always growing community of excited watch enthusiasts eager to experience just about everything on offer. This is very much the vibe every time we attend British Watchmakers’ Day and have a chance to experience it firsthand, and honestly it’s invigorating in a way to be placed in an enthusiast environment that feels familiar but also very specific to the UK. 

One of the more interesting brands to emerge from this scene is Beaucroft, based in Cambridge. Beaucroft is not the flashiest or highest profile microbrand in the UK, but they’re on the rise, and they tend to make an impression when you actually see the watches in person. Garrett was such a fan of the Element when he saw one he decided to purchase it for himself. My moment of conversion came at British Watchmakers’ Day 2025, where I still regret not purchasing the Penfold Special Edition released that year. Their newest release has been dubbed the “Arc” and is an update of the Seeker model originally launched in 2023. 

The Arc leans into the design language that was established with the Seeker and the brand has continued to refine in every model since, namely flowing, natural case lines paired with dynamic, colorful fumé dials. The dramatic curved mid-case is, according to the brand, inspired by the Bridge of Sighs over the River Cam, not far from Beaucroft’s headquarters. This design flourish has been seen across the collection at this point, but is accentuated here with case that is 1mm larger than the Seeker at 38mm in diameter. That extra size has allowed Beaucroft to add a new polished bevel at the lugs, which draws attention to the case geometry and provides more surface area for light play. 

Beaucroft has also shifted the intent of the Arc to a more casual, everyday piece as opposed to the dress watch that the Seeker was intended to be. The lug width has increased from 18mm to 20mm for a more traditional, sporty stance, and water resistance has increased from 50 meters to 100 meters. The finishing has also been changed to an alternating brushed/polished style as opposed to the fully polished surfaces of the earlier watch. The Arc also features a hardened surface coating to protect against scratches. 

Beaucroft is launching the Arc in four dial variants: teal, denim blue, olive green, and burnt orange. The teal colorway is considered the signature Beaucroft color. The dials feature lume filled leaf hands and applied hour hour markers that are also lumed. 

 

Powering the Arc is a Miyota 9039 automatic movement that has been regulated to +/-10 seconds per day. Beaucroft has partnered with Delugs to offer four strap options, including taupe epsom, cream epsom, black epsom, and grey nubuck. The Arc is also available on a Milanese mesh bracelet. 

The retail price of the Arc is £525 GBP (about $700) and is available for pre-order beginning today. Delivery is expected to begin at the end of the month. Beaucroft

Lots of ink has been spilled in the short span of time since the launch of the Formex Aria on the topic of small brands (microbrands, if you must) going upmarket and playing at significantly higher price points than consumers are accustomed to. When a brand releases a watch that is multiple times the cost of the watches they are already associated with, it can cause a near panic in the watch enthusiast community. Lots of “HOW COULD THEY?” type comments appear on websites like ours, Instagram, and over beers at local meetups as collectors grapple with the idea that watch brands, which are also businesses that support the lives of real human beings, might attempt to make the most of the increased popularity our hobby has received in these past few years. 

And that’s really what it is, right? The mainstreaming of watches has led brands like Formex, Christopher Ward, Atelier Wen, and others to feel confident in their expansion upmarket. Gone are the days when microbrands appeal solely to value conscious consumers – they have the eye of at least some traditional luxury buyers as well, and the ambitious watches they’ve developed and the prices being asked are a reflection of that. Timex, of course, is not a microbrand, but their Atelier line is a significant move into a higher pricing tier, and some of those same dynamics are in play, I think with the release of two new chronographs in the brand’s highest end line of watches. 

You might remember the Atelier collection launched last year with the Marine M1a and the GMT24 M1a. Designed by Giorgio Galli, these watches were positioned as the ultimate expression of what Timex can do in a modern design language with more refined materials. The new chronographs that debuted last week, the Chronograph Automatic M1a Ti and the Chronograph Quartz M1q, share much of the design language of their diver and GMT predecessors and bolter the Atelier collection as more than just a one off experiment. 

These new chronographs are pretty similar in their execution and are primarily differentiated by their movements. As the names of these watches suggest, the M1a Ti runs on an automatic movement made by Landeron, and the M1q a quartz movement made by Ronda. Both feature skeletonized cases with black IP coated elements. The automatic’s case is 42mm in titanium, while the quartz powered chrono is 40mm in stainless steel. Dials are matte black with silver subdials at 3 and 9 on each watch. 

Pricing is also a point of differentiation. The quartz chronograph comes in at $800 on a bracelet or $700 on a strap. The automatic will run you $2,250 on a bracelet or $2,100 on a strap. 

I have yet to see the new Timex Atelier chronographs, but I have spent some time with the diver and GMT, and I’ve also handled each of the Giorgio Galli designed “S” series watches that were a precursor to this line. I was impressed with the quality of those pieces and while of course I’d love for everything to be just a little more accessible and priced a little lower, it would be hard for me to say that either the Galli or Atelier watches were priced unfairly given the competition. In other words, in terms of their fit and finish and cohesion in design, they are in the same playing field with the best watches they might be comps for at similar price points. What this really comes down to is a psychological barrier that many collectors, myself included, at times, have with paying a certain amount of money for a brand that exists in the mind (and in our lived reality) at a completely different price point. How that barrier is navigated is, of course, an individual decision and depends largely on how you feel about the brand in question and where you perceive value in a watch purchase. 

More information on the new Timex Atelier watches can be found on the brand’s website here.

From the imposing astronomical clocks of Tudor England to the exquisite pendant watches of Victorian Britain, timekeeping has long been a symbol of power, prestige, and technological marvel within Europe’s royal courts. This new series explores the fascinating evolution of clocks and watches crafted specifically for royalty, tracing how these intricate masterpieces reflected the tastes, ambitions, and innovations of monarchs. Through the lens of craftsmanship, artistry, and historical significance, we reveal how these royal timepieces marked the passage of dynasties and empires.

King Philip II (1527–1598) inherited a globe-spanning empire from his father Charles V and, after 1580, also ruled Portugal. A devout champion of the Counter-Reformation, he centralised government, built the vast monastery-palace of San Lorenzo de El Escorial, and presided over Spain’s political zenith. His court prized scientific instruments and clocks as emblems of order and piety.

Philip was part of the great Habsburg dynasty and the son of the Holy Roman emperor Charles V. From time to time, the emperor wrote Philip secret letters, impressing on him the high duties to which God had called him and warning him against trusting any of his advisers too much. Philip, a very dutiful son, took this advice to heart.

During his reign the Spanish empire attained its greatest power, extent, and influence, though he failed to suppress the revolt of the Netherlands and lost the ‘Invincible Armada’ in the attempted invasion of England.

Philip inherited his father’s interest in timekeeping and amassed a notable collection of clocks and other scientific instruments. Perhaps, most significant among these were commissions from his Italian court mechanic, Juanelo Turriano, who also served his father.

Philip was married four times. His first was to his cousin, Maria of Portugal, in 1543. She died in 1545 while giving birth to their son, Don Carlos, who lived an unhappy life. In 1554, he married Mary I of England and ruled with her as joint sovereign until her death in 1558, having no children.

His third marriage, in 1559, was to Elizabeth of Valois, daughter of France’s King Henry II. This union was part of the Peace of Cateau-Cambrésis, which ended the wars between Spain and France for a generation. Elizabeth gave him two daughters, Isabella Clara Eugenia and Catherine Micaela, before dying in 1568.

In 1570, he married Anna of Austria, daughter of his cousin Emperor Maximilian II. She died in 1580, but their son survived to become King Philip III.

A Court of the Arts and Mechanical Marvels

Philip was a collector of maps, globes, instruments, and books. His library at El Escorial became one of Europe’s most important centres of learning. Philip’s court prized intricate clocks, automata, and other mechanical devices imported from Central Europe and Italy. The court welcomed painters and craftsmen who introduced new methods in tapestry weaving, painting, and architectural decoration.

It is said that this remarkable automaton (above) was born from a royal vow. When a relic of the Franciscan friar Diego de Alcalá miraculously healed Philip’s son, Don Carlos, the king promised “a miracle for a miracle”. To fulfil it, he commissioned a clockwork figure of the monk, later canonised as San Diego (the same saint who gave his name to the city of San Diego in California). For Philip, likening clockwork to a miracle reflected a Renaissance fascination with the boundary between divine creation and human ingenuity.

Driven by an internal, hidden, key-wound spring mechanism, the clockwork was a marvel of its time. The figure itself is striking, carefully carved and painted to resemble a living man. It moves with a slow, deliberate gait, beating its chest in penitence and raising its hand toward its lips. Once dressed in Franciscan robes, it likely kissed a small cross on a rosary, an element now lost but evoked in its gestures.

It is one of the oldest and most complex known functional automatons, highlighting the advanced state of mechanical engineering in the 16th century. 

This is the dial detail of the so-called ‘candlestick clock’, made for Philip. It is made of gilded and engraved bronze and has a single hand. On a circular base stands a figure of a Fauness (below), holding a hinged piece with a lion’s head. When lifted, it reveals a small oil lamp. Above this sits a silver dial, a cartouche inscribed ‘Hans de Evalo, F. In Madrid 1583’, and a coat of arms featuring a red band with three fleurs-de-lis and two stars at the base. The hour hand is forged from steel. The movement is of German type, with round plates, spring-driven, running for one day, with a fusee and gut cord, and a foliot escapement with adjustable oscillation. Around it is the oil container for fuelling the lamp.

This clock was intended for night-time use, as the king was keen to keep track of time both day and night. For this reason, he placed it near his bed, allowing him to always know the hour, to work in his private chambers, and to attend prayers with the religious community of El Escorial.

Hans de Evalo was a Flemish clockmaker from Brussels, born c.1530, who entered the service of Philip II. Little is known about his activity before coming to Spain. Evalo was officially appointed clockmaker to the king in January 1580, as recorded in a certificate by Ramiro de Zavalza, secretary and clerk of Philip II, whose ledgers confirm that Evalo held the post until his death in 1598.

From 1574 onward, documents refer to him as the king’s clockmaker. In a report submitted in 1578, Evalo claimed to have made for the king: a lantern clock with a gilded case, striking quarters and hours; another lantern clock, elaborately chased, with figure, pedestal, and finial, containing two clocks, one striking both quarters and hours, the other only the hours, plus six sundials. He also repaired other royal clocks and made small parts and accessories. 

Evalo went on to serve Philip III and made the clock below for the Shogan Tokugawa Ieyasu which was delivered as a diplomatic gift by the King’s envoy, Sebastian Vizcaino in 1611.

Philip’s court also inherited some of the most celebrated astronomical clocks of the 16th century, though they are now sadly lost. Juanelo Turriano was famed for masterpieces like the Cristalino and Microcosmo, which displayed planetary motions in dazzling miniature.

The clock collection grew under the Habsburg dynasty, most of whose pieces came from Germany, but almost all of them were lost in the great fire of the Alcázar.

In the inventory of Charles II’s estate, the lantern clock in the above portrait was valued by the clockmaker José de Santiago at 550 reales (equivalent to about £10,000 today). It was included in several portraits of Queen Mariana of Austria, widow of Philip IV, giving it a double symbolic meaning.

At some point, the clock left the royal collection. It was acquired by a collector in Frankfurt, from whom it was soon purchased by Baron Stum, former German ambassador to Spain. Stum recognised the clock’s importance and generously presented it to King Alfonso XIII, who returned it to the Monastery of San Lorenzo de El Escorial.

An Extensive Royal Collection

There are currently 700+ horological items in the Patrimonio Nacional’s royal collection of clocks, dated between 1583 and the early years of the 20th century, which are distributed throughout the royal palaces and monasteries.

The Bourbon dynasty that succeeded them renewed this collecting spirit. Philip V, who was fascinated by precision and elegance, favoured clocks of English origin, then considered among the finest in Europe.

His son Ferdinand VI refined the collection further, preferring small-scale collector’s pieces. He surrounded himself with exquisite works by leading English makers such as John Ellicott and George Graham, while also fostering a culture of horological excellence at home by sending Spanish apprentices abroad. The reign also saw the arrival of early Swiss automata in Spain, with superb novelties like El Pastor (The Shepherd) by Pierre Jaquet-Droz (below), acquired in 1758, which exemplified the fusion of artistry and mechanical ingenuity so prized by collectors.

Charles III expanded this vision by attempting to establish a formal school of clockmaking at court. He sponsored the French Charost brothers in Madrid, where they trained local artisans with the aim of producing clocks that could rival French industry. His efforts reflect an early awareness of sustaining collecting culture through patronage and skill-building.

Charles IV, however, embodied the collector’s passion most intimately. Fascinated by mechanisms since youth, he even maintained a workshop within the palace, where he experimented with and repaired machines himself. Alongside Queen Maria Luisa of Parma, he invested heavily in building a collection that adorned the New Palace in Madrid and their leisure residence, the Royal House of El Labrador in Aranjuez. Their most celebrated acquisitions came through François-Louis Godon, a French merchant and trusted agent, who sourced masterpieces such as the monumental marble and bronze clocks now in Madrid’s Throne Room, and the celebrated Pendola del Tiempo in the Gasparini antechamber (below). This period also witnessed the flourishing of Spanish clockmaking itself, with masters like Manuel Gutiérrez, Manuel de Rivas, Antonio Molina, and Salvador López producing works of great quality.

The clock, called El Tiempo (Time), is both a work of art and a tribute to the Spanish monarchy, decorated with royal symbols and allegories of Time. Created between 1798–1799 by French watchmaker-dealer François-Louis Godon, it features elaborate sculptural elements in marble, bronze, and porcelain, including allegorical figures of Old and New Time, zodiac motifs, and royal emblems. The clock contains a flute organ.

The Napoleonic invasion disrupted this tradition, when Ferdinand VII reclaimed his throne, he found the royal palaces looted. With the eye of a restorer-collector, he ordered careful inventories of what survived and began acquiring new pieces, particularly from the French school, then at its artistic peak. These clocks, with their cases inspired by classical antiquity and literature, not only embellished interiors but also reinforced the sovereign’s cultivated image.

His successors, Isabella II, Alfonso XII, and Alfonso XIII, continued the practice, acquiring works in line with 19th-century and early 20th-century taste. Through their patronage, the royal collection grew into one of Europe’s richest ensembles, a treasure trove that reflects both the evolution of horology and the enduring passion of monarchs as collectors.

An Empire of Divine Timely Order

Philip II ruled an empire where ‘the sun never set’ and yet it is said that he spent his nights bent over documents, guided by the flickering light of a clock-lamp. His timepieces and those of his descendants, remind us that for Europe’s monarchs, clocks were never just tools. They were metaphors for divine order, machines of devotion, and instruments of statecraft. In Philip’s Spain, time itself became a royal privilege.

“Watches, Stories, and Gear” is a roundup of our favorite content, watch or otherwise, from around the internet. Here, we support other creators, explore interesting content that inspires us, and put a spotlight on causes we believe in. Oh, and any gear we happen to be digging on this week. We love gear.

Atelier Wen Perception V3

A lot of the attention around Atelier Wen’s Perception has gone to the dial, and for good reason. The hand-turned fish-scale guilloché comes from Cheng Yucai’s workshop in Henan, which gives each watch a level of craft that has helped separate it from the larger field of integrated-bracelet sports watches. With V3, Atelier Wen brings that same level of focus to the movement, adding a customized Pequignet EPM03 with a 65-hour power reserve, hacking seconds, and finishing developed around the brand’s Sino-French identity. Through the exhibition caseback, you see wind-shaped bridges and blue aventurine lacquer, a marriage of form and function.

The familiar Piāo ice-blue and Xiá salmon versions return, joined by Yún, a new bamboo green reference featuring a micro-frosted case and bracelet – the first addition to the Perception lineup in four years. Piāo and Xiá retain the brushed and polished finishing. The Perception V3 is priced at $4,850, with first deliveries expected to begin in September 2026.

Leica Cine Compact 1

Of course, we know (and love!) Leica for its range of cameras, but did you know the German brand has also dabbled in everything from watches to eyewear to binoculars to projectors? Anything that has to do with seeing the world a bit more clearly, it seems Leica has made a product in their signature Bauhaus style – and, ahem, price tag.

The Cine Compact 1 is a portable digital projector that punches way above its weight class (which, if you were wondering, comes in at about 9.7 lbs). If you’ve held a Leica camera in your hands, then you’ll know that no detail or design or technical precision is spared and the Cine Compact 1 brings this same thinking into its suite of features, including a Summicron zoom lens, 4K resolution, Direct Triple RGB laser projection, Leica Image Optimization, Dolby Vision, and up to 1,700 lumens for images as large as 220 inches. It also has 360-degree image alignment, autofocus, automatic keystone correction, and smart screen framing, which should help take some of the fussiness out of setting it up. The Leica Cine Compact 1 will be available starting June 18, 2026, priced at $1,995.

The Y-Zipper

Now, it’s not every day you read news about the simple zipper, but here we are. The Y-Zipper, originally patented by Bill Freeman in 1985 during his time as an electrical engineer at Polaroid, has now been developed by researchers at MIT CSAIL into a working 3D-printed fastener. Instead of pulling together two sides, the Y-Zipper connects three flexible strips into a triangular form, allowing flat, packable material to become rigid with a single pull, then flexible again when unzipped. The team has also built software that lets users adjust the length, bend angle, and final shape, which opens the door for uses in camping gear, medical equipment, robotics, emergency shelters – and, perhaps, a watch band? I don’t know, I’m just spitballin’ here!

Dolly Parton’s Tennessean Travel Stop

I don’t think it’s a coincidence that we’re including this one on the first week of Pride, people. And the news of Dolly Parton doing anything is always of relevant news to me because she is, in a way, part of my own family history. You see, Dollywood is where my parents honeymooned when they eloped – and I hate to say it, but I’ve done the math and I was born 9 months and 3 days after their wedding day. 

In any case, perhaps the upcoming Tennessean Travel Stop will become part of your own family story when it opens on June 24 at exit 22 off I-65 in Cornersville, Tennessee. The new roadside destination will include DLY BBQ, Dolly’s Cup of Ambition Coffee, custom merch, and a full-service sit-down restaurant, along with an original mural, live music, and a tour bus-inspired photo stop at the flagship location. Additional details on the grand opening are expected in the coming weeks, which gives you plenty of time to save up at your “9 to 5” and follow the “Light of a Clear Blue Morning” straight to Cornersville.

The End of Oak Street Trailer

The trailer for The End of Oak Street dropped recently and it’s not exactly the sci-fi action movie I’m drawn to, but I’m currently reading a book on the evolution of dinosaurs to birds and, therefore, find it topical enough to at least keep on my radar. From the trailer, we see what can only be described as Jurassic Park meets A Quiet Place meets Tremors meets a little of Jumanji, with the neighborhood of Oak Street inexplicably dropped into another dimension or time in which dinosaurs terrorize its citizens, including the Platt family, with Anne Hathaway and Ewan McGregor in lead roles. 

While this premise sounds a bit silly, I’m happy to see a film that might not be taking itself so seriously – or at least that’s my hope. But, however you feel about the genre, I think the real sci-fi here is how Anne Hathaway continues to age backwards. I’d risk being eaten by a pterosaur (which is not a dinosaur, mind you) if it means looking as good as she does lately.

The End of Oak Street is set to be released on August 14.

eBay Finds is back! This bi-monthly installment will feature a selection of watches currently listed on eBay that have caught the eye of editor Christoph McNeil (@vintagediver). If you come across any hidden gems on the ‘Bay drop us a note at info@wornandwound.com for potential inclusion.

Vintage Manually Wound Seiko

Going to start off this week with a simple yet brilliant vintage Seiko. I’ve had a couple of these over the years, and it’s a great looking and reliable model. The steel case is around 36mm if I recall correctly, and this one is in excellent, unpolished shape. Classic round case with nice strong lugs. The dial is a bold blue, with a white bullseye ring and applied steel markers. Steel dauphine hands and no date give this a sharp, unique look that isn’t too flashy. The watch comes on the correct original Seiko beads of rice bracelet, which is so comfortable and great looking to boot. This example dates to April 1974. No movement pictures but the seller states it runs well, and my experience with these is that the movements are quite robust, like most Seikos.

View auction here

Vintage Waltham 

Next up is a nice vintage Waltham sporty/dress watch. The 34mm steel case looks sharp and unpolished, with stylish thin lugs. The classic silver dial is super clean, with nice applied steel thin arrow markers. It has steel dauphine hands with lume lines in them, and the second hand has a nice red arrow tip to help it stand out. No pesky date window to mar the peaceful symmetry. The crown is original and signed with the Waltham “W” logo. The watch comes on a period-correct steel stretch band that actually complements the watch quite well. The case is a front loading type so no pictures of the movement, but the watch runs well per the seller. 

View auction here

Vintage Caravelle “Devil Diver”

Here’s a popular classic diver, a vintage Caravelle 666ft skin diver. This “Devil Diver” as it’s known is very sought after by collectors for its classic styling, so much so that Caravelle has re-released a couple of versions recently. But why buy the new one when you can have an original? The 36mm steel case is in excellent condition, looking to be unpolished with crisp edges. The black aluminum elapsed time bezel insert has the slightest fade to it giving it that highly desired “ghost bezel” look. The black dial has painted lume markers, Arabic numerals at 12, 3, 6 and 9, and dashes for the rest. They have aged to a nice latte color. The dial has some patina on it, but this just adds to the vintage vibe I think. Steel dauphine hands and no date window complete the look. The crown is signed with the Caravelle “C” logo as it should. No movement pictures but it runs well per the seller. Great looking piece!

View auction here

Vintage Jordache Digital Watch

“…And now for something completely different!” (In my best Money Python voice, IYKYK). This vintage Jordache Jeans digital watch was just way too cool and funky not to share. The small plastic case is white with red and…..some very 1980’s colorful designs. It’s a simple time and date LCD digital watch. It has a new battery and runs well, no missing segments. This gem comes on its original plastic strap that has matching designs. There are some wild little metal knobs that are fun too. This is the perfect watch for someone who still has a pair of vintage Jordache jeans to wear it with! Nothing fancy here, just a time capsule of quintessential 1980’s goodness! And cheap too…

View auction here

Vintage Longines Grand Prize

Back to our regularly scheduled programming with this beautiful vintage Longines Grand Prize. The Longines Grand Prize line sits somewhere in the middle of their brand families. The Grand Prize is a great watch, with the high quality in-house movements you expect from Longines but at a lower price point. This beauty has a classic Calatrava-ish steel case that looks like it’s been lightly polished at some point, but not overly so. The silver dial is clean with a radial brushed finish and faceted, applied steel markers. They are stylized Arabic numerals, arranged in a radial fashion which looks awesome. The hands are a unique shape, a kind of fancy broad sword look maybe? The caseback has no medallion as is the way with the Grand Prize. The crown is original and signed with the Longines winged hourglass logo as it should be. This is another front loading case type, so sadly we can’t see what is surely a beautifully finished Longines automatic movement. But the seller states it runs well.

View auction here

Vintage Seiko 5126

Last up we have a really cool and seldom seen vintage Seiko 5 Sports 5126-6010 sport diver. The chunky cushion style steel case has some marks from use, but is unpolished with the original finish and sharp edges. The dial is black, with an orange and black internal rotating divers bezel that really stands out! The hour markers and the tips of the hands also have orange highlights. I’ve never seen this color combo, and I really like it. The watch has the original Hardlex mineral crystal which has some scratches, but you can find replacement crystals for these if you really want it. The watch comes on the original “razor” bracelet, often found on these cool rally divers. The buckle is signed correctly with the Seiko 5 Sports logo, and it also has the spring-loaded extension piece. The movement is clean and runs well per the seller. Nice and scarce vintage Seiko sport diver!

View auction here

When the Alternative Horological Alliance was formed in 2024, I think many of us who care about this sort of thing immediately began speculating about possible collaborations between the brands involved. The teams at Ming, Fleming, and J.N. Shapiro (as well as Fears and Massena LAB, two brands added after the founding of the alliance) have clear affinity for one another. And while there might not be obvious ties between the watches they make, clearly there is a perspective on the watch landscape itself that’s shared among the group, and sometimes that’s what makes for the best partnerships. 

Today, Ming and J.N. Shapiro have announced the launch of the 37.06 Lightning, which amounts to the first watch released collaboratively by members of the Alternative Horological Alliance (although Ming and J.N. Shapiro did work together on the AHA tantalum bracelet and the tantalum cases for the Ming Project 21). The star of the show is a dial that combines elements of what both brands excel at, and is notable as each individual dial has a bit of handcraft applied by the founders of both brands. 

You would expect, I think, a J.N. Shapiro branded watch to feature hand guilloche of some type as that is really the brand’s calling card at this point, and the 37.06 Lightning is no exception. It distinguishes itself, though, in the guilloche pattern used, which is referred to by the brands as “lightning guilloche” and is being used for the first time by Shapiro on this watch. Shapiro’s brand is mostly closely associated with the “infinity weave” pattern, which is his own very complex take on traditional guilloche forms. The lightning guilloche pattern is a major stylistic departure and feels a lot more contemporary with its jagged shapes that give the illusion of shape and depth across the dial surface. The pattern is engraved into a grade-2 titanium dial and according to the brands the work has a high failure rate due to the complexity of the pattern and the materials used. 

At this point you might be asking “why titanium?” for the Lightning’s dial. The answer comes in the next step of the manufacturing process. Afer the dials are engine turned in Josh Shapiro’s Los Angeles workshop, they are shipped to Kuala Lumpur, where Ming Thein himself takes a butane torch to each to create a dynamic color effect on the dial’s surface. The image of Ming torching these dials personally is frankly pretty amusing, and might be enough on its own to convince fans of the brand to fork over the asking price of CHF 6,250. After the heating process, the end result is a dial that has elements of blue, purple, orange, and yellow. Each one is unique, and this process too has a high failure rate – Ming says that even a few seconds too long under the torch can result in an undesirable and uneven color distribution. 

The 37.06 Lightning uses Ming’s 37-series case in steel, which measures 38mm in diameter and 10.9mm thick. It’s a great case, incredibly comfortable to wear, and serves its purpose here of maximizing dial presence while remaining compact. Ming says that the case was designed to wear visually larger than the measurements would indicate while remaining comfortable and sleek. I’m an owner of two 37-series cases and can personally attest to this being the case. Part of the reason for this, I think, is Ming’s preference for having indices located directly on the crystal, which provides a sort of visual punch and makes the whole package feel cohesive. Here, HyCeram lume has been used to fill cavities etched directly into the crystal. 

The movement used here is the Sellita for Ming calibre SW210.M1, which is made exclusively for Ming and features skeletonized, rhodium plated bridges as well as other visual flourishes. It has 42 hours of power reserve when fully wound. 

The first batch of 37.06 Lightnings goes on sale today for immediate delivery. Going forward, Ming and J.N. Shapiro expect to complete approximately 10 of these watches per month. It is not a limited edition, but of course is limited in production due to the craft involved in the making of the dial. The 37.06 Lightning will be sold through Ming’s website and Ming authorized retailers. Ming x J.N. Shapiro

Back in March, I found myself on an Amtrak train from Philadelphia to Lancaster, PA, a small city that many think of as the ancestral home of American watchmaking. I’d been to Lancaster before, with Hamilton, some years ago, and even though their old factory is no longer in use, the brand’s history is woven throughout the town in any number of ways. But I wasn’t traveling to Lancaster for Hamilton, I was there to see RT Custer, founder of Vortic. The coincidental nature of the line that connects Hamilton, RT, Vortic, and the city of Lancaster is almost beyond belief, and a new layer to that connection would be added in a matter of hours, as RT worked to secure a purchase of vintage pocket watch movements that would take his brand through another year (at least) of production. 

RT grew up in Lancaster, and his father still lives in town. Hamilton’s history there, of course, would have been something he encountered in his younger years, working its way into his memory the way a knowledge of baseball might if you happened to grow up in Cooperstown, or movies if you grew up in Hollywood. I don’t know, though, that anything could have predicted that RT would one day find himself running a company that would be so inextricably linked to the history of American watchmaking. 

Vortic is one of the most unique watch brands you’ll ever encounter. Founded in 2013 and based in Fort Collins, CO, Vortic repurposes vintage pocket watch dials and movements by turning them into unique wrist watches, each essentially a one-of-one piece, worn in their custom cases fabricated in their own facilities. Vortic not only builds the cases for their wrist watches in-house, but they also service the century-old movements, refurbishing and replacing parts as necessary, so their watches can be worn reliably day to day. 

The way Vortic is able to both showcase the history of watchmaking (each watch has an exhibition caseback, showing off movements that are incredibly beautiful but would have been largely hidden, by design, in pocket watch form) and push forward with an unapologetically modern design language is quite remarkable. Their case designs are not exercises in classicism that are obvious matches to the era the movements and dials originate from. Instead, they are contemporary in their appearance, often by necessity – the size of the pocket watch movements often require cases that are 45mm or larger.

Vortic is extremely niche, and the brand has always appealed to a certain pocket watch curious subset of watch enthusiasts, but also to many outside the traditional watch enthusiast community. That includes pocket watch collectors, of course (one of the services Vortic offers is turning your own family heirloom pocket watch into a one of one wrist watch) but also history lovers, collectors interested in mechanics, and anyone drawn to Vortic’s brand story, which has always been centered on American manufacturing and a joyful entrepreneurism.

And that largely comes down to the enthusiasm of RT Custer. Since the founding of the brand, RT has been relentless in selling it, getting the word out in any way he can, and telling Vortic’s story. He is the face of Vortic, seemingly personally involved and invested in the story of every watch that leaves their headquarters.

If you’re a regular Worn & Wound reader, or a regular attendee at our Windup Watch Fairs, you likely already know that RT had a near fatal stroke last year. For a time, it wasn’t clear what would become of Vortic in RT’s absence, even if it was to be temporary. Thankfully, RT has made an incredible recovery in a relatively short period of time, and he’s back to running the company day to day, joining his team at Windup events, and appearing in social media clips as he’s always done, spreading the word about his brand. 

I’ve gotten to know RT over the last seven years or so, and it was personally gratifying to reconnect with him both in Dallas at our Windup event and a few weeks later in Pennsylvania. You kind of expect a near death experience to have an impact on a person, and RT is no exception. As we made our way from Lancaster to rural Pennsylvania to meet with his watch dealer, the conversation was focused mostly on non-watch topics. In the past, I may have expected RT’s focus to be on business, entrepreneurship, and the pursuit of a unique brand of American watchmaking that has been the guiding principle behind Vortic from the beginning. On that day, however, much of the conversation was centered on insights about life since his stroke, the importance of family and continuity, and a deep sense of nostalgia tied to Pennsylvania.

There was also a positivity about the future of Vortic. The reason RT was in Pennsylvania that week was to meet with a watch and antique dealer that he’s worked with since the earliest days of the brand. His dealer, who wanted to remain anonymous for the purposes of this story, deals in a high volume of pocket and wrist watches, and so many other odds and ends it’s hard to quantify, out of his home.

Social media and YouTube has created an image of the watch dealer in the mind’s eye of everyone who consumes a certain type of watch content. Whether it’s Diamond District flippers or the erudite experts on blue chip vintage, the watch dealer has become a well defined type. The reality, though, is that sometimes a watch dealer is just a guy working out of his garage, in gym shorts, surrounded by boxes of pocket watches and all the ephemera you’d expect to be acquired over a career’s worth of estate sales. 

The watches RT was about to purchase came from the collection of a Pennsylvania based fruit seller who passed away some time ago. Described as something of a hoarder, there are apparently multiple properties that are part of the estate that have yet to be touched. “They don’t have a key,” I was told, by the watch dealer, and they literally don’t know what they’ll find once they eventually get into these buildings. More watches, for sure. 

RT examines the pocket watch movements and dials that his dealer has set aside for him. There are hundreds, each in their own individual plastic bags, from mostly American brands like Waltham and Elgin. The dealer knows RT’s business having worked with him for years, and has set a number of special movements and dials aside for him to take note of that he knows will be of interest for their rarity. 

Almost the entire meeting is spent either catching up on life events or looking at watches. There is virtually no negotiation. Some, but not all, of the transaction logistics have been worked out ahead of time. When it comes time to formalize everything, it’s literally a handshake deal. RT has cash which serves as an initial payment, with more promised over the course of the year. There’s clearly a level of trust built up here from many years of exactly this type of deal taking place.

The smoothness of the transaction, and RT’s access to these watches in the first place, speaks to the importance of relationship building in the watch industry. Part of being successful is being the first person to get a call when a new trove of pocket watches is found in a hoarder house. And you don’t get that call if you’re not someone people want to do business with. Part of the success of Vortic revolves around it being a business people want to see succeed, and that’s a testament to RT and his team. 

On the way back into Lancaster, RT told me about the challenging period following his stroke. Expenses at Vortic had to be cut dramatically, which meant layoffs were unavoidable. These are, understandably, incredibly difficult conversations. Can you imagine sitting across from an employee and explaining they’re out of a job because of your own impossible to anticipate medical emergency? 

During one of these conversations, Raul, a Vortic engineer in the process of being fired, and seemingly having his life turned upside down, suddenly interrupted the meeting. RT explained that he was taken aback, and not sure exactly what to expect, already stressed about the prospect of letting a trusted member of his team go. 

Raul, clearly taking cues from the company founder, had been bit by the entrepreneurship bug. He made an offer to buy one of RT’s lathes, a gesture that would allow Vortic’s cases to continue to be made in Fort Collins, supply a cash infusion to Vortic, and give Raul an opportunity to begin his own journey as a business owner. The symmetry of the end result here is hard to deny.

Vortic is a company defined by the power of a genuinely unique idea and a disciplined approach to building a brand in a certain way. But what became clear to me spending the day with RT in and around Lancaster is that none of that would really matter at all if he couldn’t convince others to buy into that idea as well. A business succeeds or fails because of the people in it and adjacent to it. Vortic

If you’ve seen me around in the watch community, it’s very likely you’ve noticed me wearing a Girard-Perregaux Laureato. While I’ve fooled many into thinking I own one of these beauties, the model is in fact my number one requested loaner whenever I have the privilege to borrow a timepiece for a special event. In my years adoring the Laureato, I’ve had the pleasure of trying out several iterations from the bold 42mm (proving that yes, even my rather small 5.75-inch wrist can rock a 42) to the more pared down 38mm. In all the sizes and dial colors that have graced my wrist, one of my favorites has to be the 38mm copper, which, in my humble opinion, is the ideal twist on a two-tone look.

Today, Girard-Perregaux is complicating things for me yet again with some incredibly compelling new takes on the Laureato. First up, we have two variations with a solid 18-karat rose gold dials, one in 39mm and one in 36mm. Unsurprisingly, these deeply rival my former-favorite with the copper dial. I would say the copper is a bit more subtle and subdued with a slightly more matte appearance and a rich shade that lands somewhere between yellow and rose gold. The dial of the new models is decidedly shinier and more reflective with a true rose gold color that is both bright and soft at the same time.

In addition to feeling torn between the previous copper dial version and the new 18-karat rose gold, I’m equally undecided on my favorite proportions for the Laureato. I thought the 38mm ticked all the right boxes for me, but after test driving the new 36mm ahead of the launch, I’m smitten. This brand new size is versatile and wears perfectly while still remaining modern despite a more modest size. In the new 36mm build, Girard-Perregaux also gives us a monochromatic silver dial iteration with a diamond set bezel.

Last but certainly not least is the fourth new addition to the Laureato lineup, bringing an enamel dial to the collection for the first time. Again, those of you who know me are well aware of my obsession with enamel that extends from pure love to practice with three enameling apprenticeships under my belt to date. There’s often a misconception that intricate enamel forms like cloisonne are the most complex, but actually executing a single color with consistency and precision is equally challenging. Here, we have a beautiful shade of blue giving new depth and brilliance to the signature Clous de Paris pattern of the dial. I cannot wait to see this version of the 39mm silhouette in the metal.

Powering each of the four new additions is the automatic GP4800 manufacture caliber. This compact movement measuring just 25.6mm and with a thickness of only 4.28mm is highly versatile for the expanding range of sizes Girard-Perregaux has rolled out in the Laureato line. Still, even with its modest proportions, the brand retains an architecture that draws direct inspiration from its trademark Three Bridges design and, exclusively for this release, the balance bridge has been crafted in rose gold to reinforce the movement’s visual depth and identity.

Each of these four new models join Girard-Perregaux’s catalog today with the 39mm enamel variant priced at $24,500, the diamond-set 36mm iteration priced at $24,200, and both sizes of the rose gold dial version priced at $23,100. For more information, head over directly to Girard-Perregaux.

Heavy is the arm that wears the Inflection. Sorry, there might be a few jokes in this article about how much the Atelier Wen Inflection weighs, but that’s just the cost of making a full tantalum watch. If you’re unfamiliar, tantalum, in addition to being a rare material in watchmaking due to its difficulty to machine, is exceptionally dense. Twice as dense as steel, and thus twice as heavy. When you pick up a tantalum watch, you know it.

It also has a unique color. It’s dark gray, approaching the tone of blasted grade-2 titanium, but cooler, hinting at purple. Especially when polished, it has a mysterious quality that is quite beautiful, like looking into a darkened mirror. Polishing tantalum, by the way, is notoriously tough. The appeal of the metal is clear, which is why we’ve seen a little uptick in its use in the high-end by brands like JN Shapiro, Ming, and Zenith, though, to be fair, it’s been in limited use for decades.

But the Inflection isn’t just a tantalum watch; it’s a tantalum watch with a tantalum bracelet, and therein lies the Inflection’s novelty, as no other brand currently makes a fully tantalum, integrated bracelet watch. Which, as per the NYT, paraphrasing Jean Arnault says, does not make economic sense. And while it’s truly a flex and fascinating to behold, why the watch succeeds, by my estimation, is actually everything else.

Case + Bracelet

Many integrated bracelet watches look the same. Or, at least, as though they share DNA. That’s not too surprising, given that the most iconic of all integrated-bracelet sports watches were designed by Gerald Genta, and are amongst the most over-hyped watches to ever be made. For those of us who have been around the hobby for a while, with the resurgence of the IBSW, that name, the story, the designs… they’ve all become well-trodden territory. Needless to say, in the last few years, I’ve handled more IBSWs than I can count.

Which is all to say that the Inflection, despite also sharing that DNA, is a refreshing take on the genre. Where most try for hard angles and facets, including Atelier Wen’s own Perception line, the Inflection is curvy and organic. Every surface on the top of the watch and the bracelet is radiused in at least one direction. It’s soft to the touch in a way that is rare to find. In particular, the polished center links are stunning, remarkably complex forms that protrude above the rest of the bracelet and remain smoothly domed despite having straight sides. They look and feel like polished stones.

Because of the curves, the watch flows very nicely, avoiding the slabbiness that many IBSWs suffer from, which, in turn, results in a more ergonomic fit. Combined with the odd charm or tantalum, the experience is one of a truly high-end, luxury product. The finishing across the watch and bracelet is exceptional as well, being predominantly brushed with polished accents. This includes a convex bevel that runs the length of the bracelet and up the case lugs, as well as a convex bezel.

It’s uncommon to find convex bevels, likely because they are harder to make than flat bevels, but also because they could look odd if not implemented correctly. They simply wouldn’t work with all designs, as classic bevels do. With so many surfaces curved or domed on the Infleciton, the bevels create a contrasting outline that makes the other surfaces stand out even more.

The case is listed as 40mm x 45mm and 10.2mm tall. This is a bit of a tricky set of numbers, as 40mm isn’t a diameter; it’s the side-to-side measurement, accounting for the flanged design. The bezel measures 37mm in diameter. To me, it wears in between the two, which is also to say, comfortably compact. The height includes the crystal, so it also feels pleasantly thin, with the mid case measuring only 5.1mm tall. The proportions are superbly tuned. Aesthetically, yes, there is definitely some Nautilus in there, but there’s enough difference to let it succeed as its own thing.

Dial

While the case and bracelet touch on some iconic designs, the dial takes the Inflection into entirely different territory. Known for their work with Chinese artisans, the dials are crafted from 925 silver and feature genuine grand feu enamel. The sample seen is the blue model, which is a gorgeous, deep navy blue (they call it midnight, but it’s a touch brighter to my eyes than that implies). Since it’s enamel, the dial surface is high gloss, adding to the depth of the color.

The dial features two indexes, a set of numerals, and an outer minute track with a clever design. Based on the huiwen-pattern, a traditional Chinese motif, what looks like a decorative flourish is still functional, as each right angle and line end aligns with a minute. The hours are then printed in a bespoke calligraphic typeface that brings an artisanal flair. Like the typically faceted cases, the dials of IBSW’s are usually quite rigid and traditional, lacking a humanistic quality. While there is a contrast between the dial’s flourishes and the dark, heavy metal of the case, it works.

The hands are worth taking a moment to appreciate. They are leaf hands, with a clear, soft, curved outline, but rather than flat, or slightly domed, they are “voluminous,” to use their word. Basically, the hour and minute hands feature tall ridges along their center lines that curve down, creating convex pockets. They are quite complicated, but the result is simple enough; they are gorgeous. The hands transition the case’s sculpturality to the graphic nature of the dial surface. Additionally, the minute and seconds hands curve down toward the dial, adding even more dimensionality.

Movement

Atelier Wen was able to source a somewhat surprising movement for the Inflection: the Girard Perregaux GP03300. The surprising aspect should be quite clear: Girard Perregaux does not supply many brands with their own movements. Actually, I can’t name another, though I have been told they do so on a very limited basis. GP is an old, highly regarded, high-end Swiss manufacturer, so using their movement lends notable pedigree. Additionally, as they are rare, it’s simply a movement one won’t find in indies at a competing price point, which would likely use calibers from Vaucher, Schwarz-Etienne, or UrhTeil AG (Andreas Strehler’s manufacturing company), if not their own.

That said, in terms of specs, the GP03300 is unremarkable. It features 27 jewels, a 48-hour power reserve, hacking and handwinding, is adjusted in 5 positions (though they don’t mention an accuracy range), and a frequency of 28,800 bph. So, fairly average, though it must be relatively thin given the watch’s height. Where the movement excels is in its finishing.

Featuring a dark gray ruthenium plating that is similar in tone, if a touch lighter, than the surrounding tantalum, the plates have gorgeous waves radiating from the center, like Côte de Genève but curvy. There’s perlage, some skeletonization, and anglage as well. The rotor, however, is the star of the presentation, turning those wavy forms into skeletal arms that hold the mass at the end. They twist out from the center, implying motion, are fully grained, have beveled, polished edges, and are plated in rose gold, standing out from the gray surrounds. It’s certainly a presentation befitting of the case material and retail price.

Wearability

Did I mention yet that tantalum is very heavy? I know some people love that, at least in concept. They like to pick up a watch in a store and be taken by its heft. It speaks, on some primal level, to the product’s quality and value. But, how about when wearing it?

The Inflection inspires some awe when first picked up and some shock when put on the wrist. It’s heavy enough that you feel your arm being pulled down. I mean, it’s nearly half a pound with all of the links. And you’re either going to like that or not. Sure, you will likely get used to it over time, but as someone who likes titanium watches because they are light and has a hard time with bracelets because they feel cumbersome, it was a lot for me to take in. But, heck, the weight is a feature, not a bug.

Otherwise, the Inflection wears beautifully. It flows gracefully around the wrist. It’s pleasantly thin. For my 6.75” wrist, the sizing was pretty perfect. In addition to the restrained case size, the bracelet isn’t too wide either. It’s about 21mm at the lug and 18mm at the buckle. Often, IBSWs are extra wide at the lug, like 24mm, which can make them feel overbearing. The buckle is also modestly sized, despite having a very nice micro-adjustment system. Atelier Wen’s logo is actually a button that, when pressed, allows the length to be extended or reduced by about a link.

Conclusion

I know we reviewers get shit for being positive, but the Atelier Wen Inflection is a pretty magnificent watch. Yes, the achievement of making it out of tantalum can’t and shouldn’t be overlooked, but the real reason it’s a great watch is that it’s a great take on the IBSW. Like I said, I’ve seen and tried on many over the last several years, and they tend to feel the same. Harsh, flat, cumbersome. Even those touted as inspired by organic forms end up feeling only marginally different. The Inflection is different. It’s complex without being overwrought, finishing focused without being gaudy. The dial adds a refreshing craft element, like an oasis amid its metal surroundings.

And it’s because the design is so great that I will say that my least favorite thing about it is, in fact, that it’s tantalum, because it’s the metal that brings the weight, the scarcity, and the price. Which, having not touched on yet, is $29,800 on the bracelet, $19,800 off, with only 100 produced per year. High, but seemingly appropriate for the material, level of finish on said material, and high-end movement.

Which brings me to my final, selfish point: I wish Atelier Wen had made the Inflection in titanium as well. I can’t stand the “if they just did this, I would have bought it” comments that are always made, but in this instance, for this guy writing this review, it’s true. In grade 5 titanium, this would be an incredibly wearable IBSW that I would actually want to own. But, it would make no sense for them to make that, because they already have the Perception line, which they just updated, and occupies the same niche.

To put a bow on it, the Atelier Wen Inflection is, upon reflection, a remarkable watch and a striking achievement for a young indie brand. And, moreover, it is a striking reminder of how far the world of small indie and microbrands has come. This is a watch that truly challenges the Swiss luxury establishment and, frankly, should have them a bit scared. Atelier Wen