For decades, the luxury watch has rested on a dual dimension : a utilitarian function of telling time and a symbolic function that involves expressing status, taste or a form of success. Utility justified the object. The symbol endowed it with value.
This balance is shifting. We can tell the time everywhere: on our phones, our computers, our cars. The watch’s primary function is fading into the background, to the point of becoming almost incidental. Buying a watch – let alone a luxury watch– no longer fulfills a need. It is a deliberate act.
According to Louis, 24 (France): “Wearing a watch is no longer a trivial matter. By 2025, it will be purely a matter of style.” For the younger generations and especially for those entering the world of watchmaking today, the question doesn’t even arise. Wearing a watch is about what it conveys: an aesthetic gesture, an intimate message, or a social signal: the watch becomes an object imbued with meaning, intention and projection. An object that engages, not because it is necessary, but precisely because it is no longer so.
This results in a transformation of how we view a watch – in terms of its design, the desire it inspires, the value we ascribe to it and its relationship to authority.
A new relationship with aesthetics
Watch design remains an insider’s language, fully appreciated through knowledge: either because it is intrinsically linked to technique or because it is the legacy of a tradition. We learn tolook as we learn to understand.
First impressions
The trend is being reversed among younger generations, as thevisual impression often comes first. Encountering a watch begins with an immediate reaction: a silhouette, a proportion, its presence on the wrist, a glimpse in a collection, on the street, or on an Instagram feed. The dial, the light and the overall balance of a timepiece assert themselves even before one has a chance toanalyze its specific details. This does not imply a poorer visual appraisal, but rather another more direct, more sensitive way of looking at watches. The watch is increasingly part of a style narrative. It defines an outfit, an attitude, a look; it becomes a “fashion statement” that is shared and discussed within communities where images circulate constantly.
The watch as a visuel language
Above and beyond social performance, conversations with collectors reveal a more personal, equally formative dimension. The luxury watch is increasingly defining itself as a personal message, a reflection of the self, a true canvas for expression. Take Hugo, 25 (France), for whom “it also enables you to express your personality, your aesthetic sensibility. You choose a model for what it says about you.”
According to Luca, 26 (Italy), “it says a lot about you, such as your degree of originality and maturity. Do you follow all the codes or not?”
It is precisely in this intermediate space between display and introspection that the evolution in visual appraisal plays out. Witness the “wristcheck” rules observed on forums and social media. Whereas it was once isolated and perfectly staged, the watch is now part of a context: a coffee table, a desk, a landscape. The image no longer seeks to impress, but to situate: candid shots, natural light, slight imperfections. A more spontaneous, almost documentary aesthetic takes hold. The value lies more in the authenticity of the scene and its connection to reality than in the object itself.
Free-Spirited use
This more liberated relationship opens up fresh scope for personalization. A single model can convey very different meanings depending on how it is worn, paired or contextualized – sometimes straying far from the brands’ original intentions or watch industry conventions. Whether encountered in everyday life or blended with pop culture references, the watch becomes a living object, capable of switching between different registers.
Within this context, a concept that has long been implicit is becoming clearer: that of the watch as a piece of jewelry. This view is supported by statements such as, “I need to feel more hand-some when I’m wearing my watch than when I’m not. Like when my wife wears earrings” (Thomas, 26, French Polynesia) or “For me, it’s really the only piece of men’s jewelry (…). The only object that allows a man to do that...” (Luca).
Embracing the ornamental aspect marks a shift in perspective. The object moves partly away from the realm of technical functionality and into that of style, the body and the figure.
This shift opens up a world of possibilities. Driven by younger generations, gender codes that have historically been very rigid in watchmaking are becoming more flexible. Sizes, shapes and finishes circulate more freely. Wearing a smaller diameter, a gemset timepiece, or a model perceived as more “feminine”, is no longer necessarily transgressive. It can become an aesthetic choice, a variation, a way to explore other registers, as Raphaël A. observes: “Today, I know women who wear a 42mm case. Conversely, I know men who wear Baignoire watches: tiny, hyper-feminine gold watches, sometimes set with diamonds. And why not?”
Conventions are becoming resources to leverage, rather than restrictive frameworks. Within this context, taste is being redefined.
It is no longer measured solely by the ability to recognize references or adhere to standards. It is expressed through overall coherence, in the way a timepiece fits into an identity.
A new relationship with desire
For a long time, watchmaking culture was built on a clear foundation: passion. A demanding, technical passion, often fueled by knowledge, tradition and implicit codes. Entering this worldrequired learning, understanding and training. In a way, everyone had to earn their own place.
The triumph of pleasure
This model is shifting. Among the younger generations, another word is taking center stage: pleasure. A pleasure that is more immediate, more personal and also freer: one to which we treat ourselves without necessarily going through all the traditional steps of approval. We no longer collect simply to master a subject. We collect for the love of it or simply because we feel like it at a certain point in our lives. “That’s what watchmaking is all about: pleasure (…) we treat ourselves, and it’s fun”, explains Luca.
This shift profoundly changes the tone of the culture. While watchmaking remains a passion, it is experienced in a less dogmatic, less hierarchical way. Voices are multiplying, opinions are being expressed – sometimes in the heat of the moment, sometimes running against the tide. Forums and social media are becoming spaces where people share, debate and proclaim their tastes with- out necessarily trying to tick all the boxes of legitimacy. Pleasure becomes a central value. A filter through which choices are made, discussed and affirmed. It puts everyone on an equal footing: regardless of the level of expertise, the price of the watch or the depth of the collection, what matters is how it makes you feel.
However, this trend toward openness does not mean that everything is of equal value, as within this world, the question of legitimacy never completely disappears; it simply takes on a different form. For pleasure to be fully accepted, it must not be tainted by what the community perceives as excesses: snobbery, the display of wealth, pure speculation or even conformism. This is evidenced by statements such as “I hate snobbery (…). If he only has watches that cost 200 bucks, who cares? If he has the passion, that’s what matters” (Alexandre, 23, France) or “Just because we have a Rolex tomorrow doesn’t mean we’re better than a guy who has a Swatch” (Hugo).
Pleasure with a catch
A new form of balance is emerging within this context. While pleasure remains the core, it is accompanied by a more subtle requirement: that of discernment. Making the right choice, for the right reasons. Finding a form of coherence between what one loves, what one buys and what that says about oneself. This is what one might call enlightened pleasure: a pleasure that does not renounce emotion, yet refuses to be naive. A pleasure that seeks to justify itself, not to others, but to oneself.
A new relationship with value
In luxury watchmaking, value has long been part of a relatively stable equation. The price served to validate a whole: technical expertise, history and rarity. Spending a lot was not just accepted – it was expected, even proving that the object was in its rightful place. While this logic has not disappeared, it is no longer enough on its own to legitimize desire, as what is currently changing is not so much the ability to spend as the way we experience that spending.
A question of meaning
The younger generations do not maintain a distant relationship with money. They do not reject the notion of investment, prioritizing their purchases based on their potential. They do not seek to hide their purchasing power. A watch can be expensive, visible and recognizable: that is not a problem in itself. On the contrary, the symbolic dimension remains very much present. Owning certain timepieces, certain models, continues to make an impression and places the wearer within a specific social sphere. But this symbol can no longer be empty. It must be rooted in a sense of coherence, almost of appropriateness. It’s not just “Can I afford it?” but “Does it make sense for me to buy it?” As Thomas explains: “I can understand that a watch should be expensive because it’s a comprehensive model (…), but I’m far less interested in paying a high price just because Federer wears it.”
The nuance is essential. It does not call into question the social significance of luxury but instead redefines it. Being successful, demonstrating that one has succeeded and wearing items that symbolize that success all remain desirable – and even admired – but only providing that this performance is not perceived as gratuitous. It must be grounded in something: a choice, knowledge, a journey, or an intention.
Making the right choice
This is where a form of inner tension plays out: between the two logics of desire that is immediate and emotional and that of discernment which is slower and more thoughtful. The pleasure of the hunt lies in this dual dynamic: by combining strategy and excitement, it establishes a quest-like logic that accompanies the buyer for months, even years. Luca describes it as a “comic-book moment where you have your little angel and your little devil whispering in your ear. One says, ‘Go on, treat yourself, you’ve earned it’ and the other warns: ‘That’s completely crazy, (…) you could be saving that money.’” This moment profoundly shapes the relationship with the object. It forces us to make a decision, to justify it, to make it coherent. From this tension emerges what we might call “intelligent pleasure”: a pleasure that does not sacrifice either the intensity of desire or the need to feel aligned with one’s choice. This is why, among younger generations, investment value and personal value are often intertwined – not out of cynicism, but to ensure an informed choice. “You can’t help but feel satisfied, telling yourself that you’ve made a smart purchase with your watches”, Luca explains. What the new generations are seeking is neither discreet luxury nor ostentatious luxury. It is one that can be displayed, provided it is justifiable.
A new relationship with authority
Luxury watchmaking has been built on a simple principle: authority.
First, the authority of the maisons, whose history, expertise and technical mastery shape the entire narrative. Secondly, the authority of the experts: custodians of the codes and capable of determining what does and does not matter. Finally, the authority of traditional channels – meaning boutiques, specialized press and insider networks – that organize access to the culture.
Taking back control
Today, a different system has emerged: one that is more wide- spread, more horizontal and often more accessible. It is a system in which knowledge is no longer passed on solely from the top down, instead circulating among individuals through channels that are not “sacrosanct.” Forums, YouTube channels, social media and private groups: these are all spaces where people learn, compare and refine their perspectives. “For the first time, instead of just being a reader, I posted, reflected and sought the opinions of other enthusiasts. It’s interesting, as people suggested other options I hadn’t considered”, says Nicolas, 26 (Switzerland).
These new voices introduce a form of mediation. The individual no longer accepts the brand’s message as absolute truth. Instead, they challenge it, put it into perspective and filter it through other experiences, opinions and narratives – as well as through their own experience and sensibility. According to William, 26 (France), “what the brand conveys isn’t necessarily what the brand intends to convey, but what I personally feel the brand is communicating.” Legitimacy no longer rests solely on the status of the speaker, but also and above all on their ability to resonate with reality. For younger generations, this test is often played out through experience.
What carries authority, more than ever, is the product itself in terms of its quality, its history, its consistency and its ability to deliver on its promises. Not to mention retail, which, for these experience-hungry and particularly demanding generations, has become a moment of truth. “For me, it’s a sign that I exist as an individual”, says Louis. The in-store experience is an integral part of perceived value. Interactions with collectors and within communities show just how much it can reinforce a brand’s legitimacy or, conversely, undermine it.
Thinking outside the box
Nonetheless, when that particular promise isn’t kept, younger generations – despite their attachment to the in-store experience and iconic brands – don’t hesitate to find workarounds. as William puts it: “I don’t wait in line, so if you have the watch I like right now and I can buy it, great, I’ll take it. Otherwise, it’s no big deal.” Likewise, Simon 28 (France) explains: “These days, I don’t buy anything modern anymore, because I have to jump through hoops to acquire a timepiece in a store and I find that too much of a hassle. I’m not here to buy a package of pasta, after all.” The pre-owned market, resellers, independent dealers and microbrands: all these alternatives enable buyers to take back control and break free from a relationship perceived as too lopsided. This trend should not however be interpreted as a rejection of authority. For younger generations, watchmaking remains a world of references, hierarchies and strong figures.
What the study highlights is that these benchmarks are no longer unilaterally imposed but are instead discussed, appropriated and sometimes circumvented.
Basically, what is emerging is a transformation of the relationship between brands and their audiences, which is becoming less vertical, more relational and even conversational.
Brands must now constantly convince, not only through what they say, but through the experiences they create. They must be willing to share power and let it flow.
Towards a more demanding form of luxury
As these transformations unfold, one thing becomes clear: the new generations are not rejecting either watches or luxury. They are redefining the conditions for embracing them. The object has not lost its value, but rather its self-evident nature. When nothing compels one to wear a watch, every choice becomes more significant and every aspect of the object is put to the test.
Aesthetically, a watch can no longer simply re-enact inherited codes. It must function as a language, capable of engaging with multiple identities, varied styles and freer uses. The object is no longer viewed merely for what it is, but instead for what it allows one to express.
At the same time, the relationship with desire is evolving. While pleasure is emerging as the central driving force, it is accompanied by a demand for coherence. What one chooses must make sense, in the moment and over time – as well as first and foremost in one’s own eyes.
The question of value is following suit. Although spending money, displaying acquisitions and purchasing desirable objects remain fully accepted, this “signaling” aspect can no longer be separated from a sense of appropriateness. Value no longer rests solely on price or rarity, but rather on the object’s ability to hold up to scrutiny, both socially and personally.
Finally, the relationship with authority is changing. While luxury maisons continue to represent strong benchmarks, their legitimacy is no longer decreed. It is built through experience, verified in the product – and constantly challenged by other narratives.
It is against this backdrop that a deeper expectation is emerging: that of a watchmaking culture that is less top-down, more open, and more widely shared. To appeal to new generations of buyers, brands must accept that they are no longer its sole custodians, but must instead help shape its evolution alongside those who live and breathe it.
It is no longer simply a matter of producing desirable objects, but of creating the conditions for interaction, for ownership and for resonance.
For while luxury remains a matter of desire, the nature of desire has changed. It has become more conscious, more personal – and in that sense, undoubtedly more demanding.
CREA & GEN Z
The study by the l’amour agency was previewed for industry representatives during a conference jointly organized by GMT and the CREA school. Program director Raphaël Troussier unveiled the results of a survey titled “AI, Media and Watchmaking” conducted among 700 students. Here are eight key findings.
1. Consumption is overwhelmingly concentrated in the evening: most students spend between four and six hours a day on screens (excluding study and work), almost exclusively in the evening or at night.
2. Short-form video reigns supreme: short-format video dominates by a wide margin, ahead of articles, podcasts or long-format videos.
3. News feeds are the starting point for trends: the number one source of information for following trends is social media feeds, far ahead of influencers or expert media outlets.
4. Computers remain the favorite medium for long-format content: despite heavy smartphone use for social media, the computer is still the primary device preferred by the vast majority of respondentswhen it comes to viewing long-format content.
5. Social sharing is a private matter: content sharing is primarily done in a restricted manner: students mostly use private messages (DMs & WhatsApp) or the repost feature, rather than commenting publicly.
6. Artificial intelligence is used with caution: while ChatGPT is everpresent (often accompanied by Gemini, Claude or Krea.ai), students maintain a critical mindset. The most common method forverifying is to cross-check the results with other sources (Google, official websites) and very few accept it without such verification.
7. Print media is becoming a means of “disconnecting”: the use of print media has changed. Students believe it retains real value, mainly as a way to disconnect from screens, as a “beautiful object”, or for in-depth reading.
8. Watchmaking and luxury and the impact of content creators: while interest in watchmaking varies widely among students, the GMK content creator comes up frequently (among those less familiar with the field) when they mention media outlets or figures in the sector, alongside more traditional specialized media such as GMT Magazine or WorldTempus.
ABOUT THIS STUDY, CONDUCTED BY THE EXTREME GROUP’S L’AMOUR AGENCY
Over the past decade, l’amour – the Extreme Group’s luxury communications agency – has supported brands across the entire watchmaking spectrum, from accessible names to the most prestigious Manufactures. Across these various experiences, one observation stands out: the sector remains largely focused on the brand and the market, at the expense of a more nuanced understanding of its audiences. Nonetheless, younger generations are currently emerging as key to the category’s future. Although still largely unexplored, they are profoundly redefining the codes and customs of the industry. It is this context that has given rise to “The Emerging Culture of Luxury Watchmaking”: an international socio-cultural study conducted by l’amour among young buyers to shed light on new audiences’ expectations and the changes underway. Based on high- quality interviews with collectors – men and women aged 25 to 30 – analysis of content from online communities, as well as discussions with key players in the collector ecosystem, the study offers a cultural interpretation of the sector and its dynamics.
