Japan is known for its appreciation of fine watches. Does Patek have a special relationship with the Japanese people and Japanese culture?
Yes, because this is a longstanding relationship. The first visit to Geneva and Patek Philippe by Japanese delegations was 150 years ago when they were welcomed by Antoine Norbert de Patek. This was the beginning of a relationship that has been carried on through generations and continues today. Many young Japanese enjoy Patek Philippe and we’ve seen a lot of them at the exhibition. No doubt they have learned about us, and come to appreciate fine watches, through their parents or the media. The Japanese hold precision and quality in great esteem, and can identify with the tradition and value of the products we create. This is a growing trend. Some 3,000 people come to the exhibition each day and I think many of these visitors wear a Patek.
What do you most appreciate about Japan?
One thing I like about the Japanese is their respect for workmanship. Everything must be perfect. They won’t tolerate mediocrity. It’s a philosophy that we share. Every single day we strive to achieve the finest quality, from the case to the movement. Already, certain of our past creations were a tribute to the Japanese people. That we vary our sources of inspiration is one of our strengths. It means customers from all horizons can obtain satisfaction while our artisans are all the more motivated by the diversity of these creative opportunities.
What was the biggest challenge in staging this exhibition?
Finding an appropriate venue. Our “Watch Art” Grand Exhibition Tokyo 2023 extends over 2,500 square metres. We needed meeting rooms and rooms for some thirty Patek staff and the 200 or so sales associates seconded by our Japanese retailers to guide visitors. We also needed somewhere we could host 350 clients each evening. Requirements go far beyond the exhibition space itself. The second challenge is managing visitor flow. Demand has been such that we have had to restrict numbers and introduce a system of online booking with time slots. Lastly, the 180 timepieces which have travelled from the Museum are irreplaceable, fragile objects that must be transported and handled with great care.
Were there some particularly anticipated models?
I think people always expect complications from us and, for the first time in an exhibition of this kind, we have surprised visitors with two very beautiful complication models: our first Quadruple Complication with a self-winding movement, Reference 5308, and our World Time Reference 5330 with a date display coupled to local time. This requires a highly complex mechanism that we have taken care to explain in detail. You don’t simply add a couple of components when creating such a sophisticated indication, particularly as the date, which is synchronised with local time, can be set forwards and backwards which adds real value in terms of user comfort. We plan to integrate this movement into a production model at a future time.
What is the throughline for the limited editions?
A throughline would have limited our scope. The only throughline I can conceive of is called experience. I could never have achieved this 15 or 20 years ago. We were guided solely by the desire to produce exquisitely crafted timepieces inspired by Japan’s art and culture, which we have done with these 40 pieces. The idea was to respect tradition without appearing old, and innovate. There has been a lot of talk about the Samurai watch because of the 600 pieces in its wood marquetry dial. It’s rare to develop a theme to such a degree. We have found the right balance between the traditional and the new, so that first-time clients and clients with a longstanding appreciation of Patek will find what they are looking for.
You have 30 retailers in Japan. Is this number likely to change?
We have the right number of retailers in Japan even if we don’t cover the whole country, because we cannot manufacture more for this market.
What about the rest of the world?
With the help of our distributors, we have already reduced the number of our retailers worldwide by around a quarter. We’re now close to the target of slightly fewer than 300 doors. We know this can be a complicated choice and explained the principle well in advance, so they would have sufficient time to organise themselves. We respect our partners.
The last exhibition was in Singapore in 2019. Are the effects still being felt?
Yes. Experience has taught us that the outcomes of this type of exhibition are felt for more than five years. Also, the impact is greater each time as the exhibitions themselves gain in size. We’re already working on the next edition which will be in Milan in 2025. The products we present attract greater interest, whether complications or handcrafts, an area in which we have made substantial progress. The concept is much stronger now, including how the different creations are displayed.
Your new ten-storey Manufacture has been in operation since 2020. What conclusions can you draw after these three years?
The idea was to bring everyone under the same roof which has enabled us to improve production operations. We have room for a few additional workstations but not many. We’ve optimised workflow and improved communication between departments. Staff feel proud to work in a building like this. As a production tool you could compare it to a Formula 1 car and our watchmakers are the drivers doing wonderful things. There is the most fantastic emulation. Everyone is motivated to do even better than before.
What are the other highlights at Patek Philippe this year?
Well of course there is Only Watch. Patek Philippe is bringing an extraordinary creation as well as clients who want to support this cause and are ready to bid for exceptional timepieces. It’s vital that all the brands talk to their clients and invite them to take part. We will also be maintaining the pace with one or two more launches during the year.
