We have now reached the third and final installment of our series on Chinese independent watchmakers. The first installment highlighted pioneering figures such as Kiu Tai Yu, followed by the second installment, which focused on the second generation of watchmakers like Lin Yonghua and Ma Xushu. Now, we turn our attention to the latest generation of watchmakers. While there may be some overlap among the three categories, a clear trend of evolution emerges: the pieces have gradually adopted a more international style and construction, yet they still retain the charm of their Far Eastern origins.

In this installment, we delve into the work of  seven independent watchmakers, the highest number featured in this series. This growth reflects the expanding community of independent watchmakers in China, mirroring global trends. Among those we will highlight is the well-known Qin Gan, arguably China’s most prominent independent watchmaker, alongside exceptional artisans like A Biao, who, while highly regarded within China, may not yet have received the same recognition internationally. These talented individuals certainly warrant closer examination.

A.Biao (钱国标)

Among active independent watchmakers in China, it would not be an overstatement to say that A. Biao is the best known in China. Born in 1975, Qian GuoBiao (钱国标) is a self-taught watchmaking genius, much like many of his predecessors in the first and second generations. He began his career as a precision mechanical engineer in the mold industry, but his passion for watches ignited in childhood, inspired by his father’s mechanical timepieces from the Shanghai Watch Factory.

Mr. Qian eventually saved enough money to purchase an Omega watch, which he disassembled to explore its inner workings. This experience led him to repair watches for friends and others in his local community. His engagement deepened when he joined a watch forum, where he shared articles on watch repair, earning him the nickname A Biao.

His ability to fix watches rapidly grew as he acquired more timepieces, including high-complication models. This earned him the moniker “Tourbillon Doctor” in China, as he assisted business owners in avoiding six-figure repair fees from Swiss factories.

During this period, he also experimented with creating his own watches or movements, as seen in three examples from the late 1990s and early 2000s. These are all very cool creations that showcase his genius, but they appear crude in execution when compared to his later works after he fully dedicated himself to independent watchmaking.

Driven by his passion, Mr. Qian resigned from his engineering job in 2005 to focus on watch repairs. He did not stop there; he invested his energy in modifying existing watches and creating his own designs. 

Perhaps one of his best-known works is the modification of a three-hand Richard Lange, transforming it into a jumping central second – all while retaining the original case components. This modification was accomplished within the limitations of the existing case height and the clearance between the movement plate and case. While it may appear simple at first glance, it was executed so well (after at least two iterations, as he revealed in an interview) that it just enhances the perfection of the Richard Lange. It’s impressive that someone would have the courage to modify such an expensive watch because making it look natural is challenging, yet Mr. Qian managed to achieve this by using components that are thoughtfully designed and nicely decorated.

Interestingly, Mr. Qian is not only a watchmaker but also a collector with a keen eye and fine taste, as reflected in his collection of Patek Philippe Calatrava ref. 5026 – a 34 mm model from the 1990s featuring Breguet numerals and an off-centered seconds hand. His collection spans all metals and variations, including a limited edition created to mark Macau’s return to China in 1999. Beyond watches, Mr. Qian practices calligraphy and seal carving and enjoys fine whisky. These hobbies give him a broad perspective on both Chinese and Western cultures, which certainly influences his creations.

Then there are Mr. Qian’s own creations that arrived after he set up his independent brand in 2008. These are best represented by the Opus series, which has now reached its third model. What’s impressive about the Opus series is its clear, consistent theme of simple design paired with immense visual depth and stunning arrangements. The execution is consistently high quality, with well-finished movements, rivaling independent watchmakers in Europe.

The Opus One is the simplest, a time-only watch with a small seconds hand. It is based on a vintage Omega cal. 30T but heavily modified to reflect Mr. Qian’s style. The most obvious change is the three-quarter plate that separates the movement into two halves, absent on the vintage cal. 30T. Other notable details include the “woodpecker” shape of the winding click and the rhombus-shaped balance cock, both crafted and finished by Mr. Qian.

It’s worth noting that Mr. Qian’s Opus series boasts a much higher level of finishing compared to his creations from the late 1990s and early 2000s. There are fine graining and stripes on the plates, along with polished bevels along the edges of the bridges, featuring interior and exterior angles where necessary. This makes his work stand out even on the international stage.

The next watch he produced was significantly more interesting. The Opus Two is based on the Opus One but features a dial removed to reveal the balance at three o’clock. The highlight is that when you turn the watch over, you can see another balance wheel! This is indeed a twin balance wheel watch, with each balance displayed on opposite sides, similar to the Audemars Piguet Royal Oak Double Balance Wheel Openworked. Mr. Qian’s signature style remains present with the “woodpecker” winding click and rhombus balance cock, along with the depth of the movement, visible through three layers of bridges and plates.

And finally, there’s the Opus Three, which Mr. Qian has nicknamed “City Light.” This model features more components displayed on the dial, enhancing its visual depth and evoking the view of buildings rising in a city. The balance wheel remains visible at 9 o’clock on the dial, now accompanied by an elegantly elongated swan-neck regulator that adds a romantic touch to the design. Notably, a beat-error regulator is also present on the dial.

Another highlight is the Split-Second Chronograph, which is cleverly designed with just a few components – another work that demonstrates his mechanical genius. Unfortunately, information on this watch is limited, as I have only seen it in a video interview with Mr. Qian at a watch fair in Hong Kong in 2023.

Huo Feile (霍飞乐)

Among the watchmakers featured in this third installment, Mr. Huo Feile stands out to me in a personal way. His passion, knowledge, and genuine humility are qualities I admire, and writing about him takes me back to what inspired me to become a watch journalist in the first place.

Born in 1964 and passing away earlier this year at 60, Huo Feile was another self-taught watchmaking genius from China – a man who held six patents internationally and much more.

Mr. Huo started his career as a machinery engineer specializing in aluminum alloy forging. His passion for mechanical watches, however, began early on, leading him to collect antique timepieces. But he soon felt that the joy of collecting was limited when he had to rely on workshops for repairs, so he took up the challenge to learn watch repair himself.

While repairing, Mr. Huo noticed that certain design choices and materials weren’t ideal, which stirred ideas about how things could be improved. That’s what ultimately led him into independent watchmaking – a path taken out of genuine curiosity and a desire to make things better. This sort of motivation is common among many great independent watchmakers.

Before delving into Mr. Huo’s creations, it’s essential to understand his involvement in the watch industry, which provides context for his works. As a skilled repairer, Mr. Huo possessed immense knowledge of various watches and movements. Equally noteworthy is his passion for collecting, similar to fellow watchmakers Mr. Kiu Tai Yu and Mr. Qian Guo Biao.

His collection primarily focuses on vintage Chinese market pocket watches, yet it also features wristwatches from both the vintage and modern eras. Notably, the Macao Timepiece Museum once hosted an exhibition showcasing Mr. Huo’s collection and creations, presenting dozens of exquisite watches and clocks to the public. This exhibition not only highlighted his contributions to horology but also underscored the significance of his work within the broader context of watchmaking. Some examples are shown below.

An interesting anecdote I came across during my research on Mr. Huo involves a conversation he had with two collectors regarding vintage Lemania 2310 chronograph movements. They all brought their own watches featuring the cal. 2310, resulting in a remarkable gathering of 31 pieces! Mr. Huo contributed 10 pieces from five different brands, with half being perpetual calendar chronographs.

Their discussion highlighted how various watchmakers utilized the cal. 2310, focusing on the strengths and weaknesses of different executions. It was impressive to see such a deep level of interest and knowledge among Chinese collectors, and it was heartening to witness the strong bonds formed through shared knowledge and passion for horology.

Mr. Huo’s commitment to sharing knowledge is perhaps best exemplified through his posts on forums, where he shared insights that he later compiled into a book. He also openly offered his expertise to others in the industry, helping to correct their technical weaknesses. Furthermore, Mr. Huo served as the president of the Macao Timepiece Society.

Now, let’s take a look at Mr. Huo’s three representative creations, all featuring patented construction, starting with Huo’s One “Floating Tourbillon.” This watch took Mr. Huo 16 years to perfect; he began designing a tourbillon without a cage or support in 2002 and successfully created a prototype movement in 2005. By 2017, he had refined his design and construction, ultimately securing a patent.

While it may resemble a flying tourbillon – lacking a bridge over the tourbillon – it is quite distinct. Firstly, there is no tourbillon cage; the balance wheel simply beats above the dial. Secondly, the balance wheel and balance spring exist on two separate levels, positioned quite far apart. Mr. Huo’s design includes S-shaped spokes within the balance wheel (a space typically occupied by the balance spring), which helps reduce size changes due to temperature fluctuations, thus enhancing precision. More importantly, it is visually striking due to its simplicity, openness, and impressive depth. The floating effect is cleverly achieved through the use of transparent plates that secure the upper shock absorber of the balance wheel.

There are a few versions of Huo’s One. I’ve seen examples featuring a base movement from Seagull, as well as later iterations at the Macao Timepiece Museum, where the base movement was reportedly done in-house. Regardless of the movement, the construction of the floating tourbillon remains the same, and that is what truly matters.

Huo’s Two debuted in 2018 and is a time-only watch that appears quite simple at first glance. However, it is noteworthy for being the world’s simplest jumping seconds watch. Mr. Huo utilized only four components to create the deadbeat seconds mechanism: two wheels and two lever springs, which required extensive time to develop and refine.

This design rivals the existing simplest deadbeat seconds movement, the Chezard 7400 from the 1950s, which also consists of four parts but uses three wheels and one spring. In essence, while both constructions achieve the same goal, they do so through different mechanisms. This construction has also been granted a patent, with more details available here.

Huo’s Three is significantly more complex as it is a resonance watch! Various watchmakers have explored resonance, primarily focusing on how to couple or transmit energy between the two balance springs. For example, F.P. Journe utilizes a movement plate for transmission, while later examples from Armin Strom advanced the concept with a mechanical coupling between the two balance wheels. 

Mr. Huo’s approach is similarly direct; he invented a “see-saw” mechanism that connects the two balance wheels, which has also been patented. Note that the movement is based on Seagull calibers, but considering the achievement of resonance, it is fair to say that in this case, the external movement does not detract from the watch’s appeal.

His movement is impressive and speaks for itself, but the beauty of his finishing and the construction of the case and dial is also noteworthy. I’ve seen videos of these watches, and they appear clean, simple, and executed to a standard that rivals some international brands. This quality likely stems from Mr. Huo’s deep understanding of the strengths and weaknesses of watchmaking in China.

In an interview, he pointed out two significant issues facing the Chinese market: a lack of understanding about watchmaking and a tendency to idolize foreign (European) production. He acknowledged that while Chinese technology is still behind Swiss standards, the gap has been closing. Chinese watchmakers can create all necessary complications but often struggle with achieving beauty and refinement. Nonetheless, Mr. Huo expressed optimism about the future, noting the significant improvements in Chinese watchmaking over the past decade.

Logan Kuan Rao 饶宽

Perhaps the youngest of the group, Logan Kuan Rao is a self-taught watchmaker who graduated from university just a few years ago. His material engineering studies certainly aid his skills in parts production, yet it’s his deep passion for watches – he’s an avid collector – and his immersion in traditional Chinese philosophy that truly shape his designs.

Logan’s best-known example is his very first watch, the Ocra, which features a memorable movement design with a bridge resembling a whale. It strikes a nice balance with just enough detail to stand out while maintaining a minimalist layout to avoid overkill.

In addition to the design, his creation is backed by solid workmanship. He hand-made the bridges and plates using traditional tools and techniques, sourcing smaller parts like hairsprings and jewels from a larger watch factory. This is typical of independent watchmakers and puts him on par with many high-end peers from Europe.

Another highlight is his finishing, which is done traditionally according to Swiss standards. While it is well-executed, there is still room for improvement in quality.

His first watch fits the formula that put him on the map – originality and decent workmanship – but his second watch, the Iceberg (prototype) or Wu Wei (production version), is where his character truly shines.

While it continues the design language of the case and dial – done quite well, even better than many of his peers in China – the movement takes a diametrically opposite approach to the Ocra.

The movement in the Iceberg bravely retains the crude, original look of a handmade watch, featuring simple geometries on the bridge that signal manual cutting rather than CNC machining. He even left the finishing in a raw format, yet it is visually appealing. This is no small feat; while it’s easy to create something refined and attractive, achieving an appealing crude and natural look in a mechanical watch requires a keen eye.

The answer lies in the naming of the watch. Logan named the final version of his second watch Wu Wei. Wuwei 无为 was a concept raised by Laozi over 2,500 years ago. It’s not a simple concept to understand or explain in just a few words – scholars have debated it for millennia – but to simplify, it encourages acting in a natural manner without force. This philosophy mirrors his movement layout and finishing.

However, Wu Wei does not equate to inaction. Logan injects his thoughts and skills whenever necessary, as seen in his invention of the now-patented Equal Push Escapement, which adds a joint lever to the Co-Axial Escapement developed by George Daniels. This escapement requires larger components and a low frequency, making it unsuitable for a wristwatch, so it remains in the prototype Iceberg, while the production version Wu Wei features a Swiss lever escapement.

While the production version didn’t feature the patented escapement, the dial received an update with a logo at three o’clock that mirrors the small seconds at nine o’clock. Notably, the logo showcases an ancient seal script of the watch’s Chinese name. This is one of the rare examples where Chinese characters blend in so well and it’s a feat. Logan is an up-and-coming watchmaker who shows great promise in every aspect. What he needs to elevate himself from good to great is perhaps just a pure heart dedicated to the art of watchmaking, which he already possesses and simply needs to maintain.

Qin Gan 秦干

Undoubtedly the most famous of the group, Qin Gan is a watchmaker who strikes a balance with a combination of the most desirable qualities today: simple, elegant design and very high-quality finishing.

It may not be necessary to elaborate on how well-crafted Qin Gan’s watches are; it is self-explanatory – much like Akrivia’s renowned finishing. He created the Pastorale series using a movement based on the vintage Longines cal. 30L. Mr. Qin has put significant effort into redesigning the bridges and plates for better visibility of the finishing, using high-quality materials like German silver. He sources parts from Chinese suppliers and refines them greatly with his finishing techniques.

Notably, the decoration extends beyond the movement. For instance, the sterling silver dial features markings that are initially engraved and then filled with black enamel, which is set by firing in an oven.

It must be said that the final result is truly stunning from a visual standpoint. His dial and case design are also on point. However, watches like this are not the most exciting from an independent watchmaker.

That said, credit where credit is due – Mr. Qin has successfully refined the Pastorale series, and it’s quite well done. There are subtle changes to the bridge design and finishing that may not be immediately apparent, but the overall effect has improved from his prototype to Series One and now to Series Two. This level of refinement requires a keen eye and a great deal of patience.

Make no mistake, a watch like the Pastorale is a fine timepiece in its own right, but in the context of today’s world – where many newcomers in the independent sphere focus on refining existing movements with outsourced parts – it has become part of the typical formula for quick success, slightly diminishing its appeal. When good things become predictable, they lose some of their charm.

Another point to consider is that the spirit of independent watchmaking extends beyond mere finishing. While that takes hard work and practice, collectors seek watches that evoke happiness, those that break free from the typical conglomerate style – calculative and tailored to market demands while charging premium prices for them.

Fortunately, Mr. Qin is more than just that. However, another side of his story is less well-known. Born into a family of watchmakers, he learned his trade from his father and has gained recognition in the circle of antique watch restoration. He was even a restorer at Poly Auction in Hong Kong.

Mr. Qin has created a series of very interesting watches featuring good designs and complications, and it’s unfortunate that these creations haven’t received the same recognition. He once revealed that many of his pieces didn’t fit the international taste, which is why he created the Pastorale. But these other pieces are stunning! Just look at the following examples.

One watch features an open dial that reveals the mechanics, with a small mechanical dragonfly automaton at seven o’clock that flaps upon activation. Another version of this watch is even more impressive, showcasing a retrograde minute. Mr. Qin has also crafted another dragonfly watch that includes a tourbillon.

Now that Mr. Qin has established his name with the Pastorale, I can’t wait to see him bring back these incredible creations – provided he has the time to finish the waitlist and resume working on them. 

Mineroci (曲昶)

Last but not least we have Mineroci. Founded in 2018 as an offshoot of the design firm Roci, Mineroci is more of an independent brand than a pure watchmaker, but what they’re doing shows promise.

One of the impressive things about Mineroci is their full-fledged workshop, equipped with a wide range of production capabilities – from movement design to parts production and finishing. For instance, they’ve developed their own silicon escapement, including the balance wheel, pallet fork, escape wheel, and even the hairspring, along with the testing and assembly of these components. This speaks volumes about their capabilities.

Naturally, what collectors care about most is the quality of the watches themselves, and Mineroci doesn’t disappoint. If you had to sum it up, movement finishing would be the highlight. Their movements are based on tried-and-true ETA 6497 designs and are finished to a high standard, but there’s more beneath the surface.

In an interview at their workshop, Mineroci’s founder shared that the brand has a full set of software and machinery for designing and producing movements. They don’t simply buy ETA 6497 ebauche and refinish it; instead, they use the ETA 6497 gear train layout as a starting point and recreate it from scratch. This includes redesigning bridges, selecting materials, and producing parts. Mineroci’s openness about their approach is refreshing, and it’s clear that this hands-on experience with movement-making will benefit them. Over time, they could develop their own movements instead of relying on ebauches or clones from other factories.

Mineroci’s attention to finishing is perhaps the most impressive part of their work. Their detail work rivals typical Swiss standards, with all visible and hidden components meticulously attended to. Even the foundational finishing, like the perlage on the bridges, is skillfully done. The polished bevels showcase sharp and precise interior and exterior angles, adding a fine touch to the final product.

While movement finishing alone is no longer the defining mark of independent watchmaking, and good finishing doesn’t necessarily equate to good watchmaking, Mineroci manages to remain appealing. This is because they take the time to create quality pieces without prioritizing commercial success – at least for now. For example, they spent three years developing the ETA 6497 from scratch, perfecting each detail of construction and finishing. Even now, they produce only 15 to 20 movements a year.

In many ways, Mineroci is similar to Qin Gan, as both take existing movements and redesign them with improved bridges while refining them with high-quality finishing. However, Qin Gan benefits from a better understanding of complex mechanics due to his extensive experience with vintage watch restoration, while Mineroci excels in in-house high-tech production. Qin Gan can continue to rise as a top independent watchmaker of exotic pieces, while Mineroci has the potential to become a notable independent brand in the future.

Concluding thoughts

We’ve now come to the end of our coverage of Chinese independent watchmakers, and it must be said that there are a surprising number of artisans not known outside of China. We extend a sincere apology to the many watchmakers we couldn’t cover due to limited information. We will continue to spotlight their work whenever possible in the future

After reviewing the three generations of independent watchmakers in China, here are a few observations I’ve made.

First, there is an incredible group of self-taught watchmakers who have persisted over the years, if not decades, to fulfill their dreams, and they shine brightly. This spirit may be somewhat of a relic of the past due to societal conditions – self-teaching becomes necessary when information isn’t widely available, and watchmaking schools or workshops aren’t common. Many of the Chinese independents belong to this category. These watchmakers, ranging from Kiu Tai Yu to Huo Feile, have my utmost respect. 

To my surprise, there are still young self-taught individuals in this field. In a world where many processes, such as production, can be accelerated through supply chains, there are still watchmakers who take joy in a slower, old-school approach. Logan Kuan Rao, a talented individual in his mid-twenties, serves as a sterling example.

Second, the field of independent watchmaking in China is quite broad, as it should be, because the collecting landscape is diverse – there are various tastes among collectors and different price points. While it may be tempting to compare and judge these watchmakers, let’s not forget to evaluate them holistically by considering how well they serve their particular niches. There’s no point in criticizing them for not achieving what they do not aim for when they excel in their specific range.

In fact, it is this rich variety of independent characters that makes the field of independent watchmaking endlessly fascinating.

For example, among the Chinese independents, we have seen some striving to create complex complications in watches and clocks, while others focus on movement finishing. Some independent watchmakers seek to balance both aspects in their unique style and design language. Additionally, we observe watchmakers dedicated to in-house reproduction using modern machinery, alongside those who prefer to produce parts by hand. Above all, many are committed to teaching, whether formally in a watch factory or informally by engaging with younger watchmakers or participating in forums. The diversity and supportive community among Chinese independent watchmakers reflect a promising future, much like the broad landscape of the European watch industry.

Finally, the quality of independent watchmaking in China is higher than many might expect. Just look at the number of AHCI members we’ve covered, along with numerous emerging talents who have built strong reputations even without formal accolades. Today’s vibrant scene is promising, hinting that the future will be even more exciting with these individuals as its foundation.