In recent years, independent watchmaking in China has begun to gain momentum, mirroring a similar movement in the West. Some of these watchmakers, such as Qin Gan, have garnered international acclaim, drawing greater recognition to Chinese watchmaking on the global stage. Their work has reshaped perceptions, challenging long-held assumptions about the quality and creativity of watches produced in China. This surge in interest presents an ideal opportunity to delve deeper into the world of independent Chinese watchmakers, each of whom brings a distinct vision and style to their craft.

However, to fully appreciate the modern wave of Chinese independents, it is essential to understand the historical context that laid the foundation for this emergence. By exploring the country’s past achievements and challenges, we gain a richer understanding of the evolution of timekeeping in China—one that spans from its golden era to periods of decline, and now, to a promising future. This historical perspective allows us to better recognize the significance of today’s independent watchmakers and their contributions to the global horological landscape.

A brief history

The history of Chinese timekeeping is a long and interesting one, having gone through many different phases. It certainly deserves a separate, in-depth exploration, but for the purposes of this discussion on independent watchmaking, we will cover it briefly.

In the very early days, like many other ancient civilizations, the Chinese invented tools to track the passage of time, seasons, and celestial events. Examples include sundials and water clocks. As a society with a strong agricultural foundation, timekeeping in ancient China was heavily oriented toward tracking seasonal changes to optimize farming practices.

However, this didn’t stop China from advancing towards more mechanized clocks. In the 1st century during the Han Dynasty, scientist Zhang Heng（张衡）invented the armillary sphere, which was primarily an astronomical model rather than a timekeeping tool.

A few centuries later, during the Tang Dynasty in the eighth century, Yi Xing（一行）, a monk as well as a mathematician, astronomer, and engineer, took Zhang Heng’s concept and refined the clock. According to British historian Joseph Needham in his epic series Science and Civilisation in China, Yi Xing also contributed to the development of a device that constituted the ancestor of all escapements – the water-wheel escapement. This was one of the earliest documented uses of an escapement, predating the verge escapement, which appeared in the 13th century, by several centuries.

The evolution of the escapement eventually led to the creation of the remarkable Astronomical Clock Tower（水运仪象台）, completed by Su Song（苏颂）during the Song Dynasty in the 11th century. This hydro-mechanical clock was a marvel, standing 12 meters tall with a pagoda facade and an armillary sphere at the top. It not only kept time but also displayed planetary motions and chimed bells at mechanically programmed intervals, such as annually and every 15 minutes. Additionally, it featured automata that performed various functions, including ringing bells, striking gongs, and beating drums.

In the mid-16th century, European clockmaking advanced significantly. By the end of the Ming Dynasty, European traders and missionaries brought smaller, more advanced clocks to China. Fueled by a growing interest in collecting, coastal regions like Yuegang in Zhangzhou, Fujian, witnessed local artisans creating clocks based on these imported models. A travelog by a poet from the late-Ming era, 《露書》 (Lùshū), mentioned that the local people in Zhangzhou were able to recreate the imported striking clocks.

The Qing Dynasty saw a high point in clock making and collecting, with even the imperial court developing a keen interest. The emperor established a dedicated workshop within the palace – the Hall of Clocks and Watches – for clock making and repair, a site now preserved as a museum. Towards the late Qing Dynasty, clockmaking expanded beyond the imperial court, gaining widespread popularity and leading to the establishment of numerous clockmaking companies across China.

However, the first Chinese watch with a lever escapement did not arrive until much later. Due to limitations in production technology, this milestone was only achieved in 1955, marking the beginning of modern watchmaking in China.

Before 1955, watchmakers in China were able to produce anchor escapements, which were more commonly used in clocks, but not lever escapements for watches. However, four watchmakers – Mr. Jiang, Mr. Sun, Mr. Wang, and Mr. Zhang – received a budget of 100 Chinese Yuan from the government to experiment with lever escapements. They gathered in a small room with simple machines and set out to create a movement with 140 parts. As a result, most of the components had to be handcrafted. Their efforts were successful – in March 1955, they created the first modern wristwatch in China with a lever escapement, marking the end of the era when the government believed the country was only capable of repairing clocks but not producing watches. Appropriately, the watch was named “Five Star” to signify its historical importance.

And this is also why many of the well-known Chinese watch factories were established in the 1950s. For example, the Tianjin Watch Factory (now more commonly known as the Seagull) was established in 1955. Another example is the Shanghai Watch factory, which was established in 1956.

While the majority of Chinese watchmaking in recent decades has focused on producing affordable, practical timepieces for everyday wear, a small but dedicated group of watchmakers is pushing the boundaries of the industry. These pioneers can be categorized into two groups: independent watchmakers and large-scale manufacturers.

Independent watchmakers, such as the groundbreaking Kiu Tai Yu, who created the first tourbillon by an Asian watchmaker in 1991, are at the forefront of innovation. On the other hand, established manufacturers like Seagull are also venturing into high-end complications, producing limited quantities of timepieces featuring tourbillons and minute repeaters

Today, the Chinese independent watchmaking scene is experiencing an unprecedented boom. Analyzing the performance of these diverse independent watchmakers offers valuable insights into the potential trajectory of Chinese high-end watchmaking. Let’s delve deeper into this burgeoning sector.

A note on the independent spirit

Before we begin, it’s helpful to revisit why we value independent watchmakers and understand when we can rightfully categorize them as “indie”.

There are two primary reasons for this. First, independent watchmakers are able to devote more time to manual craftsmanship. Unlike large companies, particularly those within conglomerates driven by the need to satisfy numerous shareholders, independent watchmakers have greater freedom to control how much time they spend on each watch. This allows them to engage in manual work, whether it’s crafting or decorating parts, which distinguishes them from major brands. Consider the meticulous finishing of a movement by Philippe Dufour, the exotic escapements made by Derek Pratt and George Daniels, or Roger Smith’s hand making of components.

Second, and perhaps more importantly, independent watchmaking often embodies a stronger sense of individuality. The watchmaker’s personal knowledge, preferences, character, and worldview are more evident in their creations compared to those of larger brands, which must cater to a broader customer base and maintain a more neutral stance. This individuality is vividly showcased in the works of brands like MB&F, Urwerk, and Alain Silberstein. It’s this distinctiveness that makes independent watchmaking so captivating.

Of course, combining original ideas with exceptional workmanship ensures that a watchmaker will be remembered in history.

In recent years, the growing demand for independent watchmaking has led to significant support for a wide range of watchmakers – support that the pioneers of independent watchmaking did not always receive. However, this has also meant that some watchmakers, who may lack a distinctive independent character, are gaining support as long as their work aligns with current market tastes. Discussing this topic is not meant to diminish any of the independent brands but to help readers better appreciate the truly exceptional ones.

The pioneers

Let’s now explore the independent watchmakers in China, which we can categorize into three distinct types. First are the pioneers, who were among the earliest to practice independent watchmaking in China – notably around the same time as the early indies in the West. The second category includes modern independents who focus on developing movements, while the third comprises those who specialize in decorative aspects.

Among the pioneers, two prominent figures are the late Mr. Kiu Tai Yu and Mr. Tan Zehua, who remains active in the field.

Kiu Tai Yu（矫大羽）

Mr. Kiu Tai Yu was born in 1946 in mainland China into a family deeply rooted in traditional Chinese art. His father was a renowned engraving artist and a member of the Xiling Seal Art Society（西泠印社）, an association founded in 1904 and still considered the most prestigious of its kind. The fact that its first chairman was Wu Changshuo（吴昌硕）speaks volumes. His mother, on the other hand, was skilled in calligraphy. Naturally, Mr. Kiu embraced the art and philosophy of traditional Chinese calligraphy and engraving, as reflected in his work and later in his watches.

As a side note, Mr. Kiu’s seal carving skills were so good that he managed to carve a mold for a badge featuring Mao Zedong. These badges were highly prized during the Cultural Revolution, but they were also rare because achieving accurate details wasn’t easy. Mr. Kiu essentially led the creation of the very first badge of this kind in Suzhou. Interestingly, because he handcrafted around 30 sets of molds, he decided to leave his mark by engraving his name on the back of a stamp. This was a bold move, and fortunately, there were no repercussions.

His interest in watchmaking began at the age of 12 when he first encountered mechanical watches. His career started at the Suzhou Watch Factory, where he honed his skills and built his first mechanical watch in 1970 at the age of 24. He later moved to Hong Kong in 1980, where he spent a decade working at a watch repair shop. During this period, Mr. Kiu acquired numerous pocket watches, which he disassembled to study. This hands-on experience provided him with a deep understanding of watchmaking and a historical perspective on pocket watches. His expertise eventually culminated in the publication of Time In Pocket, a book documenting over 80 Chinese-market pocket watches from his collection. According to his daughter, Ms. Peony, Mr. Kiu taught himself various watchmaking skills during this time, including engraving and lathe work.

When the repair shop closed after ten years, Mr. Kiu seized the opportunity to open his own shop, Kew & Cie.（天仪轩）, named in tribute to Su Song’s groundbreaking astronomical clock. At this workshop, he repaired, bought, and sold vintage watches. A pivotal moment in his career came in 1990 when he visited the Baselworld fair and encountered a tourbillon watch. This experience fueled his determination to create one himself.

And so he did. Within a year, Mr. Kiu debuted his own tourbillon watch, made using traditional tools he had sourced from the market. This achievement is widely recognized as the first tourbillon made in Asia. His success led to his acceptance as a member of the Académie Horlogère des Créateurs Indépendants (AHCI), an association founded by Svend Andersen and Vincent Calabrese. This occurred in 1992, following the memberships of George Daniels in 1987 and F.P. Journe in 1988, and preceding Philippe Dufour’s admission in 1997 – all of whom are among the earliest members of the prestigious group.

More importantly, as a true master, Mr. Kiu didn’t keep the art of making tourbillons to himself. He dedicated his entire life to watchmaking and teaching, not only in Hong Kong but also in Macau and mainland China. During the day, he attended classes, meetings, and presentations, often working on his watches until 3 or 4 a.m. For example, he played a crucial role in helping Chinese watch factories develop the necessary expertise. The Seagull factory even established a dedicated tourbillon workshop for him, and as a result, several watch factories in China have since become capable of producing tourbillons.

Mr. Kiu, however, didn’t stop at creating a conventional tourbillon (even though having a tourbillon in a wristwatch was far from conventional in the 1990s). His true genius in watchmaking was fully revealed in his next debut, the Mystery Tourbillon. This was a tourbillon that seemed to eliminate not only the bridge but also the cage. While hiding the bridge can be achieved with a flying tourbillon, concealing the cage is another challenge entirely. Mr. Kiu’s solution was to ‘hide’ the bridge using a see-through sapphire component and simplify the design of the cage by locating it beneath the balance wheel. The Mystery Tourbillon was a true highlight of Mr. Kiu’s career, and it is his independent, creative thinking and technical prowess that make him difficult to surpass, even decades later.

Another significant highlight of Mr. Kiu’s work is his design. We must remember it was the 1990s when even the most classical independent watchmakers struggled to sell their watches due to low visibility and fierce competition from major brands. Mr. Kiu, however, did not attempt to cater to the market by imitating classical European styles. His watches were deeply personal. The case, the dial, and all the decorative elements are instantly identifiable as his work, no matter how much time has passed. The case is thick and majestic, and the dial is beautifully traditional. Notably, many of his watches are unique pieces, treating watchmaking as a canvas for artistic expression rather than just tools to be produced in series.

Some may find his style overly lavish, but this aesthetic was prevalent in mid to late 20th-century societies – think of the famille rose “Mun Shou” dining ware series that was common in many Chinese households. That said, the over-the-top dials seem to appear only on the time-only watches, while the tourbillons are more reserved and high-class, though all of them are strictly Chinese in style.

Mr. Kiu’s designs were both a product of the era’s style and his own interpretation of Chinese and European aesthetics. His confidence and persistence in his unique design approach truly make his independent character stand out, which was perhaps just as important as his technical prowess. When looking at his watch, one can’t help but feel that every curve of the case and every stroke on the dial carries a strong energy of life, an energy from someone who refuses to bow to anyone. This reveals his identity, and such originality is particularly difficult to surpass today, as it is challenging for watchmakers to remain steadfast when the internet can so easily sway opinions on any topic.

Tan Zehua（谭泽华）

Mr. Tan Zehua was born in 1953 into a family of watchmakers, beginning his apprenticeship with his father at the age of 13 in 1966. He later worked at a watch factory before opening his own workshop in 1980. While his career initially focused on repairing antique clocks, he began venturing into independent watchmaking in recent years.

Like Mr. Kiu, Mr. Tan is a well-rounded watchmaker with a deep understanding of both the front and back of a watch, reflecting his traditional training. The highlight of Mr. Tan’s work is his development of both movements and watchmaking tools. Over the past decade, he has created four distinct movements, incorporating various mechanisms, including a power-storage system and a new escapement that is currently patent-pending. Alongside this, he has also made several tools, such as a guilloche engine and a Côtes de Genève machine.

Mr. Tan’s very first watch, the Work No. 1, drew inspiration from vintage pocket watches but was reimagined to fit into a wristwatch. This involved incorporating a sizable 16 mm balance wheel into a pocket watch design. The balance wheel’s size meant that the movement could not simply replicate the traditional pocket watch mechanism, as it would be too large for the watch case. To address this, Mr. Tan redesigned the movement by positioning the balance above other components, including the bridges. This adjustment made Mr. Tan’s watch stand out from many modern independent watches, which, while often perfect in execution, can sometimes lack the same depth in movement, design, and finishing.

His second and third watches focused on extending the power reserve to 10 days while keeping the watch as thin and accurate as possible. He achieved the extended power reserve with a patented gear train system. For accuracy, he added an extra barrel that doesn’t increase the power reserve but acts as a buffer to help regulate the twin barrels, similar to a constant force mechanism.

Finally, his latest movement features the Di-Axial escapement, a patent-pending design inspired by the Co-Axial escapement. While the Co-Axial escapement combines the locking jewel and impulse jewel on the same fork, the Di-Axial escapement separates these components. According to Mr. Tan, using distinct parts for the locking and impulse jewels allows for symmetrical parts of the same size and shape, resulting in a more balanced drive and more reliable operation.

Mr. Tan officially joined the AHCI as a member in 2019, making him one of only three Chinese watchmakers to be part of this group. Please look forward to the next installment, where we will cover the third watchmaker.