Micro time, macro impact: How microbrands are rewriting luxury watchmaking rules

There’s a quiet revolution happening on wrists around the world, and it’s rewriting the rules of luxury watchmaking. Despite the demand for centuries-old legacies, a new breed of watchmakers is emerging, challenging the established order, one crafted timepiece at a time. We’re talking, of course, about microbrands—but what exactly are they? Simply a smaller, budget- friendly alternative to the titans of horology, or a distinct category redefining the essence of luxury? The truth is layered.

For Piano Chow, founder of Hong Kong watch boutique The Lavish Attic that specialises in retail and education around Independent watchmakers, when thinking of a luxury watch microbrand, “The first thing that comes to mind is that it should bea mechanical watch [which are traditionally considered expensive]; then, defining the ‘luxury’ aspect involves considering both value and volume.” According to Chow, the limited production numbers are key because scarcity elevates the sense of exclusivity and, therefore, luxury. “This isn’t to say that price isn’t a factor; a higher price point can certainly reinforce the luxury aspect.

So, in my opinion, it’s this mix of limited availability combined with demonstrable value that defines a luxury watch microbrand. It’s about possessing something special and not widely accessible.” She further emphasises that microbrands have the potential to offer customisation, so are more personalised, “which is difficult to get in traditional watches unless you have a considerable budget”.

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Johnathan Chan and Helbert Tsang of The Horology Club (Photo: courtesy of The Horology Club)

Johnathan Chan, co-founder of The Horology Club in Hong Kong, offers another perspective. “A microbrand is any brand that has a very short history—anything [launched] within, say, five years,” he explains. Chan also highlights pricing as a critical factor: microbrand watches should be “relatively affordable. If a new brand starts coming out and then they’re selling US$20,000 or US$30,000 launches, I wouldn’t necessarily call them a microbrand.”

Chan’s club co-founder Helbert Tsang adds that independence is a defining trait of microbrands. “The length of existence may not have as much of a bearing for me,” he explains. “It needs to be an independent brand or a brand that does not belong to a big group.

I think that’s a key component.” Like Chan, Tsang also emphasises that price is an important factor: “Below 10,000 Swiss francs would probably be what people would normally categorise in their head as a microbrand [price].” He sees microbrands as primarily focused on delivering value within this price range while maintaining their independence from larger corporate entities.

Robin Talendier, of independent watchmaker Atelier Wen, introduces another layer to the conversation by distinguishing between traditional microbrands and what he calls “accessible independents”. He argues that accessible independents represent premium or luxury microbrands with differentiating factors such as craftsmanship or exceptional creativity. “To me, the main differentiator between an accessible independent and a regular microbrand is having an element of craft—something that embodies the independence traditionally associated with watchmaking”, like working on each aspect of the watch independently, he says.

He also highlights creativity as a key factor, citing Malaysia-based Ming Watches as an example: “Their early releases didn’t involve much craft, but the creativity they delivered was so striking that it elevated them far beyond what one would expect from a typical microbrand.”

Piano Chow of The Lavish Attic (Photo: courtesy of Piano Chow)

Simply put, “All microbrands are independent watchmakers, but not all independent brands are microbrands,” says Chow. So it’s safe to say that microbrands are independent watch companies that operate on a more intimate scale. Think limited production runs, often numbering in the hundreds rather than the thousands churned out by legacy brands that have been around for generations.

Chow gives the examples of Barcelona-based indie watchmaker Atelier de Chronométrie (AdC) and one-man band Switzerland-based Krayon: “AdC in Spain produces only about 10 pieces per year, while Krayon produces fewer than 50 annually.” Krayon launched its first watch in 2017 after years of research and development “and has produced just over 100 pieces to date”. “This extreme focus on low-volume production is a defining characteristic of microbrands compared to larger independent brands,” Chow says. Their distribution model shuns the traditional retail network, opting instead for a direct-to-consumer approach that leverages the power of the internet and social media.

At their core, microbrands are driven by a passion for unique design, a willingness to experiment and a dedication to connecting directly with the watch-loving community. In essence, it’s a recipe that’s turning the watch world on its head.

The genesis of the microbrand movement can be traced back to the early 2000s, coinciding with the rise of e-commerce and crowdfunding platforms. Platforms like Kickstarter and Shopify provided aspiring watchmakers with a lifeline, allowing them to bypass the traditional barriers to entry such as exorbitant start-up costs and the complexities of retail partnerships. Today, many microbrands share manufacturing resources with established brands, meaning they can source premium components from the same suppliers and achieve similarly high quality.

Robin Talendier of Atelier Wen (Photo: courtesy of Robin Talendier / Atelier Wen)

This accessibility has democratised watchmaking, allowing enthusiasts to transform their visions into tangible realities. But microbrands also offer something that many larger brands struggle to provide: a sense of exclusivity, a commitment to creativity, and a personal connection with the people who wear their watches. Many microbrand founders are themselves passionate collectors, designing pieces that cater to niche tastes and pushing the boundaries of what’s possible.

Take Anordain (styled anOrdain), for example, the Glasgow-based brand famed for its vibrant, handcrafted enamel dials; or New York’s Autodromo, which combines vintage automotive aesthetics with modern watchmaking sensibilities. Talendier says, “Anordain built their identity around a specific craft: enamelling. By mastering this high-end technique, they’ve managed to make it accessible, while still showcasing exceptional craftsmanship. This is why they’re considered an independent luxury microbrand. Their enamel dials bring a traditional, high-level craft into a more attainable segment.” Talendier also highlights Japanese brand Kurono Tokyo: “Kurono Tokyo plays a similar game with their lacquer and Urushi dials. They take genuine, traditional craftsmanship and adapt it for a broader audience.”

The combination of excellent design at relatively reasonable prices means younger collectors are more likely and able to get involved. Tsang says, “Microbrands tend to focus on the design, but all the production is outsourced rather than in-house,” affording them a more competitive edge in terms of price than other independent watchmakers. Some watchmakers, such as British-designed Christopher Ward, have built a devoted following through transparent pricing and design innovations; as the brand continues to release new models, sell-outs are the norm.

The numbers speak for themselves. According to a report by market research firm Grand View Research, the global luxury watch market was valued at a staggering US$42.21 billion in 2022, with projections indicating a steady growth rate of approximately 5 per cent annually until 2030. While microbrands represent a small slice of this pie, their influence is relatively outsized.

There are hurdles, of course. Tsang says the challenge is how to create an identity, not just one single watch. “You may have a killer debut, but just like a musical artist, you might get second album syndrome, where you can’t follow up with anything [as great],” he says. “So how do you, from the start, create a really great brand identity, so that people don’t just purchase one watch, but collect all the future releases that you come up with as well, and create that community around your brand.”

Other issues include maintaining consistent quality, especially when relying on third-party manufacturers; as well as other creators. With a flood of new brands entering the market, competition is fierce. “Not every microbrand will survive, as some are hindered by a lack of financial planning or a product line that doesn’t measure up to the competition,” Tsang says.

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Krayon movement (Photo: courtesy of Krayon)

Perception creates another obstacle: the term “microbrand” can sometimes carry negative connotations, conjuring images of poorly executed Kickstarter campaigns that overpromise and underdeliver. This is changing, however; certain British watch brands, such as, Schofield and Studio Underd0g, have solidified their presence in the watch market.

Chow says that brands like Krayon are also changing the conversation around the quality of microbrand timepieces. “Krayon is remarkable because of the couple behind it. Rémi, a mechanical engineer, was so vital to high complication development at Cartier that they closed the department after he left,” she says. “His wife, Faye, worked in R&D at Rolex. They brought a systematic approach from those big groups to Krayon, focusing on unique sunrise and sunset complications. They’re completely independent, and even the head of LVMH has praised them in one of his interviews.”

Ultimately, microbrands are challenging the traditional definition of luxury. They’re shifting the focus from brand heritage and status to craftsmanship, individuality and a more authentic connection with customers. It’s a shift that resonates with a new generation of collectors who value substance over branding, quality over hype.

The continuing success of such brands, however, will depend on their ability to navigate the challenges of scaling, maintaining quality and staying true to their unique vision. “You need to have conviction, your ideas, your principles, and stick with them,” says Talendier. “The end result [then will always be] something unique, very genuine, with a real story to tell—and that is, in my opinion, impactful.”

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