Having already been revealed as a one-off for Only Watch 2021 – that sold for a record CHF800,000 – the Rexhep Rexhepi Chronomètre Contemporain II (RRCCII) has now made it into regular production, albeit as a limited edition.

The standard RRCC II is identical to the example made for Only Watch, save for the dial. Inside is the RRCC02, an all-new calibre with twin going trains as well as an independently-driven deadbeat seconds with hacking and zero-reset functions. And the dial is a two-piece affair in fired enamel – black for the platinum model and translucent white for the gold.

Initial thoughts

With the first edition having become the signature watch of Akrivia, it’s no surprise that the RRCCII continues down the same road in terms of design. But the RRCCII is not just a facelift; it is an entirely new watch. The movement is a new construction in both layout and complications, while none of the case components are interchangeable between the two generations.

At the same time, the movement decoration – the most easily observed quality of Akrivia watches – has been refined. It is impressively executed and even exaggerated in some respects. The bevelling on the bridges, for example, is remarkably broad for a relatively thin watch.

The degree of technical advancement from the first to second editions is impressive and demonstrates Mr Rexhepi’s pursuit of progress despite his brand’s tremendous success.

The RRCC02 is instantly recognisable as a new calibre with its twin barrels

Over on the front, the changes are more gradual but once again show the evolution of the brand’s style. The enamel dials for both versions have nuances in their design and finish that were not found on the dials of the first generation.

The dial on the gold model, for instance, is not a bright, glossy white, but is instead slightly translucent and matched with deep purple hands. And the platinum version has a grey enamel register finish with a hand-engraved gratte pattern.

The platinum model has a black enamel dial with a seconds sub-dial in translucent grey enamel revealing the “grated” engraving below

Same but different

With almost the same dimensions, the RRCCII is almost indistinguishable from its predecessor except when compared side by side. The RRCCII retains the same 38 mm diameter, though it is slightly thinner at 8.75 mm.

The overall form and design of the case has been preserved, though every element has been refined. The lugs, for instance, are slightly slimmer and gain a more pronounced curve. And the bezel has been narrowed, giving the case a more elegant profile.

In the same vein, the dial continues with the sector-inspired design of the original, but with a few tweaks. The markings on the main dial are finer, while the markings on the seconds register have been made heavier.

The dial is still traditional fired enamel, but its construction has been improved to do away with the retaining ring for the seconds, which is slightly recessed and soldered to the main dial.

The pink gold model has a white enamel dial with hands heat treated hands to a purple finish

The most substantive improvement is in the movement, which is an entirely new calibre developed to inherit the aesthetics of the original but nothing else. Even the balance wheel is entirely new, having been designed to be similar in size yet boast higher inertia.

While the original was a single-train movement, the RRCC02 has twin mainsprings and twin going trains. One train powers the escapement, while the other supplies energy to the independent jumping seconds.

The seconds, however, does more than just jump. It also features a hacking, zero-reset function: pulling the crown to set the time stops the seconds and sends it back to 12 o’clock.

And of course the decoration has been enhanced. The bridges have anglage so wide that the bevelling is broader than the straight-grained flanks. Another flourish is the black polished steel bridge for the seconds wheel, which complements the black polished steel cap for the balance cock.

Key facts and price

Akrivia Rexhep Rexhepi Chronomètre Contemporain II
Ref. RRCCII

Diameter: 38 mm
Height: 8.75 mm
Material: Platinum or 18k rose gold
Crystal: Sapphire
Water resistance: 100 m

Movement: RRCC02
Functions: Hours, minutes, and seconds with hacking and zero-reset functions
Frequency: 21,600 beats per hour (3 Hz)
Winding: Hand wind
Power reserve: 82 hours

Strap: Calfskin with pin buckle

Limited edition: 50 in each metal
Availability: Direct from Akrivia
Price: On request

For more, visit Akrivia.com.

The first Chronomètre Contemporain was the watch that vaulted Rexhep Rexhepi into the top league of independent watchmaking. Now the young watchmaker has debuted the followup, first as a unique example for Only Watch 2021.

The Rexhep Rexhepi Chronomètre Contemporain II (RRCC II) resembles its predecessor inside and out, yet is entirely different in every aspect, from movement construction to the geometry of the lugs. But what it does share with the RRCC I is a gorgeously finished movement and thoughtful design.

Initial thoughts

On the face of it, the RRCC II for Only Watch looks like the original Chronometre Contemporain dressed in another dial. But it is entirely new in practically every aspect, right down to the geometry of the case. The RRCC II is akin to a generation of the Porsche 911 – the styling seems unchanged but it is actually a brand new car.

The most obvious point of difference is the seconds hand – the RRCC II is a deadbeat seconds. That in itself is novel, because the jumping seconds complication is almost always implemented with a centre seconds. In fact, I can’t think of another watch with a deadbeat subsidiary seconds that isn’t part of another complication. In F.P. Journe’s tourbillon for instance, the deadbeat seconds is part of the constant force mechanism.

Even the movement appears superficially similar, though it is quickly evident that it’s a new calibre solely from the two large jewels for the barrel pivots. This has twin barrels, instead of the single barrel of the RRCC I.

And up close the differences become more apparent. The finishing, for instance, has been made more pronounced. The anglage on the bridges is now fuller, both wider and rounder.

And the refinements continue on the case, albeit in a far more discreet manner. The lugs are now longer and thinner, giving the watch a more graceful profile that is difficult to observe unless compared against the first generation model.

Even the dial design has been refined, although it retains the same overall look as its predecessor. That said, the refinements to the dial are not apparent on the Only Watch example (more on this below), which is a prototype.

The Only Watch version is unique, but the RRCC II will be later be produced as a limited edition in two guises. It will be a tangible illustration of the brand’s progress.

The RRCC II is a better watch than its predecessor. It is more complicated, better finished, and more refined in terms of design.

And on the topic of the Only Watch version, there’s the dial colour. It’s a dark gold with a hint of green – not exactly the translucent champagne Mr Rexhepi had in mind.

There wasn’t enough time to remake the dial as the watch had to go on tour around the world, but Mr Rexhepi indicated to me that the buyer of the RRCC II Only Watch has the option of a new dial in a pale champagne enamel, though the replacement will take a while to complete.

The RRCC II “Only Watch” is the first lot in Only Watch, which means the auction will start with a big number. Though is has an estimate of CHF70,000-100,000, I expect it’ll finish well past the half-million mark, and perhaps substantially more than that.

Gently refined

As with the rest of the watch, the dial of the RRCC II was designed to preserve the signature look, but with discreet refinements to the details. Amongst the tweaks are lighter typography and markings, along with doing away with the gold ring circling the seconds on its predecessor.

That said, some of the refinements are not evident on the Only Watch prototype. The lines and numerals, for instance, should be finer.

The dial was conceived to be translucent champagne enamel that reveals a linen weave-like pattern hand engraved on the dial base. It turned out darker than expected, but can be substituted at the eventual owner’s request.

But still JPH

As with the first-generation model, the RRCC II has a case made by Jean-Pierre Hagmann, the accomplished, old-school case maker who’s been with Akrivia since 2019.

It retains the same dimensions, but with more grace. The lugs have been elongated and narrowed, while the bezel has been made slightly thinner.

All of the changes cumulatively result in an entirely new case, but the difference is only clear when the RRCC II is put side by side with its predecessor.

Deceptively similar, but entirely new

Flipping the watch over provides a clear view of the new movement. It is reassuringly familiar in its aesthetic similarity to the RRCC I. According to Mr Rexhepi, this was an intentional choice to preserve the RRCC lineage.

However, the mechanics within are vastly different. One might mistake the prominent wheels in the centre of the movement to be the timekeeping gear train, as they are in the RRCC I. But they are in fact used to drive the deadbeat seconds at six o’clock – one of two gear trains in the movement.

There are a few ways to construct a deadbeat seconds. The most common method is straightforward: a coiled buffer spring that’s part of an auxiliary gear train stores energy to drive a seconds hand. More elaborate setups have the deadbeat seconds as a byproduct of a one-second remontoir – a constant-force mechanism that powers the balance wheel with periodic, even bursts of energy.

The RRCC II accomplishes it with two independent gear trains, each powered by its own mainspring barrel. The prominent gear train visible in the above photo (to the left of centre) is the deadbeat gear train that drives the seconds hand at 6 o’clock.

The other gear train is for timekeeping. It powers the motion works, which drives the minute and hour hand.

But it’s unusually laid out in the RRCC II. The gear train is discreetly hidden along the right side of the movement, going from the barrel to underneath the balance cock and finally to the escapement. The going train also powers the motion works, which drives the minute and hour hand.

The timekeeping gear train is visible above left and runs underneath the balance wheel, hidden away on the dial side of the movement. The large wheel to the top right is part of the deadbeat gear train.

In other words, the movement would still keep time perfectly fine without the deadbeat gear train in the middle – but it would go without a seconds hand.

The deadbeat seconds is controlled via the conventional method of a star and flirt – a continuously rotating five-pointed star gradually releases a long lever, or flirt, once every second. This is how the power of the deadbeat gear train is controlled and gradually released. The flirt is hidden under the triangular bridge of black-polished steel at six o’clock of the movement, and contacts the star which is mounted under the escape wheel.

As the going train is driven continuously while the deadbeat train advances once every second, separate mainspring barrels are logical from a mechanical perspective – driving both gear trains with the same barrel would only be feasible with a buffer spring within the single gear train. But that is a less pleasing solution because it is simpler and more common, though it is more efficient space-wise.

Notice that the barrels are not geared together – the teeth of they ratchet wheels sit on different planes, as they are independent. The left barrel powers the deadbeat gear train, while the right powers the going train for timekeeping.

One could deduce the beat rate of the movement only from photos. The escape wheel has 15 teeth on it, while the deadbeat seconds is controlled by a five-pointed star. This means that every second, three teeth of the escape wheel has to be released, which means that this is a 3 Hz movement, or one running at 21,600 beats per hour.

The balance wheel is of a free-sprung design, with white gold screws along its rim for poising, and four yellow gold screws that serve as inertial weights for regulation. And the hairspring has an overcoil, which is always preferred for better isochronism.

The overcoil hairpsring and the four golden weights of the freesprung balance wheel. Also barely visible is the star and flirt, right under the escape wheel.

The eagle-eyed will also spot a pivoting lever right below the balance wheel – this is to stop the balance wheel.

The RRCC II impressively retains has the zero-reset seconds mechanism of the RRCC I and the AK-06, which means that the seconds hand will reset to zero when the crown is pulled out to set the time.

But because the seconds here is deadbeat, unlike the conventional sweeping seconds of the RRCC I, the hacking mechanism was set up to kick in only after the seconds hand has completed a full step, so that it does not hack in the midst of a jump.

Observe the pivoting lever to the right of the balance wheel, which is for the hacking feature.

Finishing

The finishing should be familiar to those that follow Akrivia’s other work – in other words, exemplary.

In general, the RRCC II movement exhibits the same standard of finish as the RRCC I, but with some refinements, including a few that are purely a matter of design. One of the most prominent improvement is the increase in black-polished steel parts.

The RRCC II has a large, black polished bridge at six o’clock which supports the deadbeat seconds and the flirt. This was not present on the RRCC I, which relied on a brass bridge instead. That said, the triangular bridge compensates for the fact that the RRCC II does away on the beautiful black-polished steel bridge supporting the centre wheel of the RRCC I, due to the twin-gear train construction of the movement.

On that note, I personally prefer the central bridge design of the RRCC I. The RRCC II has an convoluted barre bridge that supports the wheels of both gear trains, resulting in an awkward crevice in between the barrels – but one magnificently finished with four inward angles on the anglage.

The centre crevice of the barrel bridge feels awkward, compared to the elegant central black polished bridge of the RRCC I.

And anglage does the RRCC II have. In generous quantities – the edges of every bridge are adorned by wide, rounded anglage that is easily among the most attractive in watchmaking today. Even the spokes of the wheels have unusually wide anglage, which gives an organic feel to them.

As an aside, wide, rounded anglage is done manually by hand – with files to shape and pithwood to polish – giving watchmakers fine control over the curves of the bevel, while being a painstakingly slow process.

In comparison, high-end watches produced on an industrial scale often have anglage done with a rotary buffing tool instead. That still produces rounded anglage, and at a quicker, practical pace. But it loses the definition of the curves due to less control over the high-speed buffing wheel. Thus, the anglage found in the RRCC II can only be feasible with small scale production, usually by skilled independent watchmakers.

To accompany the bevelling, the jewel and screw holes have wide, bowl-shaped countersinks which complement the broad anglage of the bridges, completing the package.

Large bevels but small scale

Like the bevelling, the Cotes de Geneve on the bridges are a great example of perfect application of the technique. The stripes have a fine, feathery consistency with no harsh borders between each stripe. And most importantly, the stripes are applied lightly, so the surface remains flat, avoiding the jagged border visible between stripes and anglage on industrially finished movement.

A less obvious upgrade in the RRCC II is the pallet fork bridge, which now also supports the escape wheel due to the deadbeat configuration.

Instead of a striped finish, it is now entirely black polished with sharp inward and outward angles on the anglage – a major refinement on a part that is often obscured from view because it sits under the balance wheel.

The pallet fork bridge is an exemplary demonstration of black polish, countersinks and anglage

The balance wheel itself is supported by a balance cock carrying a black-polished steel cap. A minor nitpick would be that the anglage between the steep cap and the brass bridge is not fully aligned – there is a slight distortion at the boundary of the mating parts. The anglage on the steel cap itself also appears slightly uneven. That said, this is a prototype and it will be perfected before delivery.

Another minor quibble ­is the finish of the ratchet wheels. Compared to everything else, they appear plainly finished, with no additional flourishes such as individually polished teeth. This is consistent with the finishing inside the RRCC I, but polished teeth would truly make the finish of the RRCC II all encompassing.

It is also worth mentioning the engraving on the barrel bridge. It is clearly done by hand, as evident by the sharp serifs of the font. The slight inconsistency of the font alignment are only visible upon close magnification, and overall simply gives a pleasing, artisanal touch to the movement.

Giving individually polished teeth of the ratchet wheels would have elevated the overall finish to the highest standard

Notice the slight distortion of the anglage of the steel cap and the boundary where it mates the rest of the balance cock

Concluding thoughts

The RRCC II meets the lofty standards set by the RRCC I, and exceeds them by a modest margin. It is hard to imagine it getting any better (though if I were the winner of the watch, I would opt for a new dial).

Key facts and price

Akrivia Rexhep Rexhepi Chronomètre Contemporain II “Only Watch 2021”

Diameter: 38 mm
Height: 9.75 mm
Material: Platinum
Crystal: Sapphire
Water resistance: 30 m

Movement: RRCC02
Functions: Hours, minutes, and jumping seconds
Frequency: 21,600 beats per hour (3 Hz)
Winding: Hand-wind
Power reserve: 82 hours

Strap: Leather strap

Limited edition: Piece unique
Availability: To be sold at Only Watch on November 6, 2021
Estimate: CHF70,000-100,000

For more, visit onlywatch.com.

review

What can one infer from a drawing of a new timepiece?

As it turns out, a fair bit. The below sketch is the only bit of information revealed by Akrivia for its contribution to Only Watch 2021, the Rexhep Rexhepi Chronomètre Contemporain II (RRCCII). Despite the paucity of information, much can still be deduced from the single image.

Initial impressions

The most apparent fact that can be gleaned the sketch is a deadbeat seconds – a seconds hand that jumps discretely once a second.

We can infer this from the star and flirt mechanism. The star is mounted on the escape wheel, which is located at six o’clock and completes a revolution once every five seconds. The star blocks the rotation of a flirt, a long lever that presses against the face of the star’s teeth.

After each second, the star rotates far enough that the tooth provides enough clearance to release the flirt, allowing the star to rotate until the flirt contacts the next tooth of the star. This sudden release of the flirt is what controls the burst of rotational energy that drives the deadbeat second geartrain.

Further inferences can be made from our May 2020 chat with Rexhep, where he hinted the RRCCII will have twin barrels powering separate going trains. In retrospect, that now makes sense in the context of the deadbeat seconds.

One barrel drives the going train for timekeeping, including the escape wheel and the star. The other barrel drives a secondary gear train for the deadbeat seconds hand and the flirt. Both geartrains are mechanically synchronised only via the star and flirt.

The details of the movement will only be known closer to Only Watch. Ultimately, as with Akrivia’s previous work, the movement finishing will likely be the star of the show, with the technicalities of the movement being secondary.

Enamel?

One intriguing detail that stands out in the sketch is the cross section of the dial. It can be seen that the cannon pinion is relatively tall, extending far above the base of the dial, which is shaded in yellow. Furthermore, a faint, chalk line is discernible above the base of the dial, even above the “Rexhep Rexhepi” logo at 12 o’clock.

This implies that the dial – just like that in the Chronomètre Contemporain for Only Watch 2019 – will be translucent enamel, made up of a textured base with enamel on top.

The enamel dial of the Chronomètre Contemporain for Only Watch 2019

Given that the Chronomètre Contemporain Only Watch 2019 was widely lauded for its excellent enamel dial, the upcoming RRCCII will be something to look forward too, especially since Rexhep has promised not to do similar dials for his standard watches.

And last but not least, the sketch also reveals a bit about the case. Its profile and cross-section are similar to the first-generation Chronomètre Contemporain, an elegant and refined design with deceptively complex sections in a mix of concave and convex surfaces.

The platinum case of the Chronomètre Contemporain for Only Watch 2019

And the sketch clearly shows the “JHP” hallmark of Jean-Pierre Hagmann, the renowned case maker who joined Akrivia in 2019, meaning the octogenarian will once again be responsible for the one-off case, which will be platinum if history is any guide.

The RRCCII “Only Watch” has an estimate of 70,000-100,000 Swiss francs. For more, visit Onlywatch.com.

Rexhep Rexhepi of Akrivia was the guest on our first-ever Instagram Live, where he spoke with our founder SJX. Lighthearted and insightful, the session centred on the growth of Akrivia’s in-house capabilities, as well as the future of the Chronomètre Contemporain series. Here’s a recap of the highlights from the session.

Ambitions for integration

Rexhep has big dreams for Akrivia as a true manufacture, from production to even testing. This stems from an explicit desire to control every element of production, and to ensure his high standards at met every step of the way.

Much of the progress made in vertical integration will be reflected in the second series of the Chronomètre Contemporain. While the series one cases were produced by a Geneva specialist, the second series will have its cases made in-house by master case maker Jean-Pierre Hagmann, who joined Akrivia last year.

At the same time, Rexhep said the movement will have a greater share of parts made in-house. While the exactly proportion was unsaid, he made clear that his goal was to eventually make all key parts – bridges, base plates, wheels and pinions – in the Akrivia workshop. Beyond production timepieces, such vertical integration will be advantageous as it would allow Akrivia to prototype ideas far more quickly.

Rexhep Rexhepi with Jean-Pierre Hagmann. Photo – Akrivia

Interestingly, Rexhep also touched on chronometer testing and certification. The first series Chronomètre Contemporain is tested at the Besançon Observatory in France as standard.

Although Rexhep admits that having an independent body that sees thing from a different perspective testing the function of Akrivia watches is something he appreciates, Rexhep mentioned the possibility of one day conducting his own testing.

The Chronomètre Contemporain to come

The Chronomètre Contemporain was the watch that made Rexhep and Akrivia a star. And with Rexhep already having stated that it will be followed by a second model, many have been wondering how the watch will evolve. Almost everyone expected the second series to be based on the first, with a movement that is derived from the original.

But Rexhep made it clear that the second series is actually going to be powered by an entirely new calibre. As he explained it, he intended to add a complication to the first series movement, but the performance of the modified movement was unsatisfactory, so he chucked all of it and started from scratch.

The cal. RR-01 inside the first series

So the second series movement is entirely different from the first, even having twin barrels instead of just one as the first did. In a sketch he showed during the chat, Rexhep pointed out the twin barrels – and most crucially, twin going trains.

Though he didn’t specify the added complication, one can speculate it is something fairly energy intensive – meaning a mechanism with frequent or recurring motion – since an additional barrel was needed. The new movement will, however, retain the symmetrical look that is characteristic of Akrivia movements.

Because the movement is wholly new and more complicated, Rexhep did let on the second series will be priced higher than the first, though he stated it would still be reasonably priced for what it is, as many aficionados regard the first series to be. Rexhep hopes to be able to unveil the second series in early 2021.

AK evolution

Rexhep also touched on the AK series, the Akrivia collection with a more contemporary design.

While the hand-hammered finish has become something of an Akrivia trademark, Rexhep also mentioned he was working on new decorative techniques for dials, perhaps destined for the AK series.

He also noted a redesigned AK series case is in the works, though it will have a similar aesthetic language as the current series.

The AK-06

Questions from readers

Before the Instagram Live session, readers submitted questions for Rexhep, and he answered many of them.

When asked if Akrivia will ever make a line of entry-level watches, Rexhep’s response was a resounding no. It will not happen because he desired for a high-quality watch makes that impossible.

Another question was whether a chronograph or automatic movement was in Akrivia’s future. Rexhep said that he is not interested in an automatic movement, but he loves the chronograph complication, hinting that maybe one day he will give it some thought and attention.

Rexhep was asked to list a few independent watch brands that he respects and finds interesting. Rexhep singled out Philippe Dufour, Voutilainen, De Bethune, and F.P. Journe (where he had worked for a few years before starting Akrivia). He loves that each of these brand has its own aesthetic and technical aspects that can be appreciated and learnt from.

More notably, he declared that the ultimate goal for Akrivia is to one day be as innovative as F.P. Journe, but boasting movement decorations like Philippe Dufour.

You can watch the full chat with Rexhep session on our Instagram account.

Thirty-three year old Rexhep Rexhepi is a rising star in independent watchmaking who practices his craft from a workshop in Geneva’s Old Town. But he was born almost a continent away in Kosovo, having left his birthplace as a young teenager as a consequence of the Yugoslav Wars.

The Singapore-based retailer of Rexhep’s brand, Akrivia, recently debuted a documentary on Rexhep’s life and work. It’s the latest instalment in The Lives of Artists, a series of short films on a handful of notable watchmakers and creative personalities.

Other subjects of the film series include contemporary artist Daniel Arsham, architect Sir David Adjaye, as well as Felix Baumgartner and Martin Frei of Urwerk. The subsequent instalments will debut one a week until mid-June 2020.

You can watch Rexhep’s film below, while the other films can be in the The Lives of Artists playlist.

Amongst independent watchmakers, Rexhep Rexhepi has found swift and significant success since he founded Akrivia, now one of the hottest niche brands.

After his Chronomètre Contemporain took the prize of best men’s watch at the 2018 Grand Prix d’Horlogerie de Genève (GPHG), collectors have been eagerly anticipating his next creation – which is on track despite the pandemic-induced disruptions.

How has the COVID-19 coronavirus affected Akrivia? Now still crafting watches in his workshop at the heart of Geneva’s Old Town, Rexhep answers.

Rexhep, still at the workshop in Geneva’s Old Town. Photo – Rexhep Rexhepi

What impact has the crisis has on your business?

The first impact was human. A month ago, when social distancing was first implemented in Switzerland, the atmosphere was grim.

I could feel employees’ morale was affected; their motivation was low. I offered them the choice to stay home with partial unemployment or keep coming to the atelier, while respecting all health and hygiene measures, of course. Most of them opted to keep working, so we are still open at the moment and working almost normally. Even my partner [Jean-Pierre] Hagmann is back now.

Production-wise, we feared for some of our subcontractors, like the [specialist that does] rhodium plating for example, but they are also working, even if only part time, for one week out of every two.

But since we have [vertically] integrated a lot of our production, like making our own cases, and we have a good stock of components, we are in good shape.

For distribution, obviously, all our retailers are closed. But that’s fine, we can just deliver later. We have not seen any order cancellations, which is great. Overall, we are good, considering the situation.

What is the greatest asset for your brand?

Akrivia is young and dynamic. We are small and independent, so we are agile and can adapt quickly. We can change our production from one model to another depending to what parts are available. In uncertain times like now, that’s is an important asset.

The Akrivia AK-06

What is your biggest fear for the future of the industry?

I hope the crisis does not last too long for the industry, so that it does not impact subcontractors too much or push brands into bankruptcy.

What is your greatest hope for the future of the watchmaking industry?

I hope that the industry put more focus on taking care of our watchmaking culture and tradition. It is our common responsibility to protect this distinction of ours. I will always do my utmost to elevate the quality of the timepieces that I produce, and I will keep developing my creativity. I hope the industry does the same.

Should the Swiss-made label stay at 60% or be increased?

My philosophy is to produce as much as possible internally, or in Switzerland. This is my vision of Swiss made.

It is strange to see that some “Swiss Made” products now cannot be produced because China is closed. It must be surprising for the end consumers, but people forget very quickly.

What is your take on the latest Baselworld events?

It is sad to see such an event disappear, but all the big brands deserting the event is also due to the feeling of being “taken hostage” by the fair.

We have been wondering for a while if it was still relevant for us to participate in such trade fairs. The pandemic has accelerated the decision process..

For Akrivia, it is rather positive. Our atelier is based in Geneva, so it will be very easy for collectors to come and visit. In fact, not just Akrivia, but a lot of brands are based here anyway.

Looking from the Akrivia case-making workshop in Geneva

Despite negative impact of the crisis, do you see anything positive arising from it ?

There is always something positive in any situation. This crisis will force us to be more creative, and to communicate better [with our clients and retailers]. I see that we can do a lot more on digital media than we anticipated. And we are using new tools like video conferencing.

Finally, what will you do differently after this ends?

It will not change things drastically. We were already very open in our contact with customers and collectors. And I only travelled two or three weeks a year before, so things will not change that much for me [with no international travel].

We have a lot of new projects in the making, and we will see how it unfolds with the development of the current situation. If anything, it will accelerate the integration of production internally, so we can become even more independent and push our quality upwards even further.

Akrivia, and by extension its founder Rexhep Rexhepi, became a star in independent watchmaking with the launch of the Chronometre Contemporain in 2018, a unique version of which went on to sell for 360,000 Swiss francs at charity auction Only Watch. While its success was recent, the brand was actually founded in 2012, having made its debut with the AK series, characterised by a wholly-different aesthetic, one that Rexhep himself describes as a startup’s attempt to make an impression.

The bridge between the twin collections of Akrivia – the contemporary AK series and the classical Chronometre Contemporain – is the AK-06. It’s powered by a variant of the movement found in the Chronometre Contemporain, but enhanced by doing away with the dial to reveal the under-dial mechanics, but installed inside an AK-style case, albeit one that’s been redesigned and streamlined.

The AK-06 in titanium (left) and steel

Beyond being a blend of both Akrivia styles – the best of both worlds if you like the case design – the AK-06 is perhaps historically significant, being the last of the first-generation Akrivia models, since Rexhep has indicated the AK series will eventually feature a wholly new case design.

But whatever you think of the case, the movement of the AK-06 is absolutely marvellous. In fact, it is arguably more compelling than the similar calibre in the Chronometre Contemporain, because with the AK-06 all of its engaging mechanics are revealed on the front.

AK case

Everything that makes up the AK-06 is gorgeously finished, including the case. The case is finished with a fine, linear brushing, with the different planes separated with mirror-polished bevels.

Everything is expertly applied, even on the less obvious areas. The edge of the case between the lugs is chamfered and polished, as are the lower edges of the case flanks. Even the underside of the crown guard features a wide, polished bevel that slopes upwards, echoing the shape of the case.

Unusually for a watch with a movement of this quality, the case boasts a fairly complex shape with contrasting surfaces, requiring a good deal of effort to finish. In fact, the case is arguably the most complex for a movement in this class. Comparable watches like the Dufour Simplicity, Voutilainen Vingt-8, and even Akrivia’s Chronometre Contemporain, all rely on cases that are entirely mirror polished, as most classical watches are.

Importantly, the AK-06 case is a major refinement upon the original AK-case design. The AK-06 case is smaller – at 41 mm instead of 43 mm – and also thinner than the earlier generation, standing just 9.9 mm high. Though it appears to be bulky, it is substantially slimmer than it looks, and the watch wears well.

The chunky styling is why the case looks thicker than it actually is. The broad, short lugs, along with the “ears” on each side of the case give it a squat, heavy appearance – even though the case is surprisingly light and comfortable.

The case design is peculiar, and try as I might I can’t bring myself to love it.

But – but – the movement inside is just so well done that I could pretend the case isn’t there.

And in any case, no pun intended, Akrivia will eventually debut a new AK-case design that will succeed this one. In the grander scheme of things, the original AK-series case might become something significant, being the brand’s inaugural product.

O why doth thou hath ears?

Open faced

The AK-06 has no dial, and instead shows off the striking, complex movement. Unlike the earlier AK-series watches, most of which were powered by movements conceived by Geneva specialist Manufacture Hautes Complications (MHC), the calibre AK-06 is proprietary, having been developed by the brand’s own constructor.

The front of the watch reveals the base plate, which is gold-plated brass and then finished with a dimpled pattern executed by hand, using a miniature hammer and a lot of patience. Though not unique to the brand, the hammered finish has become some of an Akrivia signature, and was combined with translucent, fired enamel for the dial of the record-setting Akrivia for Only Watch.

Interesting but not overwhelming, the hammered plate forms the perfect backdrop for the mechanics visible on the dial. At a distance it appears to be a glittery, granular surface, but up close the finishing technique is obvious.

The hammered texture is artfully done, though the refinement of the hammered finish varies between specimens. On some examples, including this one, some of the dimples overlap. Paradoxically, that is a compliment, because the overlapping dimples are one of the rare few aspects of the finishing that is average, rather than outstanding.

There are three main mechanisms visible on the dial: the power reserve display at 12 o’clock, the zero-reset for the seconds, and the keyless works at three. Although the mechanisms are fairly straightforward, they are constructed so that the face is balanced, made up of components that are long and elegant, resulting in an intricate but refined look.

Shown on a circular scale, the 100-hour power reserve display is driven by one rack and kept in check by another. The construction of the power reserve display is concise and symmetrical.

The rack at nine o’clock is connected to a set of gears that measure the barrel’s state of wind, while the other rack connects to a coiled, blued-steel spring that maintains the tension within the indicator so that it doesn’t drift when the watch is dropped or shaken.

Interestingly, the scale engraved on the power reserve display is machine-engraved, instead of being hand-engraved as most of the other markings on the dial are

The heat-blued tension spring for the power reserve display

The rack on the left is linked to the differential under the dial that measures the state of wind of the mainspring

The power reserve mechanism reflects the approach taken for the movement as a whole: not only is it smartly constructed, all of its components are also beautifully finished. Each of the racks, for instance, have circular graining on the top surfaces, along with polished, bevelled edges on the arms and outer edge.

In fact, the components have been carefully designed to show off different types of decoration. Take for instance the cocks for several of the moving parts, and there are many, even the seconds hand has its own cock.

Both sets of racks are secured by mirror-polished, rounded steel cocks of the sort typically used for the balance wheel or tourbillon cage. In contrast, the visible wheels on the dial (one for the power reserve and the other, the keyless works) are held in place with flat-topped, black-polished cocks.

One of the rounded cocks, this one also holding the tension spring for the power reserve indicator

The flat-topped cock holding the wheel that connects the differential under the dial to the power reserve indicator

The other bridge for the keyless works that move the hands when setting the time

Less prominent than the power reserve mechanism but perhaps even more elegantly executed is the subsidiary seconds and its zero-reset mechanism – pull out the crown and the seconds hand returns to “60” for more precise time setting.

The zero-reset relies on two arms and a heart-shaped cam, essentially operating on the same principles as a chronograph reset mechanism. But in this case – much like the rest of the watch – the mechanism was designed to be as symmetrical as possible, with each arm tensioned by an elongated, arched tension spring.

The chapter ring for the seconds, however, falls a bit short of the rest of the watch. While it is finished as well as everything else, the engraved numerals are not as well done as the rest of the engraving, with the “60” looking a bit untidy. Along with the machine-engraved power reserve scale and heavily serifed serial number, there are three styles of engraving on the dial, which is one too many.

The zero-reset seconds, with the seconds hand held by its own rounded steel cock, and heart-shaped cam visible just above the surface of the base plate

Machine engraving on the power reserve scale

And hand engraving for the serial number

Of all the mechanisms visible on the front, the keyless works are the most ordinary in terms of function, but are nonetheless wonderfully executed in construction and finish. The use of long, curved springs continues, along with careful finishing of even the smallest element.

One element of the dial that I struggle to appreciate are the hands, or more specifically, the hour hand. It reminds me of a grape on toothpick. Fortunately, the minute hand is a conventional lance-shape.

Design aside, the finishing of the hands is unwavering: heat blued, rounded, and mirror polished. In fact, the finishing is so sharply done that the minute hand looks almost dangerous at high magnification.

Not allowed on board a flight

A familiar sight

From the back, the movement in the AK-06 is nearly identical to the Chronometre Contemporain, with a layout that is symmetrical, classically-inspired, and packed with lovely details. But the differences between the two are obvious. Specifically, the AK-06 differs with three additional visible jewels on the barrel bridge for the power reserve mechanism, plus the larger cocks for the third wheel and balance, as well as the rounded steel cock for the fourth wheel.

While the Chronometre Contemporain movement has exaggerated inward and outward angles on the cocks for the going train, giving it a modern, attention-seeking look, the calibre in AK-o6 is ironically more restrained and classical, despite the AK case.

Notably, while the Chronometre Contemporain is available in just one style, the AK-06 movement is offered in two finishes – yellow-gold gilt or rhodium plating – to match each of the dial colours. Both are equally well finished, though the decoration is more obvious on the rhodium-finished movement because there is more contrast.

Though they are different, both movements are equally attractive. In fact, the AK-06 has an edge in some aspects, including the steel fourth-wheel cock that is more far more impressive than necessary. Another bonus in the AK-06 is the outermost jewel for the power reserve mechanism, which results in two additional inward angles on the bevelling of the barrel bridge.

The steel cock for the fourth wheel has a rounded, polished arm, while its base is straight grained

The movement is constructed on three levels, broadly speaking, giving it a surprising degree of depth for a time-only calibre. The brass bridges make up the uppermost layer, followed by the barrel and tubular steel bridges, with the wheels of the going train and oscillator making up the bottom layer.

Each component on every level is finished very, very well.

The bridges have Cotes de Geneve on top, wide anglage on the edges, and bowl-shaped countersinks for all jewels and screws. Most steel parts are black polished, including the cap for the balance cock and all the screw heads, which also have chamfered edges. The list goes on – in short, everything is done right.

Hand-formed overcoil hairspring; note the countersinks and chamfered edges of the escape wheel bridge below the balance

That being said, there is some variation within the AK-06 series from one example to the other, because the finishing is done by hand. The steel-case version (with a rhodium-finish movement, pictured below) has slightly wider bevelling on the spokes and inner edges of its wheels, along with more rounded teeth on the barrel ratchet wheel.

Surprisingly wide bevels on the spokes of the wheels

Concluding thoughts

In terms of finishing in both case and movement, the AK-06 is impeccable. As is typical of hand finishing, it does reveal inconsistencies here and there, ranging from the type of engraving on the front to the width of the bevels on the wheels, but the quality is still fantastic.

But the case is definitely an acquired taste. Even though the case style has its defenders, including discerning collectors who find it more compelling than the boring Chronometre Contemporain, I have yet to come round to it.

That being said, Akrivia will only produce 50 of the AK-06 – half in steel and the balance in titanium – and that will be it. The successor model will feature a different case, and a variant of the same movement, perhaps constructed a bit more elaborately, but will likely cost more. In that sense, the AK-06 represents an important moment in time, being a key watch from the early days of a brand that might become the next big thing.

Key facts

Akrivia AK-06

Diameter: 41 mm
Height: 9.9 mm
Material: Stainless steel or titanium
Water resistance: 30 m

Movement: AK-06
Functions: Hours, minutes, seconds with zero-reset, and power reserve indicator
Frequency: 18,000 beats per hour (2.5 Hz)
Winding: Hand-wound
Power reserve: 100 hours

Strap: Brown calfskin with pin buckle

Limited edition: 25 each in steel and titanium 
Availability: Direct from Akrivia or at authorised retailers
Price: Starting from 79,000 Swiss francs, or 115,200 Singapore dollars, in steel

For more, visit Akrivia.com.

Correction April 4, 2020: The steel-case model has a grey dial, while the titanium version has a gold dial, instead of the opposite as published earlier. Also, the case diameter is 41 mm, and not 43 mm as stated in an earlier version of the specifications.

Independent watchmakers are a major presence at Only Watch 2019, accounting for almost half the 50 lots in the charity auction coming. Importantly, two of them will probably end up in the top five by value – the F.P. Journe Astronomic Blue and the Rexhep Rexhepi Chronomètre Contemporain “Only Watch”.

While the Astronomic Blue is the most complicated wristwatch F.P. Journe has ever made, the Chronomètre Contemporain “Only Watch” is a time-only watch, with a suitably modest estimate of 40,000-60,000 Swiss francs, though it’ll probably sell for five to seven times the low estimate.

Hammered, and enamelled

The key element that sets the “Only Watch” edition apart from the standard Chronomètre Contemporain is the dial.

Completely unique because of the technique – used here for the first time in an Akrivia watch – the dial combines the surfaces finish of Akrivia’s two distinct collections: the hand-hammered decoration of the contemporary AK line and the vitreous enamel of the classic Rexhep Rexhepi range, named after the brand’s founder. Several attempts were required to get a perfect dial – Rexhep showed me one of the rejects with a cloudy finish in September – but the result is quietly impressive. Note that it is hammered and then enamelled, but not hammered enamel.

Ordinarily a new dial colour doesn’t mean very much, but because the Chronomètre Contemporain regarded, and Rexhep has kept his promise not to do variations or custom orders of the watch, the Only Watch edition is special.

In addition, the hammered, enamelled finish will not be applied to any standard production, or even limited edition, watches in the future, according to Rexhep. It might, however, be used on future unique creations for a special event, especially one for a good cause, like a future instalment of Only Watch.

The contours and surfaces of the enamel dial before it was installed in the case

Captured at Akrivia in September; the difference in colour is due to the lighting

At arm’s length the hammered finish is not evident; the dial just seems faintly textured, like a finely surfaced stone. Only up close are the tiny, irregular but fine hammer marks visible.

It’s a serene dark blue with white markings that are hand-painted fire enamel. Though the design of the dial is identical to that of the standard model, the enamelled markings are slightly taller. That, combined with the translucent enamel surface, makes the dial markings more prominent.

The dial was made by the same artisan responsible for the fired enamel dials on the standard Chronomètre Contemporain, Emaill’Art. Located just across from the newly built Patek Philippe building in Plans-les-Ouates, the artisan does work for numerous prominent brands large and small, including Chanel, F.P. Journe, Laurent Ferrier, Vacheron Constantin, and Van Cleef & Arpels.

J.P. Hagmann

Aside from the dial, the other distinguishing feature of the watch is the platinum case. The case pictured, however, is a prototype, though the final case will be almost the same.

Design-wise the final case will be identical to that on the standard model, save for minor tweaks to the shape of the case back. More importantly, the case is the very first production case completed by Jean-Pierre Hagmann since he joined Akrivia in June. In fact, Mr Hagmann only finished the case recently, which is why it was not ready for the Only Watch world tour.

One of the leading case makers of the 1980s and 1990s, the 78 year old was the maker of choice for complex or unusual cases.

His clients included Patek Philippe, Audemars Piguet and Vacheron Constantin, while his best known work was probably for Patek Philippe, for which he produced the cases for Star Calibre 2000 and various minute repeaters, including the ref. 3974 and ref. 5029.

The platinum ring that eventually formed the case back of the Chronometre Contemporain

The “JHP” hallmark on the back of the lower left lug

Now Mr Hagmann will be making most, and eventually all, of Akrivia’s cases, which were previously produced by a local supplier. The combination of the two, Mr Hagmann’s case and Rexhep’s watchmaking, is a poetic encapsulation of Geneva craftsmanship past and present.

And everything else

The key point of appeal for the Chronomètre Contemporain is the finely decorated movement, and it remains identical, save for the “Only Watch” engraving on the barrel bridge.

The movement decoration of the Chronometre Contemporain has improved markedly since the prototype, which is evident here as well. Amongst other things, the Cotes de Geneve is more lustrous, and the edge between the striping and polished bevels is more defined.

But being a movement that was completed in a hurry so it could be included in the Only Watch world tour, the movement does show some dirt and lint. But fear not, Rexhep will clean the movement before it reaches it final owner.

The price

The estimate for the Chronomètre Contemporain “Only Watch” is derived from its retail price of 58,000 Swiss francs. It’ll surely sell for more, but I hope not too much.

The likely outcome in between 200,000-300,000 Swiss francs, and probably towards the higher end of the range, which is the ballpark for comparable watches from more established names in independent watchmaking – namely the Philippe Dufour Simplicity and Roger W. Smith Series 2.

Less wouldn’t do the watch justice, but at the same time, a price substantially higher would be too much. Firstly, it would set too high a bar for a relatively new brand that was started only in 2012.

Next, it would not make sense for it to surpass the Simplicity, still the gold standard in this narrow segment; Rexhep is sometimes dubbed “the next Philippe Dufour”, but he isn’t there yet.

The Rexhep Rexhepi Chronomètre Contemporain “Only Watch” is estimated at 40,000-60,000 Swiss francs, and it’s lot 49 in the auction that will take place on November 9, 2019, at Christie’s in Geneva. For more, visit Onlywatch.com.

Correction October 25, 2019: The case pictured is a prototype; the final case will be installed just before the Only Watch auction.

Update November 11, 2019: the unique Rexhep Rexhepi Chronomètre Contemporain sold for 360,000 Swiss francs, with no fees since it was a charity auction.

A master case maker who retired in 2017, Jean-Pierre Hagmann is back in action, as a partner in Akrivia’s case-making workshop in Geneva. Now 78 years old, Mr Hagmann struck out on his own in 1984, starting a stellar career that would see him become a case maker for most of Switzerland’s best watchmakers. (For a detailed profile of Mr Hagmann, see my 2016 story.)

His client list included establishment names like Audemars Piguet, Jaeger-LeCoultre, Vacheron Constantin, and of course, Patek Philippe, where he produced highly-regarded cases for its minute repeaters. In fact, Mr Hagmann was also responsible for the impressively complex case of the Star Calibre 2000, the uber-pocket watch Patek Philippe introduced to mark the new millennium.

Mr Hagmann at work in the 1980s

The Patek Philippe ref. 5029 minute repeater, which had a Hagmann case

In the first half of his career, Mr Hagmann also worked with many of the up-and-coming stars of independent watchmaking of the 1980s and 1990s, including Franck Muller and Roger Dubuis. He produced the very first Cintree Curvex cases for Franck Muller, as well as the early cases for Roger Dubuis.

Another of Mr Hagmann’s cases: the Franck Muller Cintree Curvex minute repeater with perpetual calendar, circa 1991

Three decades later, Mr Hagmann is back where he began. He’s joined forces with a rising star of independent watchmaking, Akrivia, whose founder, Rexhep Rexhepi, is just 32 years old. Though young, Rexhep grasps the importance of vertical integration, especially for a small-scale, high-end independent watchmaker; that is something that Kari Voutilainen has smartly accomplished by buying both dial and case makers, Comblemine and Voutilainen &  Cattin respectively.

The Akrivia case-making workshop was set up barely a month ago, but Mr Hagmann already finished his first project – the platinum case for the one-of-a-kind Chronometre Contemporain for Only Watch 2019 that was completed just earlier this week.

The view from inside the workshop, with Mr Hagmann’s “JHP” logo on the window

Over the longer term, the goal is to have Mr Hagmann produce all of Akrivia’s cases as well as put together a team capable of making the workshop a long-term enterprise.

According to Rexhep, the ultimate goal is to have at least two case makers on board, who will learn from Mr Hagmann and enable Akrivia to produce all of its watch cases in-house.

Rexhep Rexhepi and Jean-Pierre Hagmann. Photo – Akrivia

The case-making workshop is just a few doors from Akrivia’s premises in Geneva’s Old Town, a short walk down a cobblestoned street. During a visit to Geneva last week I stopped by for a look; Mr Hagmann was out but Akrivia founder Rexhep Rexhepi showed me the newly set-up workshop.

Rexhep holding the solid platinum ring that formed the back of the Chronometre Contemporain for Only Watch

Everything inside was fresh and neat as work had yet to begin. But Rexhep pointed out at even after case production starts, everything will remain neat – Mr Hagmann is obsessed with tidiness.

A bench that would be familiar to a jeweller – the leather sheet below is to catch precious metal shavings, which are then collected and sold back to the metals supplier

Mr Hagmann and Rexhep. Photo – Akrivia

With the case for the Only Watch timepiece out of the way, Mr Hagmann will be producing cases for the standard Chronometre Contemporain watches, as well as working together with Rexhep to design cases for future models. Cases for striking watches are a personal favourite of Mr Hagmann, so there just might be something melodious in the pipeline.

For more, visit Akrivia.com.

On a recent trip to Geneva I dropped by the Akrivia workshops in the city’s Old Town and spotted the Rexhep Rexhepi Chronomètre Contemporain “Only Watch”, still in its constituent parts and almost ready for assembly. The dial, however, was finished and gorgeous.

It’s a serene grey-blue, made of translucent enamel over a hand-hammered dial plate. Produced with lots of careful effort and a tiny hammer, the hammered finish is usually only applied to Akrivia’s gold dials found on the AK series watches, and is being combined with enamel for the first, and probably only, time. It was a tedious process to get right, which is why the Akrivia is one of the last to be completed amongst the Only Watch line-up.

Produced by the same Geneva enamel artisan that does the fired enamel, or grand feu, dials of the standard watch, this dial for the Only Watch example is the second one made, hence “version 2” on its packaging.

Rexhep felt the first dial made was not up to scratch – it had too much variation in colour – and had a second one produced. And the first dial was finished only after a handful of trial runs, where it was established that the thinning effect of the hammered surface meant it could not be counter-enamelled on the back as the standard dials are.

Aside from the hammered surface, the dial is also unique because the markings are painted in fired enamel, rather than printed. This makes the numbers, lines and text more substantial. And because the enamel is translucent, the markings float ever so slightly above the surface of the dial.

Slated to be sold for charity on November 9, the Chronomètre Contemporain “Only Watch” has a modest estimate of 40,000-60,000 Swiss francs; it’ll likely blow right past the high estimate.  The rest of the Only Watch 2019 timepieces can be seen on onlywatch.com.