Yosuke Sekiguchi, a Japanese watchmaker living in Switzerland, is captivated by the Jürgensen style

Yosuke Sekiguchi, a Japanese watchmaker from Le Locle, learned watchmaking techniques on his own without attending watchmaking school. He left his long-time job at a watch shop in La Chaux-de-Fonds and has been devoting himself to his artistic career since 2020. The prototype of the finally completed "Primvert" wristwatch is a concentrated expression of Sekiguchi's unique sensibility and aesthetic sense, inspired by the classic Jürgensen style.

A Japanese in Le Locle who admired Jürgensen

　Yosuke Sekiguchi is a Japanese watchmaker living in Le Locle, in the canton of Neuchâtel, a city registered as a World Heritage Site for its urban planning of the watchmaking industry. I first spoke with Sekiguchi in 2014, when he was still employed at Christophe Claret. This was when he was involved in the development and production of the Maestoso watch, featuring a detent escapement and a constant force device, as a prototype typist. He said he was impatient, so he would act before thinking, but he was a fine young man with a calm demeanor, a highly intellectual way of speaking, and a unique working style that left an impression: resting his front teeth on the workbench to keep his eyes level.

　Around this time, Sekiguchi began working on his own pocket tourbillons while still employed at Claret, and his work as an artist was officially recognized within the company, with the condition, however, that he would not make wristwatches.

　After completing his own pocket tourbillon, Sekiguchi left Christophe Claret in October 2016 and was working as an exclusive watchmaker at Joval, a watch shop in La Chaux-de-Fonds where he had been working since March 2011, repairing antiques and other items. He also left Joval in December 2019, and from January 2020 officially began focusing on his work as an independent artist. The result of this work was the delivery of the prototype of his first wristwatch, the "Primver."

　It's immediately clear from the movement's design, visible through the case back, that its style is typical of Le Locle, where Sekiguchi lives. More specifically, it's modeled after the old Jürgensen style. This style was also the basis for the ébauches supplied by Jaeger-LeCoultre in the early days of the company, and its origins lie in the workshop of Yule Jürgensen, who was located in Le Locle. The direct motif was Sekiguchi's 1871 "No. 12096," a small-diameter pocket movement for its time.

　Why was Sekiguchi attracted to the Jurgensen style? In one word, it can be summed up as "the harmony of transience and strength."

"For example, Geneva-style watches are sophisticated and very beautiful, but to me they seem too proud and unrealistic. On the other hand, the Jürgensen style has a ruggedness, in a good way, that I sense deep within, and I find it comforting with its unpretentious conviction. The huge balance wheel is contrasted with the delicate pallet fork and escape wheel, which have a dignified appearance. I find this contrasting harmony fascinating."

　Sekiguchi explains this sense of balance by comparing it to an orchestra. The beauty of the high notes played by a solo violin shines through when supported by a solid bass. He says that in Geneva-style watches, even the unsung heroes in the bass section sparkle, with each member asserting themselves too strongly. Indeed, the completed prototype for the Prim Vert seems to fully embody Sekiguchi's aesthetic sense.

　Of course, in adapting this small-diameter pocket movement from the 19th century into a modern wristwatch, Sekiguchi made careful updates. The traditional hanging barrel was replaced with a modern upper and lower bridge. Additionally, the ratchet wheel, which was molded integrally with the axle, was replaced with a screw-down system. Sekiguchi's No. 12096 has had its hands set using a dowel (the original bow setting was patented by Yule Jürgensen in 1867), but this too has been changed to a crown setting inspired by the La Chaux-de-Fonds school watches. Another notable feature is the complete elimination of wire springs. Other fundamental improvements include a modern-style cannon pinion for hand setting, the addition of a provisional chaton to the second bridge, and a larger diameter bimetallic screw balance. The list goes on and on.

　On the other hand, if we look at the finish, the bridge, which has an extremely gentle curve on the surface, is not chamfered but finished with a 45-degree flat surface. The shape of the kohaze was further revised, taking inspiration from the later work of Jack Alfred Jürgensen, to emphasize the circular shape of the spring part. This can be said to be a direct reflection of Sekiguchi's unique aesthetic sense, or rather, his preference in design.

　The current prototype of the Plim Vert is more than sufficient, but according to Sekiguchi, the final version will include further improvements. A scale will be added to the regulator and a shock-resistant device will be added. Sekiguchi's name will also be engraved on the bridge. The prototype's enamel dial is top-grade, made by the renowned Donze Cadrans, with incredibly little surface irregularity, but it seems that they are also considering using a dial made by Cadramont (a small dial supplier in La Chaux-de-Fonds) for the final version. However, a decision on this will be made once the finished product is seen, and knowing Sekiguchi, he is sure not to compromise on quality.

　However, Sekiguchi seems to have some doubts, and is considering introducing a Côtes de Genève finish (which is easily used to create a symbolic sense of luxury, or is widely recognized as such) to the final version, but personally I am opposed to its adoption. If the bridge surface were to be exposed with Côtes de Genève, the subtle curves of the prototype would be lost, and above all, it would be a shame to abandon the Le Locle-style aesthetic that has been so thoroughly pursued. The planned annual production run is around 10 units, and sales will be limited to Juval in La Chaux-de-Fonds and Koyanagi Watch Shop in Japan. So, wouldn't it be fine as long as it resonates with the sensibilities of connoisseurs who truly appreciate this aesthetic? What do you think, Sekiguchi?