A Timepiece That Will Be Passed Down Forever #11 Otsuka Low-Tech "No. 6"

When it first appeared in 2015, it was known only to those in the know. Otsuka Lowtec's masterpiece, the No. 6, with its steampunk exterior and double retrograde mechanism, opened up new possibilities for Japan's micro-watch maison. It was sold by lottery on a dedicated e-commerce site, and shipping was limited to Japan. Payment could only be made with a credit card issued in Japan. Watch enthusiasts overseas cast envious glances at Japan.

A unique retrograde watch recognized by the prestigious Swiss Watchmaking Grand Prix

　It's quite an achievement. Last year, a watch made using second-hand machine tools in a workshop converted from the owner's garage won the Challenge Prize at the Geneva Watchmaking Grand Prix (GPHG), awarded to watches priced under 3000 Swiss francs. With this as a tailwind, Otsuka Low-tec's No. 6 is now one of the most difficult Japanese-made watches to obtain.

　It's easy to see from the photograph why the No. 6 has captivated so many watch enthusiasts. Its double retrograde mechanism with coaxial hour and minute movements, its appearance resembling the meters on old audio equipment and testers, and its Chinese character markings all exude unique originality. Yet it's not overly eccentric, and instead has an exquisitely retro feel that evokes a sense of nostalgia, a true testament to the work of its creator, Jiro Katayama.

　After working as a designer for Kanto Auto Works, Ltd., Katayama, who was a freelance product designer, began making watches after purchasing a lathe at an online auction. It was none other than Google that taught him the process of designing mechanisms and manufacturing parts. This self-taught fifth watch (No. 5) was sold online in 2012, and Otsuka Low-Tech was founded. Then, in 2015, he completed his signature piece, No. 6. The somewhat rough, yet mechanical, steampunk-inspired exterior design and the retro Showa-era feel of the kanji characters used established the worldview of Otsuka Low-Tech, which would go on to become a staple of subsequent watches. It resonated with many watch enthusiasts, and its popularity grew with each passing year, until orders became so overwhelming that a lottery was held to sell the watches.

　The base movement is the Miyota Caliber 9015, but Katayama personally manufactured and assembled the double retrograde module at the time. The same goes for the case and dial. In 20, he released the No. 7 model, featuring a jumping hour + minute/second disc display, which also proved a hit. Katayama was beginning to feel the limitations of self-manufacturing, when he encountered Tokyo Watch Precision, led by independent watchmaker Hajime Asaoka. Asaoka approached him, "Would you like to work with us?" In 23, he began receiving support from the company. This led to the evolution of the No. 6 model. Tokyo Watch Precision now had access to high-quality stainless steel SUS316L and sapphire crystal, materials that had previously been rejected for individual orders. The exterior materials, which had previously been SUS303 and mineral glass, were updated. Furthermore, the lugs were fixed with some of the bezel screws, but the design was changed to a set screw fastening from the case back, resulting in evenly spaced screws and a more aesthetically pleasing appearance. With more time now available for design, Katayama also began work on improving the double retrograde module. He revised the shape and placement of the cams and racks, further increasing reliability. The improved environment also allowed for improved machining precision for each part, which also contributed greatly to improving the stability of the mechanism.

　With the new specifications, No. 6 was eligible to enter GPHG2024 and won the Challenge Award. Upon hearing of the award, I sent Katayama a congratulatory email, which he replied with the words, "This is something I never would have imagined just a short time ago." That "just a short time ago" was likely back when Katayama was still running the workshop alone. With new support, production numbers have increased from a total of around 400 over the past 10 years, a good example of this. Thanks to his own talent and the support of those around him, Otsuka Low-Tech has ushered in a new era.

　Katayama continues to work hard in his home workshop, where he creates a new "Katayama World" surrounded by his favorite old machine tools, tools, and meters that supported Japan's period of high economic growth.