Articles published in March 2020
What is the first watch that inspired these watch sages, and the last one they hope to own—the so-called "final watch"? In this series, we interview key figures in the watch industry and, through their answers, get a glimpse into their timepiece-related lives and philosophies.
This time, we spoke with the author Takeshi Matsuyama. He cited the Gruen antique tonneau watch as his starting point, and the FP Journe as his "finishing clock." Let's hear what he has to say.
Takeshi Matsuyama
Born in Kyoto in 1946, he has worked as a writer, lyricist, and editor in a variety of media, including television and magazines. In 1968, he wrote "Yopparai Returns" with his friends Kazuhiko Kato and Osamu Kitayama of The Folk Crusaders, and it became a million-seller. In the 1970s, he was involved in the launch of magazines such as "Popeye" and "Brutus" published by Heibonsha (now Magazine House). Since the 70s, he has been fascinated by the world of mechanical watches, and has conveyed the appeal of watches through his travels to Switzerland. His works include the autobiographical novel "Boy M's Imjin River," which inspired the film "Pacchigi!", as well as "Takeshi Matsuyama's Watch King," "Soredemo Toki wa Tomorawanai," and the play series "Chaai" and "Ororoji."
The origin of the watch is a Gruen tonneau-shaped antique watch
Q. Tell us about the first watch you ever owned.
A. I got my first watch a little late, around the age of 24. When I was attending a public arts high school in Kyoto, I used to be a bit cocky and say, "I'm not going to be tied down by time." Also, when I lived in Kyoto as a child, the starry sky was clear and visible, so I used to look at the stars instead of the clock. When I looked up around the alleys of Higashiyama, I could see constellations like Orion and Cassiopeia crossing the thin, yokan-like sky, and I could roughly tell the exact time.
My first encounter with watches came after I moved to Tokyo and entered the workforce. It all started when I saw a Cartier Tank owned by a stylist I knew. Up until then, I'd only ever known round watches, so the square shape was a fresh sight, and I admired its striking presence. However, I still didn't have the financial means to purchase a luxury watch. One day, I had the opportunity to visit the United States, and I found a tonneau-shaped Gruen watch at a local flea market. It had a gold-plated case and was of average quality, which suited my lifestyle at the time, and I also liked the way it looked, like something Humphrey Bogart might have worn. I wore it every day after purchasing it. Seeing its movement for the first time at a repair shop was also one of the reasons that sparked my interest in watches. This Gruen watch was my starting point, and I still treasure it to this day.
The "up" watch is the FP Journe "Astronomic Souverain"
Q. Tell us about the dream watch that you hope to own one day, the so-called "previous generation watch."
A. This question is a bit difficult to answer. There are still so many watches I want. But this time, I'm thinking about what I would buy if I were a billionaire. It would be FP Journe's Astronomic Souverain. About four years ago, when I went to Geneva as a judge for the Geneva Watchmaking Grand Prix, François-Paul Journe himself told me that he was planning to create a new astronomical clock, and I've been looking forward to seeing it ever since. When I finally saw the finished watch, I was amazed that he had managed to miniaturize such a complex function. There are many great watchmakers, but the one I respect the most right now is Journe. I also love his unwavering design. I bought the platinum Day & Night (Octa-Jour/Nuit), one of his early limited editions, and I treasure it. The Astronomic Souverain is out of my reach. If I won the lottery, though, I would definitely buy one.
Afterword
Matsuyama Takeshi, a writer and songwriter active in the industry, has also conducted extensive research and written about watches. He was one of the driving forces behind the early boom in mechanical watches. In one of his books, he writes the following passage, expressing his feelings in the 1980s, when quartz watches dominated the market: "We must not forget the extremely precise timekeeping mechanisms humans have built over hundreds of years, relying solely on springs and gears. Watches will likely continue to evolve after quartz, but it would be outrageous for our time to abandon the appeal of mechanical watches, which formed the basis of these advances" ("Time Doesn't Stop" / Sekai Bunka Publishing). The crystallization of centuries of wisdom possesses both the fragility of fleeting loss and the strength of continuing evolution. Matsuyama, who has conveyed the joys of mechanical watches in many media outlets, also shares this sentiment at the heart of his work.
