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A COLLECTING GUIDE: GÉRALD GENTA

We delve into five decades of groundbreaking design, exploring the genius behind
it, his stellar team, and the future of the brand with La Fabrique du Temps.

by Neha S Bajpai . Nov 29, 2024

Reference


A COLLECTING GUIDE: GÉRALD GENTA

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Home / A Collecting Guide: Gérald Genta

 

Best remembered for pioneering the now-ubiquitous steel sports watch trend,
Gérald Genta’s design legacy encompasses some of the 20th century’s most iconic
timepieces. Few watches are as instantly recognizable, cherished, and imitated
as those crafted by Genta, including the Universal Genève Polerouter, Cartier’s
Pasha, and Audemars Piguet’s Royal Oak.

 

Universal Genève Polerouter

Sketch of Audemars Piguet Royal Oak in 1972

An original prototype design for a Patek Philippe bracelet watch, painted by
Gérald Genta, Circa 1978 (Image: collectability.com)

 

Genta’s creative brilliance, however, truly shone with the launch of his
eponymous brand in 1969. Although often produced in limited quantities for elite
aficionados, these watches didn’t achieve the widespread popularity typically
associated with larger brands. The Gérald Genta manufacture created small,
numbered series of retrogrades, grand sonneries, and perpetual calendars, with
much of its output being commission-based. Through his label, Genta embraced a
liberating design philosophy, crafting pieces for clients who appreciated his
unique blend of whimsy and fantasy. His vision was clear—to break free from
conventions and create objects infused with daring spirit and artistic focus.

 

The Retrograde (Image: geraldgenta-heritage.com)

The Grande Sonnerie

The Octogonal (Image: geraldgenta-heritage.com)

 

Gérald Genta, who passed away in 2011, did not live to witness the frenzy
surrounding his timepieces, particularly the legendary Patek Philippe Nautilus
and Audemars Piguet Royal Oak, both designed in the 1970s. This posthumous fame
has become a bittersweet journey for his wife, Evelyne Genta, who is dedicated
to spotlight the lesser-known aspects of her husband’s remarkable legacy—the
artist and visionary whose creations command millions in today’s collector
market, fueled by an insatiable appetite for unique, statement watches.

 

Gerald Genta and his wife Evelyn Genta

 

In recent years, there has been an emerging interest to revive Genta’s
lesser-known works, those bearing his name. In 2021, Christie’s Dubai shattered
records with an online auction featuring Gérald Genta watches, including the
Grand Sonnerie No.1, which sold for $500,000 and a yellow gold Grand Sonnerie
No.3 for $300,000—an astonishing ten times their pre-auction estimates. The
excitement continued into 2022, marking the 50th anniversary of the Royal Oak
and the 10th anniversary of Genta’s passing. A series of high-profile auctions
was announced by Sotheby’s, all celebrating Genta’s extraordinary creations.
Among the standout pieces was a unique two-tone Audemars Piguet Royal Oak ref.
5402 from Genta’s personal collection, which sold for a jaw-dropping $2.1
million—over seven times its original estimate—making it the most valuable
vintage Audemars Piguet ever auctioned, according to Sotheby’s.

 

Gérald Genta Grand Sonnerie No. 1 Ref. G0025.7 (Image: Christie's)

Gérald Genta Grand Sonnerie No. 3 (Image: Christie's)

Genta’s personal Royal Oak, in yellow gold and stainless steel

 

The auction fervor didn’t stop there. The original hand-painted design of the
Patek Philippe Nautilus fetched $727,000 at a Sotheby’s auction in Hong Kong,
igniting a bidding war among ten contenders before it landed in the hands of a
private collector in Asia. Audemars Piguet also acquired Genta’s original
prototype design for the Royal Oak, a stunning watercolor executed around 1972,
for $611,405.

 

Genta’s original design for the Nautilus, one of Genta’s only designs to also
show the side profile of the watch

Genta’s original 1970 sketch for Audemars Piguet’s Royal Oak

 

Amid this growing buzz, Jean Arnault, the director of watches at Louis Vuitton,
was spotted at Watches and Wonders wearing a Gérald Genta ruby diamond-set
skeletonized perpetual calendar minute repeater. His wrist candy hinted at a
deep personal and corporate interest in reviving Genta’s legacy, setting the
stage for a resurgence of the Gérald Genta brand under Louis Vuitton’s High
Watchmaking atelier, La Fabrique du Temps in 2023. With complete access to the
late designer’s extensive archive, which includes hundreds of watch designs,
Arnault is focused on creating pieces that reflect what Genta would be making
today. Under the guidance of complications specialists Michel Navas and Enrico
Barbasini, both of whom previously worked with Genta, La Fabrique du Temps aims
to capture the brand’s true spirit and reinterpret it for the third decade of
the 21st century.

 

Michel Navas and Enrico Barbasini

 

As interest in Genta-designed timepieces peaks, we revisit the origins of the
Gérald Genta brand and explore the audacious watches that exemplify his
remarkable artistry.

 


SEIKO, SIX PROTOTYPES AND THE EARLY BEGINNINGS OF BRAND GÉRALD GENTA

In the late 1960s, more than a decade after Gérald Genta had made a name for
himself by selling his designs to some of the most prestigious brands across
Switzerland, he decided to gather a small team—seven in all—and rented a modest
atelier in St. Jean, Geneva. “He was already making special pieces for brands
like Van Cleef & Arpels, but he also created unique watches he kept for himself,
watches that had no name on them,” recalls Evelyne Genta.

 

During one of his trips to Japan, Genta crossed paths with Reijiro Hattori, then
Executive Vice-President of Seiko. Despite the language barrier—Genta spoke
neither Japanese nor English, and Hattori didn’t speak French—they quickly
formed a strong bond. Hattori admired Genta’s talent and invited him to Japan
several times to inspire Seiko’s design team. On one such visit, Genta presented
Hattori with six unfinished prototypes of perpetual calendars, featuring a
striking sun and sky. Hattori encouraged him, “Finish them and bring them back;
I want to show them at Wako,” a prominent Tokyo retailer.

 

The stakes were high; these gold watches represented a significant investment
for Genta. When Hattori displayed them at Wako, the prototypes received great
acclaim. However, this success didn’t sit well with some Swiss brands. One even
protested, insisting Hattori shouldn’t showcase Genta’s work. In response,
Hattori urged Genta to claim his creations: “Mr. Genta, this is very
disrespectful. You must put your own name on them.” According to Evelyne, this
moment was a major turning point in Genta’s journey and marked the actual birth
of the Gérald Genta brand.

 

Amid the Quartz Crisis, when all of Switzerland felt threatened by the Japanese,
Genta formed a close connection with the country. “Japan was seen as the enemy
that would destroy the Swiss watch industry. Factories were shutting down and
people were losing jobs. But my husband was captivated by Japan—he kept going
back, first as a tourist and later as a businessman,” says Evelyne.

 

By the late 1970s, at Hattori’s request, Genta undertook the design of the
Credor Locomotive. This watch was the only piece outside his own brand that
Genta named himself. The Seiko Credor Locomotive featured an octagonal case and
exposed screws — design elements that echoed his most iconic works. After the
Locomotive, Genta began to shift away from steel sports watch designs, spurred
on by Hattori. “With the Locomotive, Gerald had expressed what he wanted to say
with these industrial-looking watches,” Evelyne explains. “After that, he sought
to explore complications and that came through with the perpetual calendars and
the sonnerie,” says Evelyne.

 

Original Locomotive, circa 1979 (left); Sketch for the original Locomotive

 

Genta’s partnership with Seiko not only elevated his brand but also introduced a
fresh direction in watch design that would resonate for decades. He returned to
his small workshop, prioritizing the in-house manufacturing of dials and cases.
“If you had to order a dial from outside, you needed to order at least 1,000.
So, for the parts he couldn’t source, he made them at the atelier. He couldn’t
produce the bracelets at that time because there was no skilled craftsman
in-house,” says Evelyne.

 

As his business gradually grew, Genta recognized the need for further expansion.
“He decided that if he was going to grow, he needed to establish his own
factory.” This vision led to the creation of a movement-making division in Le
Brassus, while the cases and dials were produced in Geneva.

 


THE THREE MUSKETEERS AND ATELIER GÉRALD GENTA

With his own manufacture, Genta started to experiment with innovative use of
shapes, unique case constructions, and striking bracelets that made his watches
truly distinctive. Evelyne emphasizes that Genta was a pioneer in reintroducing
complex features like perpetual calendars, retrogrades, minute repeaters, and
grand sonneries in the wake of the Quartz Crisis. Starting with just seven
craftsmen, his workshop flourished, eventually expanding to a peak of 250
artisans. While they crafted timepieces under the Genta name, they also produced
watches for other prestigious brands. Throughout his illustrious career, Genta’s
client roster was impressively varied. He began working with Audemars Piguet in
1953 but soon expanded to American brands like Benrus, Hamilton, and Bulova. He
also contributed to some of the most eminent designs from Rolex (with the King
Midas), Cartier, Chaumet, Fred Paris and Van Cleef & Arpels. Evelyne notes that
at one point, all of Graff’s watches were produced in Genta’s workshop,
underscoring the extraordinary breadth and lasting impact of his contributions
to fine watchmaking.“Every design was a tangible reality, not just a vision. If
the crown needed to be a millimeter, he painted it precisely that,” Evelyne
explains. “Gerald’s meticulous scaling ensured that each design was
production-ready. Many designers dream up unattainable creations, but his were
crafted to exacting standards.” He put together an exceptional team, with Ernest
Fischer managing cases, bracelets, and dials, while Pierre-Michel Golay focused
on movement creation. “I used to call them the Three Musketeers, because that’s
exactly what they were.”

 

Rolex King Midas

The original Pasha de Cartier from 1985

Chaumet Ebel (Image: baronribeyre.com)

Gérald Genta for Fred Ref. 25070, circa 1980s (Image: Antiquorum)

Gérald Genta Ref. 1154.2, retailed by Van Cleef & Arpels, circa 1980s (Image:
Antiquorum)

 

Gerald meticulously designed each watch and engaged in lively discussions with
Fischer and Golay about the technical intricacies. “From the height of the
movement to how it would fit into the sleek case Gerald envisioned, they would
brainstorm endlessly,” Evelyne recalls. As the manufacture expanded, it evolved
into two distinct avenues: limited collections—sometimes as few as 50 watches
per model, which felt significant to them—and one-off pieces that truly excited
Gerald. “We became prototype makers,” Evelyne reminisces. “In Italy, for
instance we were showcasing our unique watches with around 40 retailers,
balancing creativity with market appeal. We could have achieved greater success
and wealth if we had focused on refining a single model. However, once Gérald
designed a watch and brought it to life, he quickly grew bored and was eager to
move on to the next creation.”

 

One of the defining moments in Gerald Genta’s career dates back to 1954 when he
designed the Universal Genève Polerouter – his first commission for an original
design. This legendary timepiece, initially created for the pilots of
Scandinavian Airlines, has recently experienced a resurgence among collectors
eager to explore its various iterations produced between 1954 and 1969. While
the original model may not have been groundbreaking in its style, Genta’s unique
ability to blend classical elements with his signature flair is evident—from its
fluted ring around the dial to the trapezoidal date window. His meticulous
attention to detail far exceeded expectations from a young designer traveling
across Switzerland to sell his craft for as little as 10 CHF per piece.

 

Universal Genève Polerouter Ref. 20214-2, circa 1954 (Image: Phillips)

Old ads for Scandinavian Airlines (SAS) and the Universal Genève Polerouter
(Image: universalgenevepolerouter.com)

 

Universal was a significant player during that time, but Genta’s collaboration
with Omega, which spanned the 1960s through the ’80s, proved even more
transformative. In 1960, Pierre Mointat, Omega’s then Head of Creations, offered
Genta exclusive contracts to work with different suppliers of Omega dials,
cases, and bracelets. “For Seamaster Polaris, he designed the case, the dial,
the bracelet, and the indexes separately, which Omega then assembled into one
cohesive watch,” says Evelyne. Genta also redefined the aesthetics of the
Constellation with the introduction of the “C-Shape” case in ref. 168.009 –
seamlessly integrating the case and lugs. The applied markers with the “index in
ebony” or Onyx inserts was also an original Genta idea. This design became a
hallmark of his work, reflecting a broader trend towards complete integration of
case and bracelet. While individual designers weren’t formally credited at the
time, the emergence of integrated designs in Omega’s catalog in the late 1960s
can be traced back to Genta’s influence, hinting at a prelude to the Audemars
Piguet Royal Oak. “Even within Omega, they may not know all that I’ve done for
them, but that’s perfectly fine!” Genta once remarked in an interview.

 

Omega Seamaster Polaris Ref. TA 396.952 (Image: Antiquorum)

Omega Constellation Ref. 168.004 (Image: Antiquorum)

 

In 1985, Cartier revitalized the Pasha with a sporty makeover, enlisting Gérald
Genta to create the Pasha de Cartier.Tasked with reinterpreting a design that
was already half a century old, he skillfully blended traditional Cartier
elements with contemporary flair, capturing the creative spirit of the Parisian
house. Among his standout contributions was a perpetual calendar featuring a
moon phase display, with a night sky crafted from lapis lazuli and a gold
moon—an elegant alternative to conventional painted designs. Genta also
introduced innovative complications, such as the Golf Pasha, equipped with push
pieces for golfers to track their scores. “Cartier produced about eight or nine
complications, including a minute repeater, all with Genta’s input,” recalls
Evelyne.

 

Automatic Cartier Pasha Perpetual Calendar (Image: geraldgenta-heritage.com)

 

By the late 1980s as Europe and America were hit by inflation and energy crisis,
Genta discovered new patrons among rising industrialists in Japan, sultans in
Southeast Asia, and Arabian royalty. Often described as a “real dandy” and
creative genius, Genta effortlessly mingled with high society. Driving around in
a Ferrari he was often spotted for cashmere in Italy alongside the stylish
Pierre Arpels, or discussing design with Gianni Agnelli, the charismatic head of
Fiat and Ferrari, who was known to wear Genta’s timepieces. His talent for
custom-making each piece attracted a distinguished clientele, who sought out his
ornate creations, adorned with gemstones and intricate details. This bespoke
approach allowed him to shift from the conservative aesthetics of Swiss giants
to crafting eccentric and extravagant works of applied art. “He was much more
famous outside of Switzerland,” says Evelyne. His success truly skyrocketed in
the Far East. “We had two separate ventures with The Hour Glass: one for the
regular line, which was sold across all their shops in Singapore, Indonesia, and
Bangkok. The other catered to the elite, much like in the Middle East, serving
sultans in Malaysia and powerful figures in Indonesia.”

 


GENTA IN THE ’80S: A GOLDEN CHAPTER

The ’80s were a pivotal decade for Genta. He received the prestigious Poinçon de
Genève quality hallmark in 1979, and two years later, he made headlines with his
innovative Minute Repeater Perpetual Calendar Ref. G2015. With a self-winding
movement housed in an ultra-slim 2.72mm profile, this watch was a remarkable
success, with over a thousand pieces flying off the shelves.“It was not only the
thinnest but also the only one produced in series at the time. No one had ever
thought of creating such a piece,” says Enrico Barbasini, who joined Genta’s
team in 1979. “Pierre-Michel Golay, a friend of my father and head of
watchmaking at Genta, helped me get my start. At that time, Gérald Genta was the
brand everyone aspired to work for, offering access to fascinating projects and
unique watchmaking challenges. While other brands struggled, Genta boldly
launched his own company, allowing his creativity to flourish. After finishing
watchmaking school, I was assigned to work on complications—a rare opportunity
not found elsewhere. Genta was the first brand I worked for, and also my last.”

 

Gérald Genta Minute Repeater Perpetual Calendar Ref. G2015 (Image: Christie's)

 

This stunning Minute Repeater Perpetual Calendar watch was powered by an
in-house double complication movement, featured a striking white matte dial
adorned with Genta’s signature sub-dials. The moonphase sub-dial at 12 o’clock
was elegantly highlighted by a lapis lazuli disc. Encased in a refined 35 mm
Empire case, it showcased graceful Vendôme lugs and a polished “double pomme”
bezel. The cylindrical caseband was hand-engraved with the brand logo and serial
number, adding a personal touch.The caseback revealed an impressive minute
repeater caliber, with a gold-plated mainplate and intricate floral rococo
motifs—an unmistakable mark of Genta’s artistry. One of the standout features of
the watch was its activation pusher at 9 o’clock, which replaced the traditional
sliding lever, making it easier to use and ensuring better water resistance—a
rarity for minute repeaters of its time. One could feel the quality in every
detail, validated by the Geneva Seal, the industry’s most prestigious mark,
proudly displayed on both the mainplate and barrel bridge.

 

Gérald Genta Minute Repeater Perpetual Calendar Ref. G2015 (Image: Christie's)

 

At the Gérald Genta manufacture, Barbasini found his match in master watchmaker
Michel Navas, and together they created some of the most legendary timepieces of
the 21st century. “Gérald Genta truly stood apart from other brands, playing
with the codes of high watchmaking through creative and bold designs. It was
something completely new in the industry! I left Audemars Piguet in 1987 to join
Genta for these very reasons,” recalls Navas, who played a key role in bringing
Genta’s most complex and rewarding creation—the Grande Sonnerie—to life.

 

Gérald Genta Grand Sonnerie No. 1 Ref. G0025.1 (Image: Christie's)

 

“Featuring a tourbillon, Westminster chime, and double power reserve, the Grande
Sonnerie was a world first in 1994. No one believed it was possible! It took
over four years of development—just in time for the brand’s 25th anniversary,”
says Barbasini. Genta reportedly sold 23 examples of this watch for one million
Swiss francs each. Originally conceived specifically for the Sultan of Brunei,
Genta’s Grande Sonnerie was only the second wristwatch model after Dufour to
feature this complication, showcasing the incredible skills of the dream team:
Pierre Michel Golay, Demetrio Cabbidu, Michel Navas, and Enrico Barbasini.

 

Gérald Genta Grand Sonnerie No. 1 Ref. G0025.1 (Image: Christie's)

 

Few Grande Sonnerie models were made in the 1990s, primarily featuring
multi-step round or pyramid-shaped cases. The 1994 platinum Gérald Genta Ref.
G0025.7 features an octagonal ‘pyramid’ case and an automatic movement. Its
mother-of-pearl dial showcases four subsidiary dials, tritium dot indexes,
silent mode at 10 o’clock, power reserve indicators for chiming and the going
train, and a Grande et Petite Sonnerie indicator at 8. Powered by Cal. 31000,
this self-winding timepiece also includes an alarm, calendar, minute repeater,
power reserve indicator, tourbillon, and dual time complications.

 

Gérald Genta Grand Sonnerie No. 1 Ref. G0025.7 (Image: Christie's)

 

A hexagonal case version of the Grande Sonnerie was also produced, without the
perpetual calendar module but featuring retrograde hour and wandering minute
displays. Currently, there are three known Grande Sonnerie ‘Hexagonal’ examples
in white gold, platinum, and yttrium. A yttrium example sold for CHF 152,400 at
Phillips’ recent Geneva sale. This rare piece, adorned with a clover leaf motif
on the dial, is powered by the automatic Caliber 31000 and represents one of the
most impressive feats in modern horology. It is a tourbillon, grande et petite
sonnerie, minute repeater and Westminster carillon. Combining multiple
complications within a 38-millimeter case is no easy task. Over 1,000 components
of the movement are painstakingly decorated, inspired by nature. This automatic
movement makes this model part of the exceedingly small series of automatic
grande and petite sonnerie watches ever made, and it’s likely unique in a
yttrium case.

 

Those familiar with the watch industry know that many contemporary design
elements—like carbon-fiber dials, geometric shapes, and retrograde hands—were
pioneered by Gérald Genta in the 1970s and 1980s. A standout example is the
Gefica Safari, recognized as the first watch made in bronze.  Genta created this
model in 1984 for three hunters—Geoffroy, Fissorea, and Canali—who requested for
a timepiece that wouldn’t reflect sunlight during their African safaris. “Mr.
Genta invested in materials crucial for the brand’s growth,” recalls Enrico
Barbasini. “His audacity was remarkable for a young, independent brand. The
Gefica Safari was a proper tool-watch. Designed on purpose, from A to Z, with a
non-reflective bronze case and a compass integrated to the strap, opposite the
case to avoid magnetizing the watch. That was revolutionary at the time! I still
remember the little shockwave going through the watchmaking industry when they
saw us daring to use anything other than steel or precious metals for a luxury
watch,” says Barbasini.

 

Gefica Safari (Image: geraldgenta-heritage.com)

 

As the collection’s popularity soared, Genta added a few complicated models to
the Géfica line. One of the most outstanding examples of which is the Géfica
Répétition Minutes Quantième Perpétuel Tourbillon Universal Time, launched in
1990. Featuring an octagonal caseband, this model is a unique blend of the
Géfica and Octagonal designs, showcasing an exceptionally intricate movement.
Another intriguing variant of this watch came up in 1995 – the quartz
chronograph Ref. G3620.7 made out of blackened stainless steel and
affectionately called “Darth’ within the collector community.  “We often
struggled with space on the dials, constantly developing movements that aligned
with our designs—a vastly different approach than designing a watch around an
existing movement. Here, creativity drove product development,” explains
Barbasini.

 

An original prototype design of a grand complication wristwatch, painted by
Gérald Genta, circa 1990 (Image: Sotheby's)

Gérald Genta Gefica Aluminum Ref. G3620.7 (Image: Chrono24)

 

Genta’s maverick spirit for innovation extended beyond just the watch face. He
introduced a variety of shaped cases for his timepieces, along with
astonishingly different designs for bracelets, crowns, hands, and dial
materials. His manufacture crafted dials, cases, and bracelets in gold or steel
in-house and even developed faceted sapphire crystals. While many manufacturers
favored round crystals, Genta insisted on having octagonal crystals in some of
his watches like the Gold & Gold and the Success collection. “I got to spend the
most time with these two collections as I assembled about 60 Minute Repeaters
over a period of 5 years. They are the epitome of Gérald’s art: grand
complications paired with a bold design, but always chic with a contained
thickness and perfect style on the wrist. Believe me, when you combine
complications such as a minute repeater, a perpetual calendar, and sometimes
even a tourbillon, this is not an easy feat! Though, once again, he proved to
everyone that it was feasible,” says Barbasini.

 

One of Mr. Genta’s groundbreaking innovations was the introduction of carbon
fiber in watchmaking, notably showcased in the Success Quantième Perpétuel Ref.
G3374.7. He began using this avant-garde material for dials around 1988,
extending its application to bezels and bracelet links. Genta also
revolutionized watch design with two new hand shapes: the large triangular hands
of the Ice Crystal series and the ‘sword’ hands, which became prominent in the
Arena collection during the mid-1990s. While early Gérald Genta watches
typically had a traditional fluted crown or those  set with a sapphire or
diamond, in the late 1980s Genta introduced the dome-shaped elevated crown with
beads that became a signature of the Classic, Gefica, Success and Arena
collections.

 

Gérald Genta "Ice Crystal" (Image: europastar.com)

Gérald Genta Ref. G.3149.7 (Image: Phillips)

 

While Genta wasn’t afraid to embrace a bold, Versace-like aesthetic with rich,
intricate designs, he also demonstrated remarkable restraint with the Retro
model, which became a significant part of Gérald Genta’s history. Originally,
round models in the collection were labeled as Classic, while those with
complications were named after their specific features. By the late ’90s, as
Genta ventured into sportier designs with retrograde minute and jumping hour
complications, he introduced the Rétro Classic line. He was among the very first
to embrace both retrograde hands and jump hours, some of the most desired
features in collectible watches these days.

 

Genta’s handcrafted dials often showcased white agate, creating a striking
translucent effect enhanced by vibrant markings that added to their ethereal
quality. The first watch featuring an agate dial debuted as early as 1983. His
innovative approach to skeletonization redefined industry standards, maximizing
transparency by minimizing metal on the bridges and main plate, resulting in
delicate frames adorned with intricate engravings. This meticulous design was
often complemented by finely braided gold bracelets, a hallmark of the brand’s
early skeleton models, celebrated for their slim profiles in the 1970s and early
1980s. His signature use of precious and semi-precious stones became another
defining characteristic of his designs. From onyx inserts on the markers of the
Polerouter to entire dials cast in bright-red coral, he consistently shunned
painted or artificial colors. “In the factory, when someone wanted rubies for a
watch, no one else could choose them; he had the eye for it,” recalls Evelyne.
“He loved colors. Later in life, he painted more abstractly, but always with a
vibrant palette. He would start designing watches at 6 o’clock in the morning
and work until lunchtime. After lunch, he’d spend the afternoon painting. It was
quite a routine.”

 

Gérald Genta Platinum Skeletonised Minute Repeating Perpetual Calendar with
bracelet (Image: Christie's)

 


GENTA: THE WATCH DESIGNER VS THE PAINTER

Glancing over Genta’s dazzling career, from the 1950s to the early 2000s, one
can’t help but marvel at his vast creative landscape. No single design can
capture his genius in totality. Always ahead of the curve, he would often
outpace an industry that was perpetually stunned by his spunk. What’s most
striking is his knack for balancing the polar opposites of his oeuvre—from the
sleek minimalism of the 70s to the bold flamboyance of the 80s. So, what really
defines Genta’s design philosophy? It’s a delightful enigma, and the answer is
as captivating as the man himself. “I think my husband truly embodied a duality
in his personality. He was a creative force who considered himself a painter,
and his remarkable artworks reflect that passion. During those times, he
embraced his artistic side fully. Yet, when it came to crafting watches for the
market, he transitioned into the role of a watchmaker—an Italian by birth, a
Swiss by trade,” says Evelyne. “This duality is at the heart of his incredible
creations, which often lack a singular unity. It’s perhaps why Gérald Genta
could never be like Rolex or Audemars Piguet. Had he simply focused on one model
and continued refining it, he might have aligned with those established brands
but he thrived on variety and was easily bored. He felt an intrinsic need to
paint; if he didn’t, it wasn’t a good day. Some days, his watchmaker side would
dominate, leading to deep discussions with Mr. Golay about movements and
mechanisms. On others, he would dive into painting, producing one stunning
design after another. This constant interplay between his artistic vision and
technical expertise made him truly unique.”

 

The latter part of Genta’s career beautifully illustrates the artistic side of
his duality. Following the remarkable success of his ultra-thin minute repeaters
and perpetual calendars, Genta’s creativity took flight, particularly in
crafting one-off custom pieces for the rich and famous. He began to reimagine
traditional Swiss watchmaking, embracing an eccentric, often extravagant
aesthetic. The modernist ideology of “form follows function” gave way to a
fearless exploration of ornamental design. His most audacious creations were
commissioned by the Sultan of Brunei. One notable piece, showcased at Christie’s
Dubai last year, was a yellow gold, octagonal perpetual calendar that dazzled
with its harmonious angles and exquisite details. Set with baguette-cut
sapphires and diamonds, the mother-of-pearl dial displayed the day, date, month,
and phases of the moon on a striking blue lapis lazuli disc. This masterpiece,
complete with an 18k yellow gold bracelet, fetched an impressive $37,000 at
auction—a testament to Genta’s inimitable legacy in the world of luxury
watchmaking.

 

Gerald Genta Ref. G.3459-5, a rare octagonal Gold and Sapphire-set Automatic
Perpetual Calendar wristwatch made for the Sultan of Brunei (Image: Christie’s)

“Genta had such a broad spectrum that he was indefinable; he was incredibly
eclectic,” recalls Navas. “He created refined, sporty-chic watches for other
brands, but for his own collection, he embraced an astonishing level of
creativity, even bordering on baroque. He stylized his pieces according to the
tastes and desires of his clients. Genta was attentive and accessible, enjoying
the process of meeting with patrons to create unique, special pieces. I remember
one day arriving at the manufacture and being amazed to see three identical
Ferrari cars in the parking lot, each in a different color. A client had asked
Mr. Genta to create three unique dashboard clocks for his cars, each crafted in
a metal matching the car’s color. Of course, The Maestro did it his way,
incorporating an 8-day power reserve perpetual calendar into each clock,” he
says.

It’s believed that it was at the request of the Sultan of Brunei that Genta
created one of his first Mickey Mouse watches in the 1980s. The inspiration for
the Les Fantaisies collection began with a Bambi watch, a gift from Genta to
then Disney CEO Michael Eisner for his mother. After completing this commission,
Genta sought Eisner’s permission to create a limited series of watches featuring
Disney characters. Eisner agreed, leading to the launch of the first character
watches.

At one of the most controversial watch exhibitions in 1984, Genta showcased the
famous Pink Panther, alongside a Mickey Mouse watch and another depicting a
nude, at the Montres et Bijoux fair. This bold idea of incorporating a pop
culture icon onto a mechanical watch was met with outrage by many traditional
Swiss brands, who deemed it heretical. Several exhibitors protested, demanding
that Genta remove his whimsical creations from display. Rather than comply,
Genta defiantly exited the show, supported by brands that believed in his
forward-thinking style. “He was always too creative, too different for most
traditional brands in Switzerland. But I remember the Bambi watch with a tiny
butterfly on the minute hand—it was very romantic. It laid the groundwork for
the introduction of Mickey Mouse and his friends, who would be hand-painted in
enamel onto mother-of-pearl dials set in elegant gold cases,” says Evelyne.

(Image: europastar.com)

Gérald Genta Retro Mickey Mouse Jump Hour Ref. G3632.7 (Image: Christie’s)

Gérald Genta Fantasy Retro Mickey Mouse Ref. G2850.7 (Image: Sotheby's)

 

The early quartz Genta Mickey watches, available in both gold and later in
steel, showcased Genta’s signature octagonal case shape. By the 1990s, he
introduced the intricate Round Retro Fantasy watches, featuring beloved Disney
characters like Mickey Mouse, Donald Duck, and Goofy. These playful designs came
to life with a retrograde minute display, depicting the characters engaged in
whimsical activities such as swinging baseball bats or gearing up for a race. At
the end of each hour, their movements would trigger the minute hand to snap back
to zero while the hour hand advanced—a fascinating blend of mechanical ingenuity
and lighthearted fun. Among these creations, the Retro Fantasy Mickey in white
gold became the most expensive Mickey Mouse watch ever made, while the Goofy
Retro Fantasy watches turned into coveted finds for collectors. One particularly
intriguing example was auctioned at Phillips in 2021: a stainless steel
wristwatch featuring Chinese jumping hours, retrograde minutes, and a
mother-of-pearl guilloché dial. This limited edition of just 300 pieces was made
in collaboration with Hong Kong Disneyland and sold for an impressive
HK$189,000.

 


GÉRALD GENTA 2.0

As Gérald Genta approached his seventies, selling his brand to the Tay family
felt like a natural step. In 1996, The Hour Glass acquired a 51% stake, marking
a new chapter for the brand. Just four years later, Bulgari took over,
leveraging Genta’s iconic designs and the fine watchmaking expertise of
Pierre-Michele Golay who crafted movements for Genta’s complex pieces like the
Grande Sonnerie. Bulgari did produce some of Genta’s complicated watch designs,
particularly the retrograde watches but the brand was eventually taken over by
LVMH in 2023. “My husband longed to enjoy life a bit more, especially after
working since the age of 14. When we had the factory, he would wake up at four
in the morning to sketch designs before the workday began. The pressure was
immense; we either needed to scale up for development or it all rested heavily
on his shoulders. He was an artist first and a watch designer second, and he
yearned to paint. Even after launching Gérald Charles, he designed new watches
daily, always chasing innovation,” says Evelyne.

 

Evelyne Genta and Jean Arnault

 

As Jean Arnault announced the relaunch of Gérald Genta under Louis Vuitton La
Fabrique du Temps, with Michel Navas and Enrico Barbasini—who both worked
alongside Gérald in the 1980s and 1990s—at the helm, it felt like a beautifully
orchestrated full-circle moment. “Mr. Genta was a prolific designer, often with
a paintbrush in hand, producing numerous gouaches of watches every day
throughout his life. Thanks to Evelyne, we have access to over 3,000 of his
drawings, which serve as an invaluable source of inspiration. In the spirit of
what Mr. Genta would have loved, we continue to innovate and create new designs,
leveraging technology that didn’t exist in his time. We are thrilled to be part
of the brand’s revival, believing that the best tribute isn’t merely to
replicate his work but to evolve it. Take the Gentissima Oursin, for instance,
it incorporates elements inspired by Mr. Genta while pushing creative boundaries
through today’s technical capabilities. It stands as a true designer piece with
limitless possibilities. The techniques of his era restricted his endeavors, he
would have loved our time.,” says Barbasisni.

 



 

In the last decade of his life, Genta indulged in his true passion –
collaborating with friends in the industry. He revitalized the Nautilus for its
40th anniversary alongside the Stern family and assisted Jean-Claude Biver in
launching the groundbreaking red ceramic—a significant milestone for the
Hublot-Ferrari partnership. Genta’s love for painting and design remained strong
until his passing in 2011. To keep his legacy alive and inspire the current
generation, Evelyne founded the Gérald Genta Heritage Association, fostering the
continued interest in his remarkable contributions.

 

The auction scene has certainly not remained untouched by Genta’s charm. In
2021, Phillips showcased several high-value pieces by Genta, including the Grand
& Petite Sonnerie Tourbillon, which sold for CHF 264K, and the Chinese Jumping
Hours Retrograde Minutes Mickey Mouse, fetching HKD 189K. Highly limited and
intricate, these pieces have drawn significant interest from collectors in
recent years. As Gertrude Wong, Head of Sale for Phillips in Hong Kong,
explains, “This ‘Genta Phenomenon’ underscores the growing significance of his
creations among collectors, who are captivated by the innovative case shapes,
unique bracelets, and complex complications that distinguish his work—often
overshadowing even his iconic designs like the Nautilus and Royal Oak. Unique
pieces with high complications, especially from the ’90s, featuring octagonal
shapes and sapphire casebacks to showcase the intricate engraving and finishing
of the movements, are in high demand. These are often numbered to emphasize
their exclusivity.”

 

Gérald Genta Ref. M.10, Chinese Jumping Hours Retrograde Minutes Mickey Mouse
(Image: Phillips)

 

The Retro Fantasy collection also holds a special place in collectors’ hearts,
embodying a nostalgic charm that resonates with childhood memories. “With
features like mother-of-pearl dials, retrograde mechanisms, and jumping hours,
there’s always a favorite character from the Disney universe to cherish. A
typical Genta collector appreciates quirkiness in their watches while demanding
quality—think precious metals, intricate skeletonized movements, and exotic
materials. They aren’t shy about embracing a bit of bling, either,” says Wong.

 

Known for his quirky yet refined taste in collecting, New York-based Phillip
Toledano is obsessed with the industrial feel of Genta’s skeleton watches.  The
co-founder of Toledano and Chan and a Geezer watch enthusiast, Phil began
collecting Gérald Genta watches a few years ago and has been captivated by their
sheer exuberance and audacity in experimentation, particularly with their
materials. “It’s true that Genta’s watches from the ’90s have a lot going
on—with mother-of-pearl and lapis dials, carbon fiber faces, and sandblasted
white gold cases—but they’re no more or less over the top than what you see with
the Indie brands today. The most exuberant Genta pieces feel like an artist at
play, and it’s safe to say that Gérald Genta was the grandfather of horological
madness. He was certainly not risk-averse when it came to materials and shapes
and I find his audacious exuberance quite inspiring.”

 

Gérald Genta Platinum Automatic Skeletonized Minute Repeating Perpetual Calendar
Wristwatch with Moonphases and Leap Year indication (Image: Christie’s)

 

Evelyne Genta’s expectations for the future of the Gerald Genta brand under La
Fabrique Du Temps are filled with hope and optimism. “The way Jean Arnault has
welcomed the brand has been incredibly respectful. The fact that they brought on
Mr. Barbasini and Mr. Navas was very heartwarming for me. It feels like the
story continues because they have Gerald in their heart as much as I do. I
believe Jean has an incredible wealth of designs to explore. Thank goodness he’s
young; he has at least 50 years of creativity ahead of him,” she says. “My
husband always looked to the future. When asked which model he preferred, he
would say ‘tomorrow’s’—he was a visionary. He wouldn’t have wanted to see his
designs replicate the past, like those from the 1990s. With La Fabrique Du
Temps, I feel that Gerald has come home. I truly believe we are in good hands,
and I look forward to seeing how this legacy evolves.”





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