Articles, Sparkling News

Col&McArthur appoints Sparkling PR for Global Communications

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Col&McArthur appoints Sparkling PR for Global Communications

Sparkling PR is proud to announce its appointment as the international Communications and Public Relations agency for Belgian watchmaking Maison Col&McArthur across France, Switzerland, the United States and Canada.

As part of this collaboration, Sparkling PR will lead the brand’s international PR strategy across these key markets, encompassing media relations, press release development, targeted media outreach, launch strategy, event support and ongoing communications counsel.

The partnership marks a new chapter in Col&McArthur’s international development as the Maison continues to strengthen its visibility and positioning across Europe and North America.

Founded in Liège, Belgium, in 2013, Col&McArthur has developed a distinctive approach to watchmaking built around one central idea: preserving history through timepieces.

Each collection begins with a story. From the Moon Landing and the events of the Second World War to the legendary Spa-Francorchamps circuit, the Maison creates watches inspired by significant moments, places and personalities. Authentic historical materials are often incorporated into the pieces, creating a tangible connection between the object and the history it represents.

Since 2018, Col&McArthur has sold more than 10,000 watches across over 70 countries, building an international community of collectors, history enthusiasts and watch lovers.

For Sparkling PR, the mandate will focus on translating this distinctive universe into relevant stories for international media and audiences. The agency will work across a carefully curated mix of leading lifestyle and fashion publications alongside specialized watch media, adapting each communications approach to the story, collection and market.

Launch strategy will also form an important part of the collaboration, with Sparkling PR providing strategic counsel and communications support around key product releases, including the recently launched Céline Dion Tribute collection.

For Marina Coelho, Founder and CEO of Sparkling PR, the partnership reflects the agency’s approach to working with watchmaking brands whose identity extends beyond the product itself.

“Col&McArthur has a very particular way of approaching watchmaking: the story always comes first. Each collection gives us something meaningful to communicate, whether that story begins with a historical event, a place or a person. Our role is to translate that richness into a communications strategy that resonates across different markets while remaining true to the Maison’s identity.”

The appointment further strengthens Sparkling PR’s international presence within the watchmaking and luxury industries. With expertise spanning watchmaking, jewellery, luxury, lifestyle, fashion and culture, the agency develops communications strategies designed around each brand’s individual identity, objectives and markets.

Through targeted media relations, strategic storytelling and tailored launch support, Sparkling PR and Col&McArthur will work together to expand the Maison’s international visibility while bringing the stories behind its timepieces to new audiences across France, Switzerland and North America.

Follow Sparkling PR on Instagram or contact us for more details on this collaboration.

Geneva Watch Days 2026

The Watch You Already Own

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The Watch You Already Own

PARALLÈLE / GENEVA WATCH DAYS 2026
IN FOCUS · ARTISANS DE GENÈVE

The Watch You Already Own

At Artisans de Genève, the starting point is not a new watch. It is the one a client already owns, and what they want it to become.

At Geneva Watch Days, the first reaction was often surprise. Then came the gloves. Once people understood that the watches on the table belonged to private clients and had been transformed at their request, the instinct was to look closer. Skeletonized movements drew particular attention. Loupes appeared almost immediately. Watches were turned over, examined from different angles and photographed in detail.

That reaction says something important about Artisans de Genève. It is not a watch brand in the conventional sense. It does not manufacture, buy or sell watches. It is an independent atelier working at the request of private owners, personalizing watches they already possess. It is not affiliated with the original watch brands, and the modifications are carried out independently. The distinction matters because it changes the entire conversation.

It begins with the owner

The process does not begin with Artisans de Genève selecting a watch to transform. It begins with a client.

Someone already owns a timepiece and approaches the atelier with an idea. Sometimes that idea is aesthetic, sometimes technical. Sometimes it comes from a memory, an emotion or a particular moment in the owner’s life. From there, the conversation develops.

Artisans de Genève works directly with the end client rather than through retailers or resellers. According to the atelier, that direct relationship is essential because each project depends on understanding the owner’s wishes in detail before any technical work begins.

That was also one of the recurring points of curiosity in Geneva. People wanted to understand who initiated the work. Was Artisans de Genève collaborating with the original watch brands? Did it sell watches? The answer to both is no. The atelier operates independently. The owner brings the watch and initiates the project. And the finished piece returns to that same owner. That seemingly simple distinction is fundamental to understanding what sits on the table.

From an idea to a sketch

The first tangible step is a drawing. An idea is translated into a sketch so that its aesthetic and technical possibilities can begin to be evaluated together. From there comes prototyping, a stage that can take several weeks while individual elements are adjusted and reconsidered.

The full personalization typically takes between ten and twelve months. Each component involved in the transformation is planned, modified and reassembled according to a detailed technical specification, with the atelier aiming to preserve the underlying character of the original timepiece while introducing the client’s own vision.

This is where the word personalization begins to feel more precise than customization. There is no menu of predefined options. The process develops through conversations between the owner and the craftsmen, with each project shaped around one individual watch and one individual brief.

The owner brings the watch. The owner initiates the project.

The instinct to see inside

In Geneva, skeletonization was often the detail that made people stop. It is also one of the areas where the extent of the work becomes immediately visible. A familiar watch can suddenly reveal an architecture that was previously hidden, changing not only how the movement looks but how the entire object is read.

That was when people reached for the loupe. The surprise was rarely just about decoration. It came from seeing how far the intervention could go: movements opened up, components reworked, surfaces finished by hand and existing architecture reconsidered without losing sight of the watch that had been entrusted to the atelier.

People wanted photographs, too. Not simply because the watches were unusual, but because the details required a second look.

One watch, one story

Among the pieces shown in Geneva, the personalized watch created for Spike Lee naturally prompted some of the longest conversations. The name brings an immediate cultural context with it, but what made the piece useful in explaining Artisans de Genève was the process behind it.

It demonstrated that personalization is not simply about changing a color, replacing a dial or making something more decorative. The starting point is the individual: what they want the watch to represent, and how far the existing piece can be transformed to express that idea.

That is why no two projects need to arrive at the same result. The atelier describes each one as emerging from a particular vision, emotion, story or significant moment in a client’s life. The watch becomes the material through which that story is expressed.

Bespoke, in the older sense of the word

There is a tailoring analogy behind all of this. Founder John Isaac was raised by a grandfather who was both a tailor and passionate about watches. That background became part of the thinking behind an atelier built around individual requests rather than collections or seasonal launches.

The parallel makes sense. A tailor does not invent the person wearing the suit. The work begins with them: their proportions, preferences and idea of how they want something to feel. Artisans de Genève applies a similar logic to watches. The object already exists. What changes is the relationship between the owner and the object.

And perhaps that is why the watches prompted so much curiosity in Geneva. People initially came closer to understand the skeletonization, the finishing and the technical transformation. But the more interesting question eventually became something else: not What watch is this? but Whose watch did this become?

The object already exists. What changes is the relationship between the owner and the object.

Geneva Watch Days 2026

The Discipline of Simplicity

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The Discipline of Simplicity

PARALLÈLE / GENEVA WATCH DAYS 2026
IN FOCUS · MINASE

The Discipline of Simplicity

The Mastercraft J3 does not try to reinvent Minase. It refines the idea.

At Geneva Watch Days, the Mastercraft J3 stood out for a reason that was less obvious than a new complication or a dramatic design shift. It felt smaller, more compact, more immediate. The proportions had changed, but the identity had not. That balance is central to the watch.

The Mastercraft J3 takes its inspiration from the M3, a model associated with Minase’s early idea of “ultimate simplicity,” and reworks it into a more compact, contemporary format. The case diameter has been reduced from 38.8 mm to 37 mm, while the thickness moves from 10.8 mm to 9.9 mm. The changes are modest on paper. On the wrist, they are more meaningful.

A return to simplicity

Minase’s earlier M1, M2 and M3 collections were built around restraint. The Mastercraft J3 returns to that starting point rather than adding complexity.

Its cushion-shaped case frames a round dial opening with a clear, almost architectural simplicity. The proportions are smaller, the profile is thinner, and the overall effect is more refined. What matters here is not minimalism for its own sake. The simpler the watch becomes, the more visible the execution is. There is nowhere for the finishing to hide.

What changes when the proportions change

The shift to 37 mm is perhaps the most important decision in the watch. It makes the Mastercraft J3 easier to wear, but it also changes how the design is read. The cushion-shaped case feels more compact. The dial occupies the space differently. The relationship between the polished steel, the round opening and the textured surface becomes more balanced.

At Geneva, that was one of the reasons the J3 attracted attention. It offered a more approachable entry into Minase without abandoning the characteristics that make the brand recognizable. The watch is still unmistakably Minase. It simply asks for less space on the wrist.

The simpler the watch becomes, the more visible the execution is.

The details that remain

Reduction does not mean simplification of the craft. Sallaz polishing remains one of Minase’s defining characteristics, with the bezel meticulously hand-polished to create mirror-like surfaces and sharply defined edges. The technique places considerable emphasis on the quality of the case finishing.

The dial follows the same restrained approach. The Mastercraft J3 is available in white, beige and grey, each with a sand-textured surface designed to create subtle shifts in depth depending on light and viewing angle. Sharp-cut hands sit above the dial, while both the hands and indexes are treated with blue luminescent material for visibility.

There is less visual information than on some of Minase’s more elaborate creations. That makes the smaller details matter more. The grain of the dial. The transition between polished surfaces. The shape of the case. The way the light moves across the steel. This is where the watch finds its character.

A Japanese movement, for the first time

The Mastercraft J3 also marks a mechanical shift. For the first time in the brand’s history, the J3 series uses a Japanese movement: the Miyota 90S5 automatic caliber, produced by Citizen. It runs at 28,800 vibrations per hour, uses 24 jewels and offers a power reserve of approximately 42 hours.

That decision fits the broader logic of the watch. The Mastercraft J3 is intended to be a more accessible expression of Minase, and the movement supports that position without changing the emphasis of the piece. The watch remains centered on proportion, case finishing, dial texture and wearability. The mechanics are there to serve the object rather than dominate it.

A more accessible Minase

The Mastercraft J3 feels important because it lowers the threshold without diluting the identity.

It is offered with a stainless-steel bracelet, calf leather or rubber straps, all using a quick-change system, giving the watch a level of flexibility that suits its more everyday character. That versatility matters, but the larger point is simpler. Minase has not tried to make the J3 more accessible by making it less Minase. The Sallaz polishing remains. The textured dial remains. The attention to surfaces remains. The Japanese approach to detail remains. What changes is the scale. And perhaps that is the point of the Mastercraft J3: not to add more, but to make the essential parts easier to see.

Minase has not tried to make the J3 more accessible by making it less Minase.

Geneva Watch Days 2026

The Other Side of the Watch

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The Other Side of the Watch

PARALLÈLE / GENEVA WATCH DAYS 2026
IN FOCUS · SCHWARZ ETIENNE

The Other Side of the Watch

The 1902 Petite Seconde Heure Dorée makes its first impression in black and gold. Then you turn it over.

At Geneva Watch Days, the reaction was remarkably consistent. The dial caught the eye first: deep black, warm gold accents, compact proportions. Then the watch was turned over, and the conversation changed. That second moment is perhaps the more revealing one.

The 1902 Petite Seconde Heure Dorée is limited to eight pieces and combines a 39 mm Grade 5 titanium case with a deep-black multi-layer DLC coating, a black dial articulated by 4N PVD gold-toned details, and Schwarz Etienne’s manufacture ASE 300.00 automatic micro-rotor caliber.

But the interest lies less in any one specification than in the way the watch is built around contrast: black and gold, surface and depth, dial and movement, first impression and second look.

Black, but not flat

The name Heure Dorée evokes the golden hour, when daylight takes on a warmer tone before fading. Schwarz Etienne uses that idea not as a decorative theme, but as a way of structuring the watch.

The dial combines a silky grained center with a black opaline upper plate. The contrast is subtle at first, but more apparent when the watch moves. Light catches different surfaces differently, preventing the black from becoming visually flat.

Against it, the applied indexes, logo and lancine-style hands appear in 4N PVD gold tone. The hands themselves combine sandblasted and polished surfaces, allowing the gold to shift in intensity depending on the angle. The minute track and small seconds display at six o’clock continue the same warm tone across the dial. The effect is controlled rather than dramatic. Black provides the depth. Gold provides the interruption.

Even the case works with the same idea. This is the first time the 1902 collection has combined Grade 5 titanium with a deep-black multi-layer DLC coating. At 39 mm in diameter and 10.90 mm high, the proportions remain restrained, while satin-finished and polished surfaces create small changes in reflection as the watch moves on the wrist.

From the front, it feels coherent and relatively quiet. Then comes the reverse.

When the movement takes over

Through the transparent caseback, the ASE 300.00 caliber changes the character of the watch. Its architecture is organized around six slender bridges, giving the movement an open, almost structural quality. For this edition, the caliber is presented in anthracite tones for the first time within the 1902 collection, extending the black aesthetic from the dial into the mechanics.

Then, once again, gold interrupts the darkness. The micro-rotor is finished in 4N gold tone, reserved for this series, echoing the indexes and hands visible on the front. It is small in scale but visually decisive, a warm point of light inside an otherwise darker architecture. This is where the watch begins to explain itself. The front and back are not two separate design exercises. They follow the same visual logic.

The dial uses gold to reveal the black. The movement does the same.

The details behind the architecture

Look closer and the movement becomes less about contrast and more about construction.

The mainplate is sandblasted and rhodium-plated, with polished bevels. The bridges carry circular and concentric Côtes de Genève. The micro-rotor combines sandblasted and satin-finished surfaces with a hand-polished bevel and a chevron motif inspired by the natural surroundings of the Manufacture.

The ratchet wheel adds another detail: a hand-polished drop, an engraved indication that the watch is limited to eight pieces, and lettering filled by hand with matt black lacquer. The caliber itself is composed of 191 components, runs at 3 Hz and offers an 86-hour power reserve.

These are the details that reward the second look. And they also explain why the movement became such a strong part of the reaction in Geneva. One editor’s comment captured it simply: The movement should be the dial. It was not really a criticism of the front. It was a recognition of how much was happening on the other side.

Built from the movement out

That emphasis is important for understanding Schwarz Etienne.

The Manufacture traces its roots to 1902 and remains independent, with in-house expertise in mechanical movement development and production. The ASE 300.00 is conceived, developed and assembled in La Chaux-de-Fonds, within an integrated approach that places movement architecture at the center of the watch.

That independence matters here because the 1902 Petite Seconde Heure Dorée is not simply a color variation. The black DLC case is new to the collection. The anthracite movement treatment is new. The 4N gold-toned micro-rotor is specific to this edition. Each of those choices continues the same idea from one side of the watch to the other. The result is a watch that reveals itself in stages. First, the black. Then the gold. Then the movement. And perhaps that is why, around the table in Geneva, people kept turning it over.

The dial made the first impression. The movement changed it.

Geneva Watch Days 2026

Around the Table

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Around the Table

PARALLÈLE / GENEVA WATCH DAYS 2026
GENEVA NOTES · 02

Around the Table

At some point, after enough presentations, you stop watching the watches. You start watching what people do with them.

A watch moves towards the window. Another is turned over, then back again. Someone reaches for a loupe. Someone else asks to see the same dial for a second time. Around the tables in Geneva, these small gestures often said more than the first reaction.

Geneva Watch Days was busier this year. More brands, more appointments, more people moving from one part of the city to another. But somehow, it still left room to stay at the table. Perhaps that is what distinguishes it.

There is intensity, certainly, but less of the pressure that surrounds some of the industry’s larger gatherings. Conversations have space to wander. Appointments run over. Familiar faces appear between meetings. And sometimes, the most interesting part begins once the presentation is technically finished.

THE INSTINCT TO LOOK CLOSER

With Artisans de Genève, it often began with a pair of gloves. The watches on the table were not novelties waiting to be sold. Artisans de Genève does not produce watches; it works closely with clients to personalize watches they already own, transforming them through a process shaped around each client’s ideas and wishes.

Not a new watch. A personal one.

Once that was understood, the questions changed. What was the inspiration behind the personalization? What did the client want to achieve? How was this done? Skeletonized movements were examined. Gem-setting drew people closer. Hand-finished details revealed themselves one after another. And, repeatedly, a version of the same reaction: I didn’t expect to see this.

Perhaps because personalization can sound deceptively simple until the object is in front of you. At Artisans de Genève, the process can take eight to ten months, with the client deeply involved throughout. What sits on the table is therefore not simply a personalized watch, but the result of months of conversations and decisions between the client and the atelier.

With Minase, people moved. Quite literally. Watches were picked up and carried towards the window, where Geneva’s natural light could do what press images and hotel lighting cannot.

The Yusai dials shifted in tone. Pigments created by a Japanese artist from materials including soil and flowers revealed nuances that seemed to change with every angle. Urushi lacquer, tree sap and gold leaf invited the same instinct: turn the watch, move it towards the light, look again.

Then came the loupe. And often, eventually: Can I see that one again? There was another change around the Minase table this year, too. More people arrived already knowing the name. Some knew which model they wanted to see. Others came looking for particular dials or techniques. For a brand that, only a few years ago, was largely unfamiliar outside specialist circles, that recognition felt significant. Discovery was still happening. It was simply starting from somewhere further along.

And then there was Schwarz Etienne. Here, the choreography was consistent. First, the dial. Black and gold. Immediate. Graphic. Then the watch turned over. And stayed there.

The six-bridge, pocket-watch-inspired architecture and gold micro-rotor of the 1902 Petite Seconde Heure Dorée changed the conversation. Watches went from dial to movement and back again as people tried to decide which side deserved their attention.

One comment captured it particularly well: The movement should be the dial. The dial brought people in. The movement made them stay.

The dial brought people in. The movement made them stay.

THE CONVERSATIONS BETWEEN WATCHES

But not everything around the table was about watches.

Emily from The Secret Diary of a Watch Girl arrived without a scheduled appointment. We found a way to sit down, and what began as her first encounter with Artisans de Genève became a twenty-minute conversation that moved from a Spike Lee watch to New York, Brooklyn and the cultural world around it. The watch opened the conversation. The conversation went somewhere else.

There were reunions, too. Beth Doerr brought the humor she always does, while Thomas Brechtel brought his eye for photography and generously turned the camera on us for a moment. There was also time to reconnect with Wei Koh and exchange thoughts on the industry and the brands we represent.

Secret Diary of a Watch Girl

Beth Doerr

Jason Gong

Pietro Pilla

And then there were the encounters that happened without any plan at all. Running into Danar Widanarto, known as Chronondo, became a conversation about his concierge world, our experiences with unconventional brands, and plenty of laughter in between. No formal appointment, no photograph to document it. Just the kind of spontaneous exchange that reminds you why being in the same place still matters. With some people, the watches eventually become secondary. You catch up. You laugh. You talk about life. That, too, is part of watch week.

AFTER ENOUGH PRESENTATIONS

Present the same watch often enough and something changes. The first presentations begin with the selling points. Then the script loosens.

You learn who wants to understand the mechanics first. Who responds to design. Who wants the story behind the craft. Who already knows the brand well enough that the formal presentation can last five minutes and the rest of the appointment can become something else entirely.

There is no perfect sentence that makes someone stop. Our role is to give context. To notice what matters to the person sitting opposite us. To make the story accessible and then, perhaps, know when to get out of its way. Because eventually the object has to do the rest.

The watches carry the emotion. But around the tables in Geneva, they also do something else: they give us a reason to sit down. Sometimes the conversation lasts ten minutes. Sometimes twenty. Sometimes it continues over a drink, at another event, or months later in another city.

The watch may be what brings us to the table. What happens around it is often what builds the relationship.