Recently honoured with the prestigious Louis Vuitton Watch Prize for Independent Creatives, Raúl Pagès has firmly established himself as a vanguard in the art of watchmaking. His journey, marked by a profound dedication to aesthetics and mechanics, unfolds in an exclusive interview with Tatler GMT, where he shares insights into his earliest horological influences, the challenges of innovation, and his vision for the future.
From his first Flik Flak watch—a gift that sparked a lifelong fascination—to the intricate creation of his acclaimed automaton The Tortoise, Pagès’ narrative is an example of the power of passion and perseverance. His collaboration with the esteemed enamel artist Anita Porchet, and the technical mastery behind the Régulateur à Détente RP1, highlight a career that is as much about artistic collaboration as it is about technical innovation.
Join us as Pagès delves into the origins of his love for horology, the milestones of his career, and what enthusiasts can anticipate next from this master of time.
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Tell us about the first watch you owned.It was a Flik Flak that my parents bought me for my fourth birthday—I remember it had a big impact on me as a child. It’s funny, because last year they made a re-edition of it, and I immediately bought it for my daughter. She is now three and likes it very much too.
What was the first timepiece you created?The very first piece I created was not a wristwatch, but an automaton called the Tortoise. I dedicated two full years of my savings to create it. It was an intense experience [during which] I conceived, designed and handcrafted the 352 components it is comprised of.
When did you discover your passion for the craft of horology, and how did you come to recognise your own talent for it?Ever since I was a young boy, I have been fascinated by craftsmanship: by the skill, the knowledge, the patience and the tradition that goes into certain trades. As I grew older, I also found myself attracted to aesthetics—not just how something was made, but how it looked, how it felt, and the design and thought that went into making certain products. When I was around 15 years old, one of my brother’s friends—who was five years my senior—invited me to join a course on watchmaking. I agreed and quickly found myself utterly enamoured with the art of watchmaking.
Raúl Pagès at work (Photo: courtesy of Raúl Pagès)
How have various influences and experiences, including your time as a watchmaker at the restoration house of Michel Parmigiani, shaped your approach to watchmaking?I am [particularly] inspired when I am working with antique pieces. Restoration work is incredibly gratifying because I am learning about complicated historical mechanisms. But above all, when you are restoring a very old timepiece—for instance, one that is missing a component—you have to do historical research and then be able to recreate an identical component, by hand and using only traditional tools. In my contemporary creations, I work the same way as I would on an antique horological masterpiece—I [make] many components from scratch and want to get the finishing of the watch close to perfection.
The collaboration with Swiss enamel artist Anita Porchet for your new watch, the RP1, seems to have been a fusion of different artistic styles. How did you find common ground?Anita is regarded as the greatest enamel artist of the 21st century, boasting a solid foundation in art history and classical training in fine arts. On the other hand, I draw my inspiration from 20th-century design, particularly from luminaries like Le Corbusier and the modernist movement. Additionally, I have a deep appreciation for the Memphis design movement and the vibrant work of [20th-century Italian architect] Ettore Sottsass.
Seeing her bring her expertise in enamel work to my timepieces was awe-inspiring. I had initially envisioned a different colour combination for the dial, but despite several attempts, Anita couldn’t achieve the exact hue I had in mind with enamel. Given our years of sincere friendship, I consider her like family so, when she suggested an alternative colour, I placed complete trust in her expertise. Achieving a product that embodies the highest level of craftsmanship, integrating specific skills like enamel work, requires letting go and trusting the process. With Anita, trust is absolute.
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Raúl Pagès RP1 Unique Piece (Photo: courtesy of Raúl Pagès)
You won the inaugural Louis Vuitton Watch Prize for Independent Creatives in 2024 for your work with The Régulateur à Détente RP1. What does this recognition mean to you and your brand?Being recognised by Louis Vuitton is the best possible reward for my work as an independent watchmaker.
Could you describe the inspiration behind the watch’s creation?This project stemmed from the chronometers of the past. I was fortunate to restore several chronometers with a detent escapement, which I found fascinating, although incredibly difficult to master. I wanted to develop one myself and thus pay tribute to marine chronometry, the golden age of watchmaking invention. Regarding the aesthetics of my watch, the colours pay homage to Le Corbusier, while the overall design draws inspiration from Bauhaus, an artistic movement I deeply admire. Despite these various sources of inspiration, I have managed to create a design of my own—very contemporary and sober.
The detent escapement is historically significant but not commonly used in modern wristwatches. Why did you innovate this specific mechanism for the RP1?It was a blend of reverence for horological tradition and a drive for technical excellence. The challenge of miniaturising the detent escapement to fit within a 38.5mm case while maintaining its precision and reliability intrigued me.
A close-up of the RP1 Unique Piece (Photo: courtesy of Raúl Pagès)
Could you explain the significance of the safety roller on the balance wheel staff and how it enhances the watch’s shock tolerance?The Régulateur à Détente RP1 is equipped with a patented system that prevents the escape wheel from leaving the rest position when the watch is shaken. To this end, the detent is equipped with a beak, which cooperates with a third roller on the balance shaft.In the event of a shock, the detent’s beak rests on the roller and thus prevents the escapement from tripping.
Only 20 RP1s were produced. What do you believe makes a timepiece collectable, and how do you decide on the exclusivity of your creations?While demand for the timepiece is high, I could easily sell five to ten times more, given the current market interest. However, I am committed to maintaining the absolute quality standards that collectors expect from me.
In order to survive in this industry, there can be no compromises on quality. I am mindful of not wanting to be solely defined by one model throughout my career. Limiting the RP1 production ensures that I don’t become a victim of my own success and allows room for the evolution of the Pagès brand. I oversee every aspect of my creations from start to finish, including [but not limited to] design, mechanism conception using 3D construction software, handcrafting high-end finishes, assembly and final inspection. This level of involvement ensures that each piece reflects my vision and dedication to excellence, contributing to the collectability and desirability of the RP1 and future Pagès timepieces.
Finally, for those who were unable to acquire the RP1, what can they look forward to from you next?I’m working on the RP2, which I hope to unveil to the public early next year. It’s going to be fantastic.
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