Grand Seiko and the stunning art of Japanese watchmaking

We deep dive into the history of Grand Seiko, its drive for accuracy and its inspiration from the natural world, as seen in the new Grand Seiko Ushio Diver Spring Drive UFA watch. Read all about it below.

Read More: Phillips announce Asia’s first Patek Philippe ref. 2499 to come to auction.

Visit the Seiko Museum in Tokyo’s Ginza district and you’ll find horological wonders that existed long before Japan’s Meiji era, which began in 1868 and marked the rapid Westernisation and modernisation of the once feudal nation.

Here, there are highly decorative traditional clocks (wadokei) dating from the Edo period (1603 – 1867), when the year was divided into 24 seasons, and day and night were defined by sunrises and sunsets, with each split into six equal periods called ittoki, which varied in length from season to season.

These complex objects speak of a time governed by nature, when landowners, warriors and famers alike rose during the ‘hour of the rabbit’ (5AM – 7AM), took lunch during the ‘hour of the horse’ (11AM – 1PM) and perhaps crawled into their beds between the hours of ‘the pig’ (9PM – 11PM) and ‘the mouse’ (11PM – 1AM).

Seiko founder Kintaro Hattori
Seiko founder Kintaro Hattori – CREDIT: Grand Seiko

This all changed in 1873, when Japan officially adopted the Gregorian calendar and a fixed, 24-hour day, which led to a huge influx of foreign pocket watches and clocks. Just a few years later, in 1881, an entrepreneur named Kintaro Hattori founded a watch store in the heart of Ginza, initially concentrating on importing, selling and repairing Western-style watches from abroad. Soon, however, he became determined to offer Seiko (‘precise’) timepieces of his own and eventually opened the Seikosha (‘exquisite success’) factory in 1892, establishing Japan’s successful timepiece industry in the process.

By 1959 – having endured the devastation of both the Great Kantō earthquake and WWII – Seiko was investing heavily in its future, with two factories (one in Kameido, in eastern Tokyo, and another in Nagano Prefecture, just over 200km west of the city) and an insatiable desire to compete with Swiss brands like Patek Phillipe and Vacheron Constantin in terms of technical excellence. In 1960, the company unveiled its first Grand Seiko timepiece – the Reference 3180 – and a time-telling legacy was born.

With a sleek, rounded case, distinctive lugs, elegant Dauphine hands and faceted gold hour markers, the 3180 stood apart as a stylish-looking wristwatch. Crucially, beneath its luxurious good looks lay a manual-wind calibre accurate to -3/+12 seconds a day, a feat rigorously tested by an in-house certification process equivalent to the superior standards set by the Swiss Bureaux Officiels de Contrôle de la Marche des Montres. With ‘Chronometer’ officially emblazoned on its dial, the Grand Seiko 3180 announced the company was ready to compete with the elite timepieces of the West.

And compete it certainly did. Just seven years later, in 1967, Seiko became a high-ranking winner for its timepiece accuracy at the Swiss Observatoire Cantonal de Neuchâtel competition – an important moment for telegraphing the company’s dedication to technical excellence and accuracy around the world and that still defines the brand to this day.

Fast forward to 2026, and Grand Seiko is renowned amongst connoisseurs for its covetable timepieces that fuse high accuracy with sublime craftsmanship, or takumi. It also continues to draw inspiration from the natural world, a feature rooted in its Japanese heritage. “A deep appreciation and reverence for nature lies at the heart of our culture and tradition,” says Seiko Watch Corporation president Akio Naito. “Grand Seiko’s philosophy, ‘The Nature of Time’ reflects both this reverence, and also our goal to capture the ‘essence’ of time through high-accuracy watchmaking.”

Indeed, many of Grand Seiko’s most esteemed timepieces owe their innovative dials to this appreciation for nature, including the multi-award-winning Grand Seiko Hi-Beat ‘White Birch’ (Ref. SLGH005), which boasts a silvery white textured dial that nods to the vast birch forests of Iwate Prefecture, home to Grand Seiko’s Studio Shizukuishi manufacture, where it exclusively produces its Grand Seiko timepieces.

Then there’s the Grand Seiko ‘Snowflake’ (ref. SBGA211), a luxurious titanium-clad model with a unique, powdery-looking dial inspired by the windswept snow on the slopes of Japan’s Hotaka Mountains.

Grand Seiko new Ushio Diver Spring Drive UFA watch
The new Grand Seiko Ushio Diver Spring Drive UFA watch owes its patterned dial to the oceanic currents around Japan – CREDIT: Grand Seiko

In line with this tradition, Grand Seiko is unveiling the latest iteration of its ‘Ushio’ Diver Spring Drive UFA (Ultra Fine Accuracy) watch at this year’s Watches and Wonders event in Geneva. An evolution of the company’s diver watches from last year, this slimmer (12.9mm thick), 40.8mm diameter model is crafted in high-intensity titanium, Grand Seiko’s exclusive, lightweight and corrosion-resistant alloy, with a mirror-like finish thanks to its signature Zaratsu-polishing technique.

A new micro-adjustable slider has also been engineered into the bracelet’s clasp – paired with an additional ‘extension link’, this allows plenty of comfortable adjustment on the wrist (essential when you’re wearing a wetsuit). As expected, there’s plenty of natural inspiration here, too: undulating dial patterns on the dial are inspired by the flow of powerful oceanic currents that surround the Japanese coastline.

Grand Seiko new Ushio Diver Spring Drive UFA watch
A close up of the new Grand Seiko Ushio Diver Spring Drive UFA watch – CREDIT: Grand Seiko

Available in deep blue or green variations (Refs. SLGB023 and SLGB025), these modern divers also benefit from Grand Seiko’s new 9RB1 movement, a next-generation Spring Drive Calibre with automatic winding and 72-hour power reserve. Spring Drive watches debuted at Grand Seiko in 2004, and are another integral part of the house’s ongoing quest for hyper-accurate timepieces. A unique hybrid calibre that combines a mechanical mainspring for power with a quartz oscillator for accuracy, these movements provide an incredible level of precision to a watch: typically just +/- 1 second per day, as seen in the the Grand Seiko ‘Snowflake’.

The new ‘Ushio’ Diver Spring Drive UFA watches take this a step (or should that be a swim?) further, boasting an accuracy of +/- 20 seconds per year. That’s 18 times more accuracy than previously achieved, making these watches the smallest and most accurate divers Grand Seiko has ever made – the kind of impressive spec your life might just depend on if you choose to swim beneath the depths of the ocean.

In a world where digital timekeeping is now the norm, Grand Seiko’s ongoing quest to achieve greater accuracy and technical innovation whilst maintaining a reverence for nature and exceptional craftsmanship is increasingly rare, but a task the company undertakes with quiet confidence and Zen-like grace. “Our approach [to watchmaking] is to remain true to our core values while adapting to change and continuing to refine our craftsmanship, strengthen our brand identity and connect with customers around the world in meaningful ways,” says Mr. Naito.

No doubt Kintaro Hattori would approve.

Like this? Learn more about Grand Seiko Spring Drive technology

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La Rose Dior jewellery to celebrate Valentine’s Day

Story by Kim Parker

From its thorny stems to its silken blooms, the romantic rose was one of Christian Dior’s favourite flowers and grew to become an emblematic house motif for the couturier. We explore the story behind Christian Dior’s passion for the flower, and why it’s perfect to cherish the one you love.  

Dior ambassador Elizabeth Debicki wears the Dior Rose Bagatelle collection

Christian Dior was passionate about flowers. “After women, flowers are the most lovely thing God has given to the world,” he claimed in The Little Dictionary of Fashion in 1954. Indeed, the seeds of the great couturier’s life-long fascination with blooms, and with roses in particular, were sown very early on. 

Dior spent his childhood by the sea at Villa Les Rhumbs in Normandy, and as the son of a successful importer of fertiliser, horticulture played a huge part in his formative years. The Dior family attended the flower festival in Granville together and the young Christian was a keen collector of lushly illustrated Vilmorin-Andreieux seed catalogues, which helped to hone his eye for colour. Dior’s mother, Madeleine, was an avid gardener (a passion she shared with, and later passed on to, her children) and nurtured over 20 different species of roses at Les Rhumbs, protected from the blustery coastal winds by a walled path and a white wooden pergola. 

The house itself was built by a shipowner in the late 19th century and named for the old nautical term for the ‘wind rose’ that helped sailors to calculate wind speed. “My life and style owed almost everything to Les Rhumbs,” the designer later said. True to his word, both the wind rose and the real rose have become emblematics motifs at his eponymous fashion house. 

Dior’s passion for the ‘femme-fleur’ came into bloom with his ground-breaking 1947 couture debut. His revolutionary ‘New Look’ focused on “women-flowers’, soft shoulders, fine waists like liana and wide skirts like corolla,” as Dior himself described. Believing that a touch of perfume was the final step in a woman’s dressing routine, the designer simultaneously launched his first fragrance, Miss Dior, which was spritzed around the salon so that the gathered press and clientele left with traces of it on their skin. The scent, a green chypre with notes of rose, jasmine, iris and neroli, was dedicated to Dior’s beloved sister, Catherine, who, after the war, became a flower trader and then a producer in Provence, growing blossoms for the perfume industry. 

Elizabeth Debicki in the Bois de Rose collection

A few years later, having moved to his dream home at the Château de la Colle Noire just outside Cannes, Dior transformed the grounds into a tranquil retreat, planting fragrant May roses, lavender, and Grasse jasmine, and creating an ornamental pool that recalled his mother’s garden at Les Rhumbs. In 2013, the brand bought back the Château and lovingly restored both the house and its grounds in its founder’s memory, replanting thousands of May roses which, along with local growers, now provide blooms for Dior’s bestselling fragrances. 

The rose still reigns supreme over Dior’s jewellery atelier, too. Victoire de Castellane, Dior’s artistic director of jewellery for over 20 years, has reimagined the rose “from A to Z” during her tenure, creating exquisite blooms wrought in precious metals and shimmering gemstones. The stackable rings and bracelets of the Bois de Rose fine jewellery line, for example, recreate the rose plants at Villa Les Rhumbs, where Dior learnt the art of pruning from his mother. Yellow, pink and white gold stems “coil around the finger, like a poetic jewel,” according to de Castellane, who has added pave-set diamond thorns for an element of danger amidst the delicacy, keeping the pieces chic rather than overly sweet. 

For the Rose Dior Bagatelle collection, roses are immortalised in white gold and frosted in white diamonds – from their woody stems and curling leaves right through to their ruffled petals, as if sprinkled in fresh dew – like the May roses gathered in Provence at first light, ready to be turned into fragrance.  

And for the flower’s latest incarnation, Rose Dior Couture, De Castellane has reworked the motifs from Monsieur Dior’s rose-printed couture confections, their whorls of silk and satin petals now recreated in pink gold and set with a round central diamond or studded with brilliants. 

“Fortunately, there are flowers,” Dior once confided in his memoirs. This Valentine’s Day, there are also romantic roses ready to be plucked for the jewellery box, which are sure to be treasured for a lifetime.

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