When we think of modern independent watchmaking, names like Kari Voutilainen, Philippe Dufour, F.P. Journe, and Roger Smith often come to mind. Independent horology has grown so much in stature that owning at least one watch from an independent brand is now considered a hallmark of serious collecting. That being said, before this wave of recognition, there was Daniel Roth—a watchmaker who, in many ways, helped lay the foundation for today’s independent movement.
To add some context, Daniel Roth was one of the most talented watchmakers of his generation and is responsible for many things we see in watchmaking today. For one, he was a leading figure who firmly established the design language of the Breguet watches you see today. In the '60s and ’70s, Breguet had become a shadow of its former self with seemingly no future until it was acquired by Chaumet, who in turn brought in Daniel Roth to take the helm. The reference 3130, with its guilloché dial and straight-lugged case, set the tone for Breguet’s rebirth. Beyond design, Roth also contributed to the development of complex movements at Lemania, which, may I remind you, still supplied chronograph calibres to Patek Philippe and Vacheron Constantin until fairly recently.
Daniel Roth, the brand, unfolds in three distinct eras: the early independent years, its time under The Hour Glass, and the final chapter under Bulgari after Roth’s departure.
Among Roth’s early models, the Régulateur Tourbillon 2187 arguably stands out as the most iconic, and offered here today is a particularly rare example from the revered first generation. Unlike his usual vertical pinstripe guilloché, this watch features the exceptionally scarce Clous de Paris motif on both front and back dials—a finishing detail that was only used for extremely early pieces. While it bears unmistakable Daniel Roth design elements, one can undoubtedly observe how his previous experience working at Breguet influenced the stylistic and technical savoir-faire in his designs.
This fantastic example here features an elegant 35mm x 38mm 18-carat white gold ‘ellipso-curvex’ case and houses a fantastically finished one-minute triple-armed tourbillon at the lower half of the dial. Attached to the cage are three heat-blued hands of varying lengths that act as a second counter corresponding to the three-tiered display positioned right above the tourbillon cage, taking turns to indicate the seconds as time passes. At the time, displaying the tourbillon on the front dial side was highly unconventional, and this captivating seconds display remains one of Roth’s most compelling original innovations.
As you can see from the photos, the front primary dial is visually arresting and a technical marvel in itself: it is segmented beautifully with the top half showcasing the aforementioned Clous de Paris guilloché, while a knurled-edged chapter ring with black Roman numerals adds a touch of visual depth and contrast. On the reverse, a second dial mirrors these details and displays the date alongside the power reserve.
Generally, tourbillon watches from this era are often perceived as slightly crude and lacking elegance, but the 2187 defies that notion entirely. From the beautifully polished tourbillon bridges to the overall layout and conservative proportions of the watch, it is, in my opinion, a true benchmark of sublime watch design. Every detail, from the choice of font to the contrasting finishes, reinforces its distinctly hand-crafted character.
As I briefly mentioned earlier, pieces from this early first-generation period remain the most collectable, not only for their historical importance but also for the purity and quality of the watches produced. Every piece was made from precious metals, and no corners were cut.
After several successful years, 1995 marked the brand’s second chapter. For reasons still unclear to this day, The Hour Glass, one of Asia’s largest watch retailers, acquired a majority stake in the company, and that was when things began to take a turn. While some undeniably alluring creations followed, the overall quality began to decline, and a few design choices proved divisive. The story eventually culminated in The Hour Glass selling Daniel Roth to Bulgari during the Asian Financial Crisis, marking the end of any direct involvement by its founder. Bulgari then absorbed his trademark ‘ellipso-curvex’ case blueprint into their own lineup and scaled it up beyond recognition. Needless to say, those reinterpretations were oversized, gaudy, and clearly lacked the elegance of the originals, like this one.
Thankfully, that era has given way to renewal. With Daniel Roth’s recent resurgence under La Fabrique du Temps and LVMH, and the introduction of the Tourbillon Souscription, Extra Plat and Extra Plat Rose Gold Skeleton models, I’m elated to see that Daniel Roth is finally returning to form and being celebrated for what it always was: one of the most important and original voices in the realm of high-end independent watchmaking.
On a closing note, having pursued, handled, and offered some of the most extraordinary Daniel Roth timepieces over the years, I can confidently say there is nothing quite like an early first-generation Daniel Roth tourbillon, especially one that is as elusive as this. From its case design and proportions to the impeccable two-dial layout as well as its beautiful Clous de Paris guilloché motif, it delights in the way the dial shimmers under light and in the ease of sliding it under a cuff. It is truly a pleasure to offer this remarkable example of mechanical art today.
