Autumn has always been a special time in New York, and that’s especially true now that the city plays host to the nation’s flagship watch fair. Held each October in the heart of Midtown, WatchTime New York has become one of the most high profile public watch fairs in the United States, bringing together independent watchmakers, major brands, and collectors under the imposing dome of Gotham Hall.

Now in its tenth year, the 2025 edition was the largest yet, and served as the backdrop for the public unveiling of a few notable watches (and one strap).

The Greubel Forsey Hand Made 2.

Initial thoughts

This was my third year attending WatchTime, and the experience is remarkably consistent from year-to-year. That said, this year’s event was clearly the biggest yet, with 44 brands and more than 2,700 visitors.

Despite this turnout, it’s still a fraction the size of an event like Watches & Wonders, which gives it a more intimate feel that reminds me of SalonQP, which was an annual watch fair in London put on by now-defunct QP magazine.

In other words, it’s big enough to attract big names and small enough to allow the general public to meet watchmakers that they might not otherwise have access to; Kari Voutilainen, Stepan Sarpaneva, Martin Frei of Urwerk, Albert Edelmann of Zeitwinkel, and Roland Murphy of RGM were present throughout the fair to engage with collectors.

A big turnout

Not only did WatchTime attendance set a record, the nearby Windup Watch Fair, a free event focused primarily on entry level watches and micro-brands, saw big numbers. In fact, at points throughout the weekend the queue to get in snaked all the way around the block. It wouldn’t surprise me if Windup starts charging admission in the future, simply for crowd control.

In light of the big turnout, the mood seemed bright. The watch market is facing a challenging moment, but the enthusiasm for both events was palpable.

New products

A highlight of the fair was the chance to see novelties from the likes of Breguet, Urwerk, Voutilainen, Zenith, and Ming. Ming’s new release was not actually a watch, but in fact a 3D-printed titanium “Polymesh” watch strap (or bracelet, depending on who you ask). Designed to fit any Ming with 20 mm lugs, the Polymesh strap drapes on the wrist like a bracelet but offers the flexibility of fabric.

Comprised of 1,693 articulating titanium components, the strap is made without any pins or screws; the entire construction is fabricated in one piece using a laser to sinter powdered titanium one layer at a time. The durability of such a construction is a natural question, but the prototype on display was apparently untroubled by the rough handling of hundreds of visitors to the Ming booth.

Another new product making its public debut was the Zenith Defy Zero G, which features a sapphire crystal case and the brand’s gimbaled escapement, which keeps the balance parallel to the ground at all times. Serving somewhat the opposite function of the tourbillon, the Gravity Control escapement module keeps the oscillator in a stable position, simplifying adjustment.

Another watch making its public debut was the Urwerk UR-10 Spacemeter. Co-founder Martin Frei was on hand to explain his latest design, which tracks Earth’s rotation and revolution. The UR-10 has a lot in common with the UR-100, featuring the same base movement and a similar tapered titanium bracelet. Beyond the intriguing functionality, the silky lightweight bracelet is a standout feature.

Interestingly, the case is not all titanium; it features a steel case back to offer colour contrast on the winglets on either side of the case. The heavier case back also helps lower the watch’s center of gravity, which contributes to a stable feel on the wrist despite it looking a bit large.

I’ve written extensively about Albishorn, covering each of the brand’s models to date, but this was my first time going hands-on with the Maxigraph, a collaboration with Massena LAB. The movement traces its roots to the Valjoux cal. 7750, but founder Sébastien Chaulmontet redesigned it for better tolerances, substantially reducing the movement’s thickness and improving the feel of the chronograph monopusher (relocated to the nine o’clock position).

The pusher feel is short and crisp, as advertised, and the entire package is coherent with the brand’s ‘imaginary vintage’ theme.

Watchmaking in action

There are usually a few demonstrations going on throughout the fair to show off the work that goes into the watches. This year, Breguet and RGM had ongoing demonstrations of movement finishing. On the ever-present topic of inner angles, Breguet had a watchmaker on hand who was beveling neat corners for the mainplate of a Classique Tourbillon Extra-Plat Squelette ref. 5395. The watchmaker’s deft actions were broadcast on a large screen, exhibiting confident dexterity.

I happened to walk by the Breguet booth at a moment when the watchmaker was nearly done with the current workpiece, and the next one on deck was sitting out. It reveals how much work is already done – probably by wire erosion – before finishing begins; several openings already revealed the makings of crisp corners.

American watchmaking was also represented, with RGM attending from (comparatively) nearby Lancaster, Pennsylvania, showing the finishing that is applied to the brand’s higher-end products.

It was nice to see Mr Murphy himself present throughout the fair; these events require a lot of endurance for exhibitors and its a testament to the growing importance of WatchTime New York that so many brand founders put in the work to attend.

Concluding thoughts

While much of the conversation around the watch industry in 2025 has focused on economic uncertainty and shifting demand, the energy at WatchTime New York painted a somewhat rosier picture. Collectors queued around the block and were rewarded with a good turnout from the brands, which saw fit to exhibit some of their newest and most exotic watches.

Having witnessed the demise of events like Baselworld and SalonQP, I hope the enthusiasm on display at WatchTime will continue.