Kerbedanz: From discreet bespoke to more assertive collections

Time to Watches may not have the sheer scale, perfectly oiled machinery or monumental decor of some of the other major horological gatherings (not least the discreet little fair held simultaneously at Palexpo whose name begins with “Watches” and ends with “Wonders“…) but Time to Watches offers something more direct, more straightforward, and more vibrant too. You can approach the brands more easily, take the time to examine the pieces, exchange ideas, ask questions, and talk about technique, design, movements and materials—without everything being filtered through excessive distance or protocol. For anyone who genuinely loves watches, that proximity has real value.

It was during the 2026 edition of the fair, held from April 14 to 18, that I had the opportunity to sit down with Kerbedanz.

I knew the name, of course, but without truly grasping what the brand was about. That is precisely what made the discovery so compelling. Behind a name still relatively discreet within the watchmaking landscape lies a genuine independent manufacture, a strong vision, a well-developed identity, and above all a 2026 collection that marks a significant turning point.

Kerbedanz: a name we knew, but not deeply enough

Some brands cross your path for years without you ever truly knowing them. You know they exist, you have seen a few images, a handful of pieces, a name that crops up here and there, but you never really open the file. That changed for me with Kerbedanz at Time to Watches 2026.

Founded in 2011 in Neuchâtel, Kerbedanz is an independent house led by Kalust Zorik, President and co-founder; Aram Petrosyan, co-founder and Chief Design Officer; and Vahé Vartzbed, CEO. Beyond titles, what immediately stands out is passion. You sense people defending a vision, who truly know their watches, who are not simply reciting a polished script. That is always a good sign. Guiding us through this universe was Martin Aurouze, the brand’s VP of Sales & Marketing and a fine connoisseur of watchmaking. Enough name-dropping—let’s get to the point.

Kerbedanz first made its name with bespoke creations—unique or extremely rare pieces developed through deep dialogue with clients. For a long time, the house operated in this almost confidential realm of personalised haute horlogerie, where one speaks not merely of options or cosmetic variations, but of a genuine horological project tailored to an individual.

Gradually, however, the brand began to evolve this approach.

It is no longer just about responding to singular commissions, but also about expressing a maison-wide vision through more defined, structured and assertive collections. It is a delicate transition for any independent brand. Many lose their singularity when they attempt to broaden their appeal. Kerbedanz, by contrast, now seems to be finding a far more compelling balance.

A house where mechanics are part of the aesthetic language

At Kerbedanz, the movement is not simply a noble mechanism tucked inside a beautiful case. It plays a full role in the design, presence and dramaturgy of the watch.

This is key, because it explains the brand’s overall coherence. Here, complications are not hidden—they are revealed. They become part of the style, almost part of the architecture of the piece. This idea is evident in both the most spectacular models and the latest releases.

This approach results in watches with real presence. Not necessarily discreet, not always consensual, but undeniably alive. In a market where many pieces are impeccably executed yet entirely harmless, that is worth noting.

Unique pieces: Kerbedanz’s original territory of expression

Before turning to the 2026 novelties, it is worth recalling where Kerbedanz comes from.

The house was built on unique pieces and bespoke creations. This is a fundamental foundation. It explains the brand’s affinity for métiers d’art, intricately composed dials, assertive volumes, demonstrative movements, symbolic references, and pieces conceived almost as narrative objects.

Kerbedanz does not start from scratch. Over time, it has developed a genuine culture of decoration, engraving, enamel, relief, miniature scenes, and also grand complications. It is this blend of technical power and artisanal detail that gives the collection its depth today.

In other words, even as it moves towards more structured limited series, Kerbedanz retains something of its origins: a way of treating the watch as a creation in its own right, not merely a product.

Maximus: the largest tourbillon in the world on the wrist

A manifesto piece

It is impossible to talk about Kerbedanz without pausing on Maximus, one of the brand’s most emblematic creations.

Maximus… the name alone is evocative… it immediately brings to mind these icons:

But at Kerbedanz, Maximus is first and foremost a very clear technical statement: the largest tourbillon ever fitted into a wristwatch (even if a number of other brands lay claim to this title). In an industry where superlatives are sometimes used rather loosely, that is worth underlining. Here, the claim is grounded in genuine horological reality.

The watch features a 27 mm central flying tourbillon—spectacular to the naked eye—with a cage composed of 73 titanium components. In its original KRB08 version, it completes a rotation every six minutes. The piece is imposing, demonstrative, almost monumental. It does not seek discretion. It fully embraces its nature as a manifesto object.

Prices start at CHF 200,000 excluding tax (approximately €215,000), immediately placing the watch in the realm of unapologetically high-end independent haute horlogerie.

Four barrels, the caseback, and a sense of spectacle

One of the most interesting aspects of Maximus also lies in its construction, with four barrels mounted in parallel. On the caseback, this architecture contributes as much to the technical appeal of the watch as to its visual impact.

This is precisely the kind of piece that reminds you that at Kerbedanz, mechanics are never dissociated from staging. It is not just about performance for the sake of a technical spec sheet. It is also about creating visual emotion—a sense of density, power and presence. As the arrow indicates, simply turning the piece winds it.

Maximus GR8, or another face of excess according to Kerbedanz

Following Maximus, Kerbedanz developed the Maximus GR8, translating this taste for spectacle into a far more sculptural case.

The GR8 case is one of the brand’s strongest visual signatures. It blends tonneau, octagonal and spherical influences in a highly worked construction that gives the piece an instant identity.

The Maximus GR8 retains the 27 mm central flying tourbillon, here in a two-minute configuration. The KRB08-2 calibre also maintains the four parallel barrels, with a 54-hour power reserve. The polished titanium version starts at CHF 220,000 (around €238,000). Sapphire versions rise to CHF 480,000 (around €520,000), and CHF 530,000 (around €573,000) for certain blue sapphire editions, clearly illustrating how the material fundamentally alters the nature of the piece. For winding, simply lift the element at the centre of the caseback and turn it.

This remains spectacular, deliberate watchmaking with no compromises. Very good—but in my view, this is not where the most interesting shift of 2026 lies.

The real turning point of 2026: more wearable watches without losing identity

For a long time, several Kerbedanz creations appealed to enthusiasts drawn to powerful, generous watches—sometimes almost sculptural on the wrist. That was part of their charm, but it also naturally limited their audience. Not all of us have wrists suited to the noble discipline of “stone lifting” (I know you will Google it… but do come back and finish the article).

With its 2026 releases, the maison appears to have found a far more mature path: preserving its singularity while developing more wearable, balanced, and accessible formats.

And that changes a great deal.

This is not about reducing diameters simply to tick a box or follow a market trend. There is a genuine reflection here on balance, presence, comfort—and more broadly on a watch’s ability to be desired for itself, not merely admired from afar.

Maxspor GR8 41 mm: a far more desirable chronograph

The right evolution at the right time

The Maxspor GR8 already existed in a larger 46 x 57 mm execution, with its distinctive GR8 architecture, monopusher chronograph (which can even be operated underwater), and highly worked open dial. The watch was interesting, bold and singular—but for some wrists, perhaps a little too imposing.

The 2026 novelty is the arrival of a Maxspor GR8 in 41 x 50 mm.

And frankly, that is excellent news.

Because this reduction does not feel like an opportunistic compromise. It appears thoughtfully executed, supported by a new KRB14-2 calibre that preserves the spirit of the watch while giving it a different balance. The result is far more wearable and realistic for frequent use, without losing the visual tension that makes the GR8 case so compelling.

The polished titanium version is priced at CHF 36,000 (€39,000). The black DLC version is at the same price. The rose gold and black DLC titanium version rises to CHF 68,000 (approx. €74,000). These remain high price points, of course, but with a proposition that is now far more commercially coherent.

A truly distinctive independent chronograph

Within the landscape of independent chronographs, it is not easy to offer something genuinely distinctive. Many fall into excessive design, others into somewhat cold technicality, and others still rely on familiar, overused codes.

The Maxspor GR8, at the very least, has real character. Its monopusher chronograph lends it a particular mechanical elegance. Its architecture clearly sets it apart from the rest of the market. And above all, in 41 mm, it becomes a watch one can seriously consider.

Maxima GR8: the most convincing synthesis of the Kerbedanz spirit

A finally more universal size

If one piece encapsulates this new phase for the brand, it is undoubtedly the Maxima GR8.

Why? Because it condenses everything that defines Kerbedanz’s DNA into a format that is finally more universal. The case comes in at 39 mm, and that single figure already changes a great deal. This is no longer a purely demonstrative piece or one reserved for lovers of large volumes. It moves into something more balanced, more mature and more broadly desirable.

A central flying tourbillon in a more refined format

The Maxima GR8 features a one-minute automatic central flying tourbillon powered by the KRB13 calibre. Two barrels, a 65-hour power reserve, a frequency of 4 Hz, and 233 components—mechanically, the watch is extremely serious.

The watch retains a strong micromechanical spectacle, real visual density, and a bold identity, without tipping into heaviness. It is probably the piece where Kerbedanz currently exercises the greatest control over its own intensity.

Black or white ceramic versions start at CHF 130,000 (€140,500). Colourless sapphire versions are priced at CHF 330,000 (€357,000), while blue or pink sapphire versions reach CHF 370,000 (around €400,000).

These remain highly exclusive pieces, of course. But within the Kerbedanz universe, the Maxima GR8 stands out as a particularly convincing synthesis of strong identity, technical sophistication, and genuine wearability.

Sapphire cases: a subject Kerbedanz treats with seriousness

One of the more interesting discussions during this meeting concerned sapphire.

We are seeing more and more sapphire cases in haute horlogerie today, sometimes as a purely visual argument, sometimes as a stylistic exercise of varying degrees of mastery. Not all sapphires are equal, however, and Kerbedanz emphasises the use of “real” sapphire—material that approaches the upper reaches of the Mohs hardness scale. Here, sapphire is clearly not included merely for the sake of appearances or marketing copy.

The 65’27’’ collection: mechanical poetry according to Kerbedanz

A beautiful horological concept

If there is one proposal that particularly captivated me during this presentation, it is the 65’27’’.

Here, Kerbedanz takes a particularly interesting turn, revealing another facet of the brand—more restrained, more elegant, and more poetic.

The concept is beautiful. The name 65’27’’ refers to the precise moment when the minute hand aligns perfectly with the hour indication, represented by a diamond, every 65 minutes and 27 seconds. At that instant, the stone reveals its full brilliance, as if the watch itself were orchestrating an appointment with light.

There is something intelligent, refined and almost jewellery-like in spirit. It recalls, in its way of introducing poetry into time display, certain creations by Van Cleef & Arpels. The comparison is not about formal imitation, but about a shared intention: to make time not just a measure, but an apparition—a moment of grace, a discreet little theatre.

An elegant, subtle and highly successful watch

The 65’27’’ is powered by the ultra-thin automatic KRB10 A calibre, with a concentric hour display. But here, even more than the mechanics, it is the idea that wins one over. Kerbedanz succeeds in creating a watch that is both singular and highly legible, poetic without being sentimental, precious without becoming heavy.

It must be said: it is a truly beautiful aesthetic success.

The 38 mm diameter suits it perfectly. Versions in titanium, palladium or rose gold each give the collection a different tone. The titanium version starts at CHF 30,000 (€32,500). The palladium version is priced at CHF 46,000 (€50,000). The rose gold version with blue dial is CHF 40,000 (€43,000), while the cognac-set rose gold version rises to CHF 55,000 (€59,500).

I particularly appreciate the idea that Kerbedanz—a maison known for its powerful micromechanical statements—is also capable of such restraint. The 65’27’’ does not seek to impress head-on. It draws you in differently. And perhaps, ultimately, that is one of the clearest signs of the brand’s maturity today.

A maison entering a new phase

What this encounter with Kerbedanz reveals is a maison far more interesting and complete than one might assume at a distance.

Yes, there are the spectacular pieces. Yes, there is Maximus, its immense tourbillon, its four barrels. Yes, there is a taste for bold gestures, assertive volumes and strong presence. But there is now something else as well.

A desire to build a true collection. An ability to evolve proportions without losing identity. Perhaps a more refined understanding of what makes a watch not only impressive, but also desirable, wearable and credible over time. The wisdom of maturity, perhaps?

Kerbedanz: far more than a name glimpsed at a trade show

Before this meeting, Kerbedanz was, for me, a brand I mostly knew by name. After Time to Watches 2026, that is no longer the case at all.

I discovered an independent haute horlogerie maison with real coherence, a genuine mechanical culture, a true appreciation for the métiers d’art, and above all a newfound ability to articulate power and elegance. Maximus reminds us that Kerbedanz knows how to make a bold statement. Maxima GR8 shows it can condense its identity into a far more balanced format. The 41 mm Maxspor GR8 opens a highly relevant path in the chronograph segment. As for the 65’27’’, it adds a poetic and precious dimension that is particularly appealing.

In short, Kerbedanz is not merely an interesting confidential brand. It is one that now deserves to be viewed with much closer attention.