Patek Philippe & Gilbert Albert - Art on the Wrist

The first timekeeper to find its place on a wrist used to adorn the arm of the Queen of Naples at the beginning of the 19th Century; for more than a century to come, most wristwatches remained a ladies’ thing, and as such were first and foremost jewels. Then, as they replaced pocket watches to become a ubiquitous accessory, they gradually lost this decorative quirk, uniforming around a purpose-driven case shape and dial layout: ever since the Twenties, round or rectangular watches with a symmetrical design have been the norm.

And yet, for how weakened, the connection between jewellery and watchmaking was never completely broken: throughout time, the two crafts overlapped several times, resulting in unexpected and polarising examples of horological art. Amongst the designers that took up the challenge, one in particular penned a series of outstanding creations with an everlasting impact on the industry: we’re talking about Gilbert Albert.

Born in Geneva and a jeweller by training, Albert was fascinated by the organic forms found in the realm of nature. At a young age, he read the works of French entomologist Jean-Henri Fabre, and later quoted them as a relevant source of inspiration. This personal and innovative design style manifested at a very young age and, matched to an innate dose of talent, captured the attention of no other than Patek Philippe. In 1955, aged 25, he entered the buildings at Rue du Rhône, quickly becoming head of the design workshop. He parted ways with the Maison in 1962 to open his namesake atelier, but the seven years he spent there were enough to leave a momentous mark on the watch world.

For Patek, he designed a wide array of pocket and wrist watches, which mostly remained at the stage of prototypes or were made in very limited numbers - with the “Asymmetric” collection being the best known. His most accomplished creation, this series exudes a sense of dynamism that is still unmatched; the balanced asymmetry of these models is captivating and timeless, and the watches command high premiums on their sporadical market appearances.

The Asymmetric collection consists of four references, each unique in size and proportions: 3412, 3413, 3422 and 3424. The first has a triangular silhouette, while the others are somewhat “rhomboidal”, as Patek called them in period brochures. Despite the obvious differences, however, they share a common trait: a blend of organic shapes and sharp geometric lines that reveal Albert’s natural inspirations and, according to some, a nod to sculptures of the Modern movement. Most importantly, the watches - which are high jewellery pieces in all regards - accomplish a difficult task: they fit on all wrists and potentially appeal to anyone, man or woman, young or old - something undoubtedly rare for a timekeeper.

Now, let’s have a deeper look at the four models and what sets them apart. According to serial numbers, reference 3413 appears to be the earliest one. It is also the rarest, with only six examples known. All are cased in yellow gold by Markowski, who manufactured the cases for the entire collection and is identified by the Key number 8 hallmarked inside the caseback. Soon after came the 3412, possibly the most groundbreaking of the lot: it’s an uneven triangle, with only three visible “lugs”; the strap, however, is a one-piece band that simply slides through the caseback. Almost as rare as the 3413, it was made in seven pieces, with a single one known in pink gold. The third and final prototype is the 3422, four-sided and with a prominent “ear” on the left side of the case. Again, less than ten pieces were made.

A different fate graced the fourth model, reference 3424. Apparently, it was Henri Stern’s favourite, and therefore made it to serial production - if less than forty examples can be considered as such, anyway. Similar to the 3422 at first glance, it also has four sides but is slimmer and more twisted. It’s not difficult to understand why the president of Patek had a sweet spot for this reference: while it retains all the unapologetic character of its siblings, it is by far the most balanced of the family; the slim profile and broad dial make it almost understated and absolutely timeless.

The 3424 is the only Asymmetric manufactured in all four precious metals; still, the most common is yellow gold, with only a handful made in pink, white or platinum. Dials can vary too, but the majority feature Albert’s signature “crosshair” design, a striking radiance of twelve thin lines rendered in engraved enamel. Some rare examples have an integrated mesh bracelet.

Today, shaped watches are seeing an unprecedented appreciation from the market; and it’s important to acknowledge that these rare gems created by Gilbert Albert paved the way for a future trend, predating even the coveted Cartier Crash by almost a decade. Looking back at them nearly seven decades after their creation is a valuable lesson on the value of good design, in watchmaking or elsewhere: the Patek Philippe Asymmetric watches continue to impress, inspire and attract collectors all over the world, and they will likely continue to do it forever.