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Hello, and welcome back to About Time.
John Reardon has spent nearly 30 years immersed in the history, trade and culture of collectible watches — and now, for the first time, he’s helped design one.
A former executive at Patek Philippe and longtime auction specialist at Sotheby’s and Christie’s, Reardon is widely regarded as one of the foremost authorities on the revered Swiss brand.
In 1999, just two years into his career, he was part of the Sotheby’s team that sold the Henry Graves Supercomplication — a record-breaking Patek Philippe and the most complicated pocket watch ever made — for $11 million, a watershed moment that helped cement his reputation in the auction world.
In 2019, Reardon left the auction circuit to launch Collectability, a New Jersey-based company dedicated to educating, sourcing and selling vintage Patek Philippe watches. More than just a marketplace, it operates as a hybrid of archive, dealer and learning resource — offering collectors access to rare pieces alongside in-depth context about their history, design and provenance. The aim is to move beyond speculation and toward connoisseurship, treating watches not just as investments, but as cultural artefacts with enduring significance. This Tuesday, Reardon surprise-unveiled something new – a watch he had co-designed. Produced in collaboration with the British microbrand Dennison, it bridged personal history with a new accessibility.
(Dennison, once a historic Anglo-American case maker for Rolex and Omega, shut down in 1967 before being reborn first in 2016 and again in 2024. Its latest chapter has been defined by the success of the A.L.D collection — an homage to slim 1960s dress watches. The brand’s revival has struck a chord with collectors, thanks to its archival aesthetic and distinctive transatlantic heritage.)
Drawing inspiration from rare Patek Philippe references of the 1960s and 1970s, the Dennison + Collectability watch features a slim, cushion-shaped case and a two-tone blue sunray dial, designed by Dennison’s Emmanuel Gueit – the Swiss designer who created the Audemars Piguet Royal Oak Offshore at just 22, and who has also worked with Rolex, Piaget, and Hermès.
Though quartz-powered and priced at just £529, the watch is rich in detail, heritage and intention — a distillation of Reardon’s long-held belief that a timepiece, regardless of price point, should carry meaning. [The Dennison + Collectability watch was released on Tuesday with a limited order window that closes today, May 11.] Esquire profiled Reardon as Collectability was getting started, back in 2020 (you can read Mick Brown’s terrific piece here).
We caught up with him again the day after the launch in New York to talk about his unexpected move into design, what makes a timepiece truly collectible — and why his budget quartz ticker might be the year's biggest bargain. |
About Time: Hello John. How are you doing? John Reardon: Excellent, thank you. Recovering from our launch yesterday. Congratulations. Did it go well?
Thank you so much. Yes, we had almost 100 people at the art gallery last night [at the Sous Les Etoiles Gallery, on Manhattan’s Upper East Side] and it was fun. In fact, the first event in the city Collectability has ever done. Funny that it’s around a collaboration watch. It's an unusual thing for you to have done. How did it happen?
Thank you for saying that! It is very unusual, very unexpected. It was never in our business plan. For us, it’s all about buying and selling vintage Patek Philippe. But last May at Sotheby’s Geneva [at the Important Watches sale], I was bidding on behalf of some clients, and I saw a gentleman and his young son in the front row of the auction room wearing what I mistakenly thought were "Golden Circle" watches or maybe Ellipse [classic Patek models – during the 1960s and 1970s they were two of the watches to be seen with]. I wasn’t sure.
What were they?
You know [popular vintage collector] Mike Nouveau from TikTok? He was sitting behind me, and I asked him, “Who’s that guy? What did he have on his wrist?” And he’s like, “Oh, that’s the Dennison guy, Stephane [brand director Stephane Cheikh]. You’d get on. I’m happy to introduce you after the auction.” So, he introduced us, and within five minutes I fell in love with Dennison, which was a watch I was unfamiliar with. They resurrected this [slim, vintage] look just last year. When I saw the watch, in my mind I was trying to guess the price point. When he said $590 [£529] I immediately bought one for myself and one each for the kids – because I just think it’s a fun way to have that look. The price point really sold me, and the design was fantastic. So that’s how it happened. We became fast friends. Within a few months, we were able to put the whole plan together. It’s the first collaboration watch for us and also the first for Dennison. So, we’re both in uncharted territory.
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Dennison Natural Stone Tiger Eye in gold |
What price did you think the watch might be?
When I had it in my hand, I was sure it was three or four thousand dollars. It’s funny, because it shows how disconnected I am. I don’t know this under-$5,000 segment of the industry. I’m just so caught up in vintage Patek. All I was thinking in was: “For the price of a Patek strap, or a Patek buckle, I could own this watch and wear it and not have to worry about it”. I’ve actually been wearing the watch I bought while traveling. It’s a conversation piece, and I can leave it in my hotel room without worry. It represents a certain freedom for me. I used to travel with, you know, nicer watches.
We’ve written a lot about direct-to-consumer microbrands in Esquire. No one can argue with the prices. There’s sometimes a question mark around the quality, though. Obviously a £529 quartz watch isn’t haute horology. But it’s interesting to hear how much you rated the product.
The caveat is I have a complete disconnect. I would never consider a collaboration with anything that would compete with Patek Philippe in any way. If it doesn’t have a Patek Philippe movement, case and dial, it’s not my wheelhouse. This watch definitely borrows from the style and the aesthetic, but it’s in such a different universe than Patek Philippe. That’s where the fun comes in – the novelty value. With my collectors – and you and I both mutually know a number of them, who have several Patek Philippes – when I presented this to them, they were like, “Fine, I’ll take one. I’ll take one for my wife and kids too.” Same impression I had: this is just a fun way to share the aesthetics we love from the 1960s and 1970s – and not break the bank.
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Adverts for the Dennison Watch Case Co. Birmingham |
Who said “collaboration” first? Was this something you’ve been itching to do?
No, I never imagined it. At Collectability we’ve never had a discussion or considered a collaboration. Yet, this chance meeting at an auction house, within five minutes, we were talking like, “We need to do this”. We knew we were going to be able to do something together. I love the idea that Dennison has this Anglo-American storyline. My collecting journey began with Waltham watches, from the 19th Century [from 1850 to 1957, the Waltham Watch Company produced around 40 million watches and clocks. Based in Waltham, Massachusetts, the company often sourced its cases from the UK, frequently partnering with Dennison in Birmingham. Its founder, Aaron Lufkin Dennison – an American who later settled in England – established a business to case Waltham movements]. So, it has a kind of a personal appeal to me. That this chance meeting resulted in this watch.
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The Dennison + Collectability watch, available in stainless steel and gold PVD finishes |
What was your input?
There are really three things. First, we can talk about Emmanuel’s design guidance. I think it’s spot on. To me, it represents the aesthetic of reference 3604 – one of my favourite Golden Circle watches. What he did is a little different – thinner on the sides, a little wider at the top, and it’s rounded. So, when you put it on your wrist, it just has a very different feel from the boxier reference 3604 that I’m used to.
Also, I had always hoped to find a reference 3604 with a two-tone dial – I’ve never found one. When I saw this watch on Stephane's wrist, I was like, “That’s what I’m looking for!” Even though it’s not a Patek Philippe, it was the look I’d been hunting.
There’s another reference in the Patek world, the 3862, that has a two-tone dial. That very much inspired the first recommendation I made for this collaboration: a two-tone dial on a Dennison watch.
The second thing we brought to the table is a subject of great debate in the Dennison collecting world. I felt strongly that there should be no branding on the dial whatsoever. No “Dennison”. No “Collectability”. When I pitched this to their team, the oxygen just left the room.
But I explained: “Let Emmanuel’s design speak for itself!” The dial is almost the Collectability signature – it’s from my archives, a design element that means something to me.
That second point – no signature on the dial – has been very well received by the market over the last 24 hours. They liked it! I’m thrilled and happy I stuck to my guns. I wouldn’t have done the project unless they agreed. That was so important to me. |
Patek Philippe backwind "Golden Circle" ref. 3586/1G, circa 1972. Currently for sale on Collectability, priced $18,000 |
You played hardball.
I did! I played hardball. I also wanted dauphine hands [classic, elegant watch hands characterised by their tapered triangular shape, sometimes said to resemble to the silhouette of a dolphin]. Because dauphine hands really speak to that era of design – they were typical on Ellipse and "Golden Circle" watches. But [the Dennison team] really in dug deep and said it had to have the Dennison hands. They showed me pictures, which I was unaware of – how those hands on the Dennison watches are based off 19th Century Dennison watches from their historical archives. So, once I understood where they came from, from that perspective, I acknowledged that it made sense. |
Patek Philippe white gold self-winding "Golden Circle" ref. 3604G, currently on Collectability, priced $35,000 |
Collaboration is all about give and take.
What’s fun is, I did a podcast yesterday and learned some things I didn’t know. When we met at Sotheby’s, Stephane had never heard of Collectability. He had no clue who I was. And I had never heard of Dennison, or Stephane Cheikh, before. So, we both went into this chance meeting fresh. That’s amazing, because we connected over the design of the watch. I love that. The underlying word is: fun. No watch politics, no drama – just, “This is a good-looking watch,” and we were off to the races very quickly to make it happen.
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Emmanuel Gueit: "Horological design god" |
You presumably knew Emmanuel Gueit’s work?
I have so much respect and awareness for Emmanuel. I think he’s in the pantheon of horological design gods. The work he’s done for Tiffany has also been very interesting [Gueit has recently worked for the storied jewellery house, which is now striving to reclaim its reputation in watch design]. Of course, people know about AP [ie: the Royal Oak Offshore he designed for Audemars Piguet], and then there’s his father’s work before him – he comes from design royalty [Jean-Claude Gueit designed 1970s models including the Piaget Polo and the Rolex Cellini and is considered one of the most influential watch designers of the 20th Century]. This particular design is so different than anything we’ve seen from him before. His eye and understanding of design from that era – combined with an understanding of the price point Dennison is aiming at and the broad audience this watch is for – allowed him to create a design that’s both classic and complex.
That era of watch design is certainly back in vogue.
It’ll never happen but imagine this shape in the context of a Patek Philippe today. It would be a $40,000 watch – probably automatic – and it would be extraordinary. And I hope that someday we’ll see more watches from Patek Philippe [using this design language], like we’ve had in the past. What this has proven to me is there’s an audience that wants to wear this aesthetic. You probably saw: Piaget recently came out with some stone dial pieces.
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From Collectability. A 1978 18k yellow gold Patek Philippe Golden Ellipse on a black alligator leather strap |
I mean, I can certainly see some Piaget in your watch.
I think those are quite large compared to this, right? This is only 37 by 33.5 millimetres, which is pretty bold [ie: it’s small by today’s standards]. But that’s very true to the proportions and sizes of watches from the 1960s through the 1970s. You know the guys at Patek. Surely you can ask them to put something like this watch back into production? I don’t think they listen to me! If they did come out with a watch with this aesthetic, I’d be first in line – I’d pay in full, at retail. It would be a few more zeros than what we’re talking about today. But I really hope to see more “time-only” designs – not just from Patek Philippe, but from the industry in general. I think that this trend is happening. You’ve said this watch is “for now”. That would seem to be a reference to the advertising line “You never truly own a Patek Philippe, you merely look after it for the next generation”. What did you mean by “for now”?
It’s funny, because I’m thinking about my kids. I have three children and I’ve never impulse-bought watches for my kids, because I’m looking at watches starting at $20,000… I’m pleased to hear that, John.
Yeah, that’s not going to happen. But at this price point, I was like – they’ll have a lot of fun with this. And that’s why it’s about “now". Because I’m so brainwashed by the Patek messaging – every watch I bring into my collection, I’m like, “Someday, when I’m gone, this will stay in the family,” and I imagine my son or one of my daughters wearing it. I’m thinking a generation ahead. But this watch is more like, “Hey, kids, check this out". |
The case back of the new watch. Note the "+" not a "x". Inspired by a breveté mark of yore |
And are they into it? If they’re anything like my kids, they don’t like anything that I recommend.
Er, well… on the record, they’re like, “That’s cool.”
Have you got the bug for this now? Will there be other collabs? I would love to do another collaboration with Stephane and the team. We haven’t had that conversation yet, and I’d welcome it if that day ever comes.
I guess it’ll be based on reaction to this one. Yes. I mean – knock on wood – we’re only on day one, and I have nothing to compare it to. I’ve never seen how this all works, with a five-day buying window. But it’s exceeded my wildest expectations – the number of watches sold so far. I fully expect they’ll sell out.
I hate to be so bold about it. How many have you made? Or is that a secret? There is a number but we’re not putting it out there. We’re calling it a limited edition. It’s kind of “buy now or never.”
Do you have more sympathy now for watch designers now?
Yes. When working at Patek Philippe, I didn’t work with the designers – that wasn’t part of my job at all. So, this is the first time I’ve had any input whatsoever into the design process. Together with my colleagues, it’s been a learning curve. Challenging, but in a wonderful way. It’s so different from what we do day-to-day. It’s been like a ray of light in the day. We’ve been using a different part of our brain – the creative side – to put pen to paper and envision something we know we would love and therefore hope our collectors would love equally. And that’s challenging, because we stare at watches all day.
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"Buy both!" Reardon launching the watch at New York's Sous Les Tolles Gallery on Tuesday night |
And despite the relative pocket money price, its resonated with Patek collectors?
Yes. We had the watches physically present at the launch event in New York, and it was so well received. And the part that really struck me was: both men and women were into it. There’s very few watches – at any price point – that I see equally appreciated by men and women. I saw couples smile at each other and say at the same time, “I want it.” That is incredible.
I think Emmanuel came up with a design that speaks across borders and genders. And the simplicity of that message – a watch for everyone– is underlined by the price point. It’s quite attractive. I sound like QVC!
But the reality is, I think this watch will find its way onto many important collectors’ wrists – as an everyday, fun watch. I have collectors with collections worth well over seven figures telling me, “John, I just need to have this.”
The part I love? I’m getting emails from people who can buy a $250,000 watch – and they can’t decide whether to get the white metal or the gold PVD version. And I just tell them, “Buy both.” |
John Reardon, photographed at Collectability, New Jersey, USA for Esquire's The Big Watch Book, summer 2020 |
What challenges did the design process present? Presumably, cost constraints imposed certain limitations?
The price point—when Dennison released their Sunray Dial last year, it was $590 [£376 in the UK]. We discussed that, and the price point here is in line with their Stone Dials at $690 [£529]. The dial production is a bit more complex, with the way the two-tone Sunray is made. But $690 is a Dennison price point – and we went along with their advice. I think that’s the right price for this watch.
What else is noteworthy about the design?
There were two other things: The case back was a lot of fun, because we got to design how we wanted both logos – the Dennison and the Collectibility logos – to appear. And you’ll notice we didn’t use an “X” between them [ie: the traditional collab sign] – we used a plus sign. It’s a double nod. First, to Switzerland. Second, it looks like a breveté mark, which you see in steel watches from Patek Philippe, Rolex and others from mid-20th century [the sign used to indicate a product or design had been patented]. So that’s kind of a nod to the vintage steel [Patek] watches I love, the reference 1485. So that was an idea I had. I’m so happy that made it to the final cut.
The other enjoyable part was the packaging. At Collectability, we take our packaging very seriously. We decided we would double-brand the split case: Collectability and Dennison. It makes for a beautiful presentation. |
Reardon’s own 37mm stainless steel Patek Philippe Nautilus Ref 3800/1A |
How are things going at Collectability?
We’re almost six years old, which is incredible. I remember talking to you a few years ago – right when we were getting started – during Covid. And wow, I had no idea what I was doing back then! Now, we’ve learned a lot. We’re growing, and we’re really hyper-focused on what we do best: which is buying and selling Patek Philippe. And yet we don’t forget what’s at our core, which is education. Educating people about the history of horology – that’s what this is all about. Through that process, and our social media and YouTube channel, we’ve been able to bring in new collectors, new blood, new enthusiasm, and new scholarship. That’s what makes this job so much fun. I just can’t believe it’s going to be six years this summer. It’s gone by so quickly.
When you say you had no idea what you were doing, what do you mean?
That’s such a good question. We were founded in the heart of Covid – so, like everyone, we were separate from the world. At that point, we were really focused on content generation. We probably invested too much time and money in creating the most streamlined, polished content possible. And we quickly learned: it doesn’t have to look polished – as long as it’s accurate. So, we started putting out more raw content – really capturing the excitement of the moment. What we’ve found is that authenticity, combined with academics, has become a hallmark of what we do. And we’ve got more content coming out along those lines – capturing the moment, rather than making a Ken Burns documentary. People just want to see: what’s in the box? What have we discovered? What did we learn?
Last time Esquire spoke with you, you made two predictions: that smaller watches would come back into style – spot on – and that pocket watches would rise again… which, well, might need a little more time.
That’s not come as true as I hoped...! We have a core group of pocket watch collectors. They sell quickly – when we get them right. It takes time to service them. It takes time to get the archives. But at the end of the day, there is a market. I wouldn’t say it’s a growing market – it’s a very highly targeted, small group of individuals.
You also mentioned that vintage Patek was undervalued in certain corners of the market. Is that still right?
Yes, I think decade after decade, that continues to be true. And especially today – we’re seeing prices changing on the secondary market for modern production watches. Now that Big Data is part of the equation, people know the buy/sell price more than ever before. That’s making it easier for both buyers and sellers to know the right price for a modern watch on the secondary market.
That said, on the vintage side, it’s a bit more subjective. It’s about understanding the quality, the condition, the restoration, how the watch has aged. All those elements create a disparity in pricing between modern and vintage.
The best vintage watches that check all the boxes are bringing extraordinary prices. And I’m quite sure that in the next two weeks, we’ll see more world records fall in Geneva – even in this cloudy market. [Geneva’s major spring watch auctions run May 10–14 at Phillips, Antiquorum, Sotheby’s and Christie’s. Rare Patek Philippe highlights including a unique pink gold ref. 3448, an enamel “wine glass” pocket watch, and the coveted ref. 2497.]
When we find and source a vintage watch of note, they’re very easy to sell. One phone call – done. They often don’t even make it to the website. But with important modern pieces, everyone wants to know the last sale price. It’s all about box, papers, and how much. |
More Patek treasures from Collectability |
I’m surprised to hear you’re a fan of Big Data. You think it helps?
It does. I think it makes for a more equal playing field. It’s not really my core business – I’m not that interested in selling modern pieces. That’s for the brands and the retailers. But everything has a buy/sell price almost immediately after it hits retail. It’s fascinating – any new release from [the annual Geneva trade fair] Watches and Wonders within hours – sometimes minutes – they show up on the secondary market, and the pricing structure evolves from there.
On the other hand, you can’t put a price on an emotional connection with a watch.
Yeah. I love that – a watch that shows some age, that has a great story or even a bit of mystery. I find that more intriguing than a new piece that’s sealed in plastic. Now that you’ve dipped into the more affordable end of the market, what’s your take? It’s thriving partly because once-accessible brands like Tag Heuer and Omega have pushed their prices significantly higher.
I’ll go back to the reference point of last night. I was introduced to a lot of watches in that price range which I wasn’t familiar with. I have a lot to learn about that $500-$1,000 range. It’s completely different from what I do day-to -day. In a way, it’s the opposite – and that’s refreshing. I was reminiscing about Basel the other day [Baselworld — the annual Swiss trade fair once central to the industry, now superseded by the more luxury-focused Watches and Wonders]. You went too, right?
Yes. It was great – you’d be in the same hall as Patek and Rolex, but then go upstairs and discover these brands showing $500 watches.
The first year I went, Lego launched a watch. Paris Hilton launched a watch.
The novelty of that was so much fun! I loved wandering the halls and just seeing what I could find whenever I had a break from being locked into the Patek booth. Back then, I had more of a finger on the pulse of a cross-price-point landscape than I do now. I just don’t attend any shows that offer that kind of breadth anymore.
Well, you’re doing you’re bit now. Hopefully there’s more to come. I really appreciate it. Thank you so much for taking the time. |
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Esquire recently asked whether the trend for “fun” watches had gone too far — but no one does playful innovation quite like Seiko’s Power Design Project. This internal Seiko initiative pushes designers to explore offbeat concept watch ideas far beyond what might be considered "traditional horology".
Returning to Japan House London from next Thursday May 15 to June 16, the Incredibly Specialised Watches Exhibition 2 showcases six wildly imaginative, hyper-niche concept watches.
Highlights include the Egg Boiling Watch, styled like half a boiled egg with a built-in timer, and the Santa Claus Watch, a lume-dial GMT with a closable lid for stealthy night flights. Meanwhile, a Watch for Girls in Love channels a romantic game with a spinning flower dial, while the Ninja Stealth Watch ditches luminescence for a fully tactile, touch-readable design. The Club DJ Watch features an infinity mirror dial and UV-reactive colours.
Rounding things out is the Vampire Exclusive Watch, a gothic piece that only displays nighttime hours, complete with a blood-red bezel to track feeding times. Fun!
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Images: Collectability; Dennison; Cody Litke |
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Remember: Time flies by when you're a driver of a train
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