he Stollenwurm is a creature from Swiss folklore – as old as time, said to dwell deep in the mountains, guarding treasures, secrets, or something older still. It appears in tales as a fire-breathing, serpent-like creature with the head of a cat. Uncanny. Unverifiable. Revered and feared in equal measure.

Some say it brings reward. Others, ruin. Others still, revelation. All say it is just.

In the 18th century, a group of miners working near Grimsel Pass disappeared without a trace. Local lore suggests they ventured too deep and disturbed a Stollenwurm slumbering in a hidden cavern... The only clue to their fate was the discovery of their tools, blackened and warped as if exposed to intense heat. Since then, some claim to have heard a low, cat-like growl echoing from the mines at night.

An old shepherd named Luc claimed to have encountered the Stollenwurm while herding sheep near the Vallée de Joux. According to his account, the creature emerged from a cave as mist began to rise from the ground. Luc froze in terror, but the Stollenwurm merely stared at him with its piercing eyes before vanishing into the fog. When Luc returned home, he discovered a gold coin in his pocket. A gift? Or perhaps a warning? Or a sign of something greater...

Stollenwurm chooses its metals carefully, deliberately — for the weight of meaning they carry. Each metal, each element, is a facet of a story forged through myth as much as through fire. It becomes a thread of continuity, binding one creation to the next, linking them as chapters of a larger tale. Platinum and tantalum are not mere materials: they are connective tissue, the substance through which intent takes form.

In their rarity and allure, but also their density and resistance, they hold memory and project it forward — materials that endure, binding past and future, the familiar with the unknown.

Heavy, rare, and enigmatic, tantalum is among the most singular metals in watchmaking. Named after King Tantalus of myth — forever thirsting yet unable to drink — it resists corrosion, time, and even the touch of acids.

Its deep grey, bluish hue sets it apart from steel or titanium. Harder than both, tantalum is brutally difficult to machine: it gums up tools, forces slow progress, and demands rare patience. Few dare to master it.

Symbolically, it speaks of secrecy and endurance. Dense in the hand, it feels like a fragment of mountain turned to metal — a hidden force chosen deliberately to lend gravity and permanence.

Platinum stands apart: noble, enduring, luminous. Once dismissed as platina — “little silver” — it is now the ultimate emblem of rarity and prestige.

Cool and radiant, it never tarnishes. Denser than gold, it is felt before it is seen. Yet its very malleability makes it treacherous: instead of cutting cleanly, platinum stretches and clings to tools. Precision demands extraordinary control and persistence.

Through centuries it has marked milestones and carried what must last forever. Within Stollenwurm, it is more than noble matter: a fragment of the eternal, forged into form.

The first Stollenwurm series turns to one of the oldest frameworks of time: the seven-day cycle. A rational date, counted in numbers, is paired with the day — not spelled in letters, but revealed through the ancient symbols of the Sun, Moon, and five classical planets.

This cycle, traced to Mesopotamia, where astronomy and divination were inseparable, spread across civilizations. Formalized by the Romans, it became the week as we know it. The names of the days carry this cultural palimpsest: Roman gods aligned with celestial bodies, later adapted by Germanic and Norse traditions, so that Mars became Tiw, Jupiter became Thor, Venus became Freya — Tuesday, Thursday, and Friday. A blend of science and myth, observation and imagination, carried across centuries.

Here, it is reimagined. The date anchors us in sequence, while the day opens the world of allegory, where celestial bodies once ruled over hours, tempers, and destinies. On each dial, the symbols are rendered with the same care as the hands and indexes to catch the light. What might have been functional alone becomes a field of meaning.

All twelve – unique – references of the Series share the same intent: to restore imagination to one of horology’s most familiar complications. Thus, Series 1 lays the ground for what is to follow — each collection a different way of reading time, each a new chapter in the tale of Stollenwurm.

On the dial, days are not spelled out but traced in symbols — the circle of the Sun, the crescent of the Moon, the cross of Venus, the spear of Mars. These signs, inherited from centuries of astronomy and alchemy, form a miniature cosmos: fragments of the heavens made legible at a glance.

Behind them lies another language: the vocabulary of watchmaking itself. Wheels, bridges, bracelet links, clasps — the raw elements from which a timepiece takes shape. What might first appear as a scattered anatomy is in fact a grammar of precision. Each part has its weight, its place, its role in giving form to intent.

This is where the Stollenwurm ethos takes root. Allegory does not float free of matter; it is grounded in metal, tolerances, geometry. Precision and myth are not opposites but companions: one offers discipline, the other resonance. Engineering brings clarity, craftsmanship brings nuance — together they turn fragments into a whole.

Thus the signs in the sky and the parts on the bench mirror one another. Both are systems built from fragments; both demand interpretation. To wear the watch is to feel that union: the symbolic and the mechanical, inseparable, each revealing the other.

The Stollenwurm does not only dwell in folklore — it lives on, deep within the watch itself. Bridges are meticulously crafted in its stylised form, an unseen guardian at the heart of the movement: the spirit within the machine.

On the surface, time takes another guise. Sword- shaped hands, each finished to exacting standards, carry the rhythm of hours and minutes across the dial. Laid out in the watchmaker’s tray, they appear as a language of gestures waiting to be assembled — fragments that, once chosen and set, become the face of each day.

Behind these details lies the discipline of precision. To render a creature in the architecture of a bridge, to give sharpness and balance to a hand, is not embellishment but engineering of the highest order. Both demand mastery, both transform metal into meaning.

Cases and bracelets are made by ABProduct in La Chaux-de-Fonds, where the same pursuit of precision governs every process. It is also there that each Stollenwurm is finally assembled — the moment when hidden spirit and visible gesture are united.

Thus the allegory of days and planets finds its companion in craft. Mystery and mechanism do not oppose one another: the one endures only through the rigour of the other.

Series 1 is limited to twelve watches. No more. Each is a fragment of the whole, carrying part of the story — rare, deliberate, irreducible.

The number is not arbitrary. Twelve is the cadence of the year, the circle of the zodiac, the hours of the dial. To create twelve watches is to echo one of time’s most enduring patterns: complete, yet never excessive.

This scarcity is not an edition in the industrial sense. It is a statement of intent: that each watch must be singular, with its own weight of meaning. Together they form a constellation; apart, they are companions chosen one by one.

In Stollenwurm, rarity is not about exclusivity but resonance. Twelve watches to endure, twelve presences in the world — each a reminder that time, like myth, lives most vividly in what is scarce.

At the heart of Series 1: a fully NAC-treated caliber created for Stollenwurm alone. Developed in close collaboration with Télôs Watch and TMH, it unites independence of vision with the highest standards of Swiss engineering.

Télôs, based in La Chaux-de-Fonds, is renowned for its bespoke calibers, imagined from the ground up and brought to life with ingenuity. TMH, also in La Chaux-de-Fonds, provides the finely machined bridges, plates, and structural components that give precision its foundation. Together, they ensure this movement is not an adaptation, but a creation: exclusive, deliberate, singular. The choice of a micro-rotor is both technical and symbolic. Compact and efficient, it frees the architecture, allowing bridges and plates to carry not just mechanics but meaning. The mechanism echoes the allegory: a hidden spirit orchestrating it all with quiet certainty.

If the first series traced its symbols in the sky, the second turns inward — into archetype, reflection, and the hidden currents of the psyche. Series 2 is guided by the Tarot, a language of images that does not measure time but interprets it, opening a dialogue between what is seen and what is felt.

Each watch becomes an encounter with one of the Major Arcana — The Fool, The High Priestess, and beyond — not as illustrations, but as presences. They are archetypes that unfold as chapters of a journey: of origins, of thresholds, of revelations.

Here, indices fade and hours dissolve into figures, gestures, and signs. Time is not neutral or linear, but charged with meaning, shaped by the archetype it passes through. To wear a Tarot Métiers d’Art is to step into a cycle of encounters — a deck of cards that cannot be shuffled, yet must be read.

As certain as things may seem, every journey begins with a step into the unknown. In Tarot, The Fool is not folly but potential: the blank page, the unmeasured moment before all others.

On the dial, it is not an image to be deciphered but a presence to be felt: an openness, a refusal of certainty, an invitation to risk. Hours dissolve into archetype, and time itself takes the form of beginning.

To have The Fool as companion is to accept that meaning emerges only once the journey starts. The beginning of possibility, balanced between innocence and experience, naivety and vision.

If The Fool is the blank page, The High Priestess is the hidden text beneath it. Keeper of secrets, she represents intuition, silence, the knowledge that cannot be spoken but must be sensed.

Beyond chronology, the dial reveals resonance: a rhythm that invites reflection rather than action. The High Priestess embodies Stollenwurm’s fascination with what resists simplification — mystery as meaning. Her presence reminds us that wisdom is a succession of glimpses until fully grasped.

Every Stollenwurm begins as a question: Series 2 asks what time might feel like when shaped by archetypes, rather than hours. The answer starts with the hand of Hannah Perry Saucier — an artist bound to neither illustration nor abstraction, but something in-between: archetypes as worlds. Hannah works intuitively, blending geometric plane and organic fragment to evoke memory and myth. In her composition, the Tarot is not literal but refracted — its forms suggestive, fractured, living in shifting planes of memory and color.

Her Fool, then, is not a figure to be read but a feeling to be inhabited; its presence emerges from memory, intuition, and gesture, distilled through her painterly language. The portrait on the left is not just of the artist — it is a portrait of intent: of world-building through line, form, and intuition.