ArtyA’s Yvan Arpa and his Personal Relationship with Time and Watches
A series that moves beyond brands and products to explore the personalities of the watch industry’s most influential leaders.
Twelve on Time is a conversation series that invites leading personalities from the watch industry to step beyond their work and speak more personally about their relationship with time, creativity, and craft. Through a set of twelve questions, the column aims to lift the veil on both the individual and their perspective on watchmaking – revealing not only how they see watches, but also how they see themselves within a culture shaped by precision, heritage, and emotion. Today, we’re meeting with Yvan Arpa, a highly creative mind and founder of indie brand ArtyA.
1 – Which watch changed the way you looked at watchmaking?
A sundial from Roman times. It is the very first watch, the origin of everything we do. What fascinates me is that, already two thousand years ago, a timepiece was not merely an instrument. Under those sundials, people engraved mottoes, little pieces of philosophy about time. My favourite is “Vulnerant omnes, ultima necat”: all hours wound, the last one kills. In one sentence, you have everything. A watch does not simply measure time; it reminds you that time is your life, and that every hour must be lived intensely. When I understood that, I understood that a watch must always tell more than the time.
2 – What is the quality you value most in a watch?
Innovation. For me, this is the most important point. A watch must create not only a new emotion, but it must also show something that never existed before. We have had watches for close to five hundred years. If I repeat what people did before me, it is not interesting. I really want something new. We must reinvent the very basis of our industry, not do the same thing again and again.
3 – Which is your favourite complication?
The tourbillon. To me, a tourbillon is a way to watch, from a certain distance, how time passes. It is poetry in mechanics.
4 – What is the most overrated trend in modern watchmaking?
Trusting only the big names. So many people buy nothing but the big brands, without ever going to discover the independents, with all the energy, the passion and the innovation they put into their watches.
5 – What detail instantly tells you a watch was made with care?
The escapement, and how it is regulated. Is it standard? Is it traditional? That is one easy way to see the hand of the watchmaker.
6 – Which moment do you believe most fundamentally shaped watchmaking as we know it today?
The quartz crisis, of course. It truly redefined what we, as watchmakers, have to do.
7 – What is the greatest challenge facing the watch industry today?
To reinvent ourselves. Look at industries that became completely niche, like the hat industry. Two or three generations ago, everybody wore a hat in the street. Today, almost nobody does. We do not want that fate for the watch industry. We must offer not only emotion at the wrist, but a spectacle, a show, engineering at your wrist. Something more than telling the time. Something you love to feel, to watch, and through which you understand the passion and the work it contains.
8 – What outside sources of inspiration most influence your thinking in watchmaking?
For me, the most important thing is to stay like a child, to keep marvelling at everything. It can be a flower, an animal, people, a building, a piece of architecture. Keeping a child’s mind is the real source of inspiration.
9 – Which watch do you wish you had created?
The ones I have not created yet. Because of them, I cannot sleep properly. They wake me up at night, and I keep thinking of solutions to make them work.
10 – Which watch do you wear most when nobody is watching?
As some people know, I was head of design for the Samsung Gear S3. So when I box with my friends, I wear a connected watch. That is the one I wear when only my boxing friends are around.
11 – Which personality has most shaped your view of watchmaking?
My kids. Their view is the future. They are thirty or forty years younger than me, so what they see, what they feel, and how they reinterpret watchmaking is fantastic. I am lucky to be very close to my three kids, and they all give me precious input. I love it.
12 – What should younger collectors focus on before buying their next watch?
Passion, excellence and innovation. And they should seek contact with the person who created the watch, not a salesman or a banker. They need to feel the passion to understand the work we put into a watch.
Facts Only
Yvan Arpa is the founder of the independent watch brand ArtyA.
Arpa previously served as the head of design for the Samsung Gear S3.
Arpa wears a connected watch when boxing with friends.
The "Twelve on Time" series consists of twelve questions posed to watch industry leaders.
Arpa identifies the tourbillon as his favorite complication.
Arpa cites the quartz crisis as the fundamental shaping moment of modern watchmaking.
Arpa's three children provide input on his view of watchmaking.
Arpa identifies Roman sundials as the origin of watchmaking.
The phrase “Vulnerant omnes, ultima necat” is cited as a motto found on Roman sundials.
Executive Summary
Yvan Arpa, founder of the indie brand ArtyA and former design lead for the Samsung Gear S3, advocates for a paradigm shift in the watch industry. He argues that watchmaking must evolve beyond mere timekeeping to become a "spectacle" of engineering and emotion to avoid becoming a niche relic, similar to the historical decline of the hat industry. Arpa emphasizes innovation over the repetition of heritage, urging collectors to look past established legacy brands in favor of independent creators.
His philosophy blends mechanical tradition—evidenced by his appreciation for the tourbillon and the regulation of the escapement—with a desire for constant reinvention. He derives inspiration from a childlike curiosity and the perspectives of his children. While rooted in high-end mechanical craft, his personal usage includes connected technology for specific activities, suggesting a pragmatic approach to the tension between tradition and modern utility.
Full Take
The strongest version of this narrative posits that for a luxury industry to survive, it must transition from selling "tools of precision" to selling "emotional experiences" and "mechanical art." By framing the watch as a memento mori—referencing the Roman sundial—the argument elevates the product from a commodity to a philosophical instrument.
The narrative relies on a specific value-frame: the "Independent vs. Legacy" binary. By positioning legacy brands as stagnant and independents as the sole source of passion and innovation, it creates a moral imperative for the collector to seek out the "creator" rather than the "salesman." This is a classic positioning strategy designed to disrupt established market hierarchies by redefining "value" as innovation rather than heritage.
Rooted in the paradigm of Creative Destruction, this approach assumes that the only path to survival is total reinvention. It echoes the broader cultural shift where luxury is no longer defined by stability and timelessness, but by the "spectacle" and the "new."
The implication is a shift in agency from the institution (the Great House) to the individual (the Indie Designer). This benefits the agile creator but risks detaching the industry from the very heritage it currently leverages for prestige.
Patterns detected: none
If this were an influence campaign, the playbook would involve "The Disruptor's Gambit": delegitimizing established authorities (legacy brands) by labeling them boring or repetitive, then presenting a specific alternative as the only path to "true" passion. The content here is a personal interview and does not match the structural aggression of such a campaign.
Bridge Questions:
1. Does the pursuit of constant innovation inevitably erode the value of heritage, or can the two coexist without one cannibalizing the other?
2. Is the "spectacle" of engineering a sustainable value proposition, or does it risk turning watchmaking into a novelty rather than a craft?
3. How does the integration of connected technology (like the Gear S3) fundamentally alter the "poetry" of mechanical timekeeping?
