Nobuhiro Kosugi has had an admirable career as a watch designer for over 40 years. Under the new GS Standards—which surpass the COSC Standards—he fused the most advanced technology with the artistic processing techniques of craftsmen to produce the mechanical 9S5 Series watches in 1998. Ever since then, he has been involved in the design of the Heritage Collection, etching its name permanently into the history of Grand Seiko. We spoke to Nobuhiro Kosugi about his watch design experience.
Grand Seiko was created to be the finest watch in the world. Since its stunning debut in 1960, we have constantly strived to deliver the greatest watches in world that are nothing short of revolutionary. The most iconic piece among the Heritage Collection, which is the linchpin of Grand Seiko, is the 44GS (released in 1967). This 5-beat, manual-winding watch not only achieved the greatest accuracy at its release, but was the embodiment of Japanese beauty, and strove to be a "watch of resplendent brilliance."
For over half a century, Grand Seiko has delivered numerous watches that combine the greatest accuracy, as well as graceful beauty.
The Heritage Collection design has always kept pace with the movement developments in our watches. Caliber 9S equipped in one of our 1998 models exceeded the international standards for accuracy and utility, while the 10-beat movement of the Mechanical High-Beat 36000 in 2009 was accomplished with our cutting-edge MEMS (Micro Electro Mechanical Systems) technology and the renewal of the main parts that govern the Caliber 9S’ accuracy. Even now, we are quietly formulating a new future, bringing about the next revolution in the Heritage Collection.
Watch Designer
Nobuhiro Kosugi
Nobuhiro Kosugi was born in 1952 in Yokohama. After joining Hayashi Seiki Seizo Design Office and establishing KG Design Office, he joined Seiko Instruments & Electronics Ltd. (currently Seiko Instruments Inc.). He has been involved in watch design development for about 40 years, and in recent years has mostly conducted versatile design developments for the Grand Seiko Heritage Collection. Three times he has received the Good Design Award*. In 2012, the international watch magazine Watch World presented the Kosugi’s Grand Seiko SBGH005 with their European Watch of the Year award. He also designed the Grand Seiko SBGJ005, which gained a category award in the 2014 Grand Prix d'Horlogerie de Genève, from the world’s most recognized authority on watches. It was the first Japanese mechanical watch to be presented with an award. That same year, he was selected as the first designer to receive the Ministry of Health, Labour and Welfare's Award for Outstanding Skilled Workers, Contemporary Master Craftsman. In 2016, in recognition of his outstanding achievements and many years of diligent service, he received the Medal with Yellow Ribbon**.
* A comprehensive design evaluation and commendation system in Japan that recognizes products that can bless and enrich society and people's lives through their design.
** An award presented by the Japanese Government to individuals who, through their diligence and perseverance while engaging in their professional activities, become public role models.
―What was the motivation for the birth of the first Grand Seiko in 1960?
At the time when Swiss-made mechanical watches were synonymous with luxury, Seiko wanted to collect the best of the watch technology it had developed and make Japanese luxury watches that surpass the internationally known brands. I believe that was the greatest motivation. The 1950s and 60s were an era during which we strove to improve watch accuracy such as with innovative movements. I believe that is where the story of Grand Seiko's appearance starts.
The origin of its history is the first Grand Seiko. It was the first Japan-made watch that conformed to the superior class of Swiss Chronometer Standards (B.O.). You see, we had created a watch that measured up to the high-precision watch standards that the Swiss themselves had made.
I also think that Seiko continued to challenge luxury watch preconceptions by participating in the Neuchâtel Observatory Competition in Switzerland from 1964. This competition was the ultimate in watch precision competitions in the world.
―In 1967, the 44GS was released. This model established the Seiko Style—the unique Grand Seiko design structure. Tell us how the Seiko Style was developed.
At that time, Taro Tanaka, a designer for K. Hattori & Co., Ltd., began working with craftsmen at the exterior parts factory, developing a "watch with resplendent brilliance." After repeatedly experimenting with "which shapes would bring out resplendent brilliance, or look most beautiful," he came up with the design of the 44GS—the model which established the Grand Seiko Style.
There are three principles to the Seiko Style:
1. Wherever possible, surfaces should be flat
Every watch design necessarily involves the use of both flat and curbed surfaces, but, for Grand Seiko, flat surfaces are preferred. This is to allow for freater reflection of light and the extensive use of these planes contributes to the sparkle of quality that defines Grand Seiko.
2. The flat surfaces should be as wide as possible
To maximize the reflections, the flat surfaces should be as wide as possible on every part of the case as well as on the dial and hands.
3. Every surface should be distortion-fee
Wherever possible, every suurface and facet should be in a mirror finish and polished so that there is no distortion in any reflection.
―There are nine design elements expressed in the 44GS. They are based on these three design principles. Please tell us about them.
First of all, the 12 o'clock index is double the width of the other indexes, emphasizing the vertical between the 12 and six o'clock, making it easier to read the time. The indexes and hour and minute hands are multi-faceted, increasing readability as well as making it dazzle beautifully. And to make them all more prominent, the dial is flat.
Sallaz polishing of the upper edge of the glass and the flat surface of the case gave them an even, distortion-free, mirror finish with a crisp look. In addition, the reverse slant of the case side and bezel wall not only creates a beautiful shadow and expressive sparkle, but also a shape that makes the watch seem thinner when worn.
In addition, employing a half-recessed crown achieves a comfortable feel when worn, regardless of wrist thickness.
The straight lines and flat surfaces of the 44GS create various expressions of light and shadow. I believe this design is an achievement of Japanese beauty.
Japanese harbor an admiration for light, with an equal love for shadow as well. We value the expressions possible through the harmony of light and dark. Therefore, the Seiko Style could only have been created by the Japanese, because we maintain this expressive lyricism.
―The Grand Seiko 9S5 Series was based on the new GS Standards, and released in 1998. It was the first mechanical model equipped with a metallic bracelet, wasn't it?
From around 1995, a project was started to consider how Grand Seiko watches would be made in the future. From the customer's perspective, leather straps were relatively easily damaged and had to be replaced, so they were considered an extra expense. Additionally, metal bracelets were long-lasting and were in extremely high demand. However, there were many people who loved the idea of switching to a leather strap in winter.
That's why we settled on crafting Grand Seiko watches that are sold with a metal bracelet but can be switched to a leather strap. To this day we continue with this policy.
―Tell us about the design of the 9S5 Series.
At its foundation, the concept was "the ultimate in traditional." Based on a "best of basics" theme, we designed it to be a watch that would be cherished for years. We didn't want an unconventional look that made a huge impact. We created a beautiful design shaped by craftsmen that is thoroughly conventional.
Though this design was released in 1998, it has continued to be sold until today. I am proud to say that it has been recognized as the basic design standard of Grand Seiko and has been equipped with many different movements.
―Have advances in the 9S mechanical movement and the designs of the Heritage Collection progressed side-by-side?
Not only the Heritage Collection, but all the Grand Seiko collections pursue the true essence of watches. That is, they are made to be accurate, beautiful, and instantly readable. Take for example the Mechanical High-Beat 36000 with the Caliber 9S85, released in 2009. The hairspring is essential to a movement's accuracy. For this model, we changed the hairspring's material to improve the fundamental performance, such as its shock resistance and antimagnetic properties. We also employed MEMS technology for producing extremely high-precision parts, allowing us to update the design of the escapement (escape wheel and anchor) and improve durability. In addition, by manufacturing the mainspring with a new material, we not only made 10-beat movement possible, but also achieved the torque necessary for high-speed movement and a reliable power reserve. Many significant advances were made which could not be seen from the outside.
From a design perspective, on the dial we slightly increased the width of the 6, 9, and 12 o'clock indexes to add a structured impression, and made the remaining eight indexes slightly thinner, to accentuate the dial's crossline and make it more readable. In other words, these additions were made to make misreading less likely. Also, starting with the models equipped with the Caliber 9S6, which provided a 72-hour power reserve, the size of the calendar window was increased over that of Caliber 9S55-equipped models, making the date easier to read.
―Did the fit and comfort also change with time?
Yes, it did. When designing a watch, one thing I pay extra special attention to is the back of the case. Since it is the part that touches the skin, despite being a machine-processed shape, I make sure that the back of the lugs and edge of the case cover have soft curves for a gentle fit. I design watches to fit the wearer's wrist well and be comfortable.
With the increase in functions, the thickness has increased due to considerations for the outer casing and solidity. With these advances, I have reflected on how people and their watches can coexist. I am convinced that people desire comfort, so I believe that comfort is an essential element of a watch.
―In 2014, models became available that were equipped with the Caliber 9S86, which added the GMT function to the 10-beat movement of the Caliber 9S85.
This was a modern interpretation of the "watch of resplendent brilliance" defined by Seiko Style—the unique design structure established by the 44GS released in 1967. Just like the 44GS, distortion-free, polished surfaces were used extensively. With improvements in the Sallaz polishing skills of our craftsmen making gentle rounded lines possible, the ridges were also made curved. The original Seiko Style called for designs with flat and two-dimensional surfaces, so the shape of the case side was linear. But with this model, the line of the case side was curved, giving it a shape that allowed it to fit more comfortably on the wrist. While still maintaining tradition, it was necessary to add a modern interpretation of the structure by giving a gentle curve to the side design.
The reason for this was that as the movement became thicker over time, so too did the case. If the design remained the same, it would have become uncomfortable to wear. By incorporating a new interpretation of the design structure, we achieved a shape that is even more comfortable on the wrist.
―Is craftsmanship essential to achieving a design?
All the processes, such as the Sallaz polishing technique, are only possible due to the experienced hands of craftsmen. With every model that we've made, I've consulted with the craftsmen, determining what works and what doesn't through trial and error.
Not just in the watch industry, but with any manufacturing industry, efficiency is constantly being improved with the mechanization of the jobs that craftsmen do. However, it's an undeniable fact that the more cutting-edge processing technology advances, the more these craftsmen's jobs are disappearing. Compared to over 40 years ago when I first joined this company, it's obvious that the number of craftsmen in the plant has decreased.
But craftsmen love taking on a challenge. When I come to them with two or three idea sketches and ask them, "Which one is the most difficult?" they answer, "This one is easy. But I think this one would be a little tough." When that happens, without a doubt, I select the latter. At the end of the manufacturing process, I want the craftsmen to give it a hand finish, which is extra work for them, but I do it because I always want to give them an extra challenge. It makes me so happy to see how this craftsman spirit still remains even today when they give in and say, "Oh, all right. If you insist. I'll see what I can do."
―Don't you think the craftsmen do what you ask because you've worked with them, creating watches for so many years?
I certainly hope they do. I really want their skills to continue being passed on. Cutting-edge processing technology continues to make relentless progress, but no matter how much time goes by, there are areas where robots are no match for craftsmen. With Grand Seiko, I want to aim to create watches with greater accuracy through a clever fusion of cutting-edge processing technology and the skills of our craftsmen.
―Moving forward, what is most important when it comes to designing the Heritage Collection?
I believe the most important thing is to design earnestly and maintain the essence of Grand Seiko, which is legibility, a beautiful appearance, and a comfortable fit. I think it's essential that we as designers for Grand Seiko innovate, slowly adding new interpretations of the traditions while at the same time maintaining them. I want to continue learning about the constant advances in cutting-edge processing technology, and put my effort into determining how they can be fused with the work of our craftsmen.
