The revival of a historically significant watchmaking marque is rarely a simple task, requiring a delicate balance between preserving the specific DNA that endeared the original to collectors and introducing modern manufacturing techniques that elevate the final product. In the case of Daniel Roth, a name that carries immense weight in the sphere of independent horology, the second act has been orchestrated with a focus on foundational designs that established the brand’s reputation in the late 1980s. The latest manifestation of this resurrection comes in the form of the Tourbillon Platinum, a timepiece that channels the spirit of the original reference 2187/C187 from 1988 while pivoting toward a colder, more industrial aesthetic. This release marks a significant departure from the yellow and rose gold models that characterized the brand's initial return in 2023, opting instead for the substantial heft and understated visual profile of platinum, a material that has historically been deployed only sparingly by the maison.
Working with platinum presents a unique set of challenges that differ fundamentally from the fabrication of gold cases, primarily due to the metal's density and specific material properties. While gold is relatively malleable and forgiving, platinum is notoriously difficult to machine, causing significant wear on tooling and requiring a much slower, more deliberate manufacturing process. The production of a single platinum case for this tourbillon requires roughly three times the machining hours compared to an equivalent 18k gold counterpart, a statistic that underscores the manufacturing commitment involved in this specific release. This difficulty is often why watchmakers reserve the metal for their most prestigious complications, using the material’s natural rarity and physical weight to signal the importance of the mechanism housed within. The decision to clad this particular movement in platinum was driven by a desire to pair the brand's signature complication with a white metal, yet stainless steel or white gold would not have provided the requisite gravitas for such a pivotal model.
Courtesy of Daniel Roth
The visual identity of the watch is anchored by the double-ellipse case, a geometry that has effectively become the visual shorthand for Daniel Roth since the brand's inception. This unusual form factor, which sits somewhere between a rectangle and a circle, was originally conceived to maximize the internal volume available for the movement while maintaining a footprint that sits comfortably on the wrist. The new Tourbillon Platinum retains these classic dimensions—38.6mm by 35.5mm—but benefits from subtle ergonomic refinements that distinguish it from vintage examples. The lugs, for instance, are soldered by hand to the case middle in a traditional construction method, but they now feature a more pronounced downward arch. This adjustment allows the watch to hug the wrist more closely, mitigating the potential top-heaviness that can sometimes plague platinum timepieces due to the density of the metal. The entire profile has been slimmed down to a height of 9.2mm, creating a silhouette that feels significantly more contemporary than the slightly bulbous profiles of the late 80s and early 90s.
A closer inspection of the dial reveals a commitment to traditional decorative arts that borders on the obsessive, particularly in the application of guilloché. The dial plate itself is not merely brass or a base alloy, but solid white gold, which serves as a canvas for the "Clous de Paris" or linear pinstripe patterns. In this specific iteration, the brand has opted for a linear guilloché finished in an anthracite hue, providing a high-contrast backdrop for the indications. This dark grey tone lends the watch a monochromatic, almost architectural appearance that differs sharply from the warmer tones of previous gold releases. The vertical linearity of the engraving catches the light in a specific way, creating valleys and peaks that add perceived depth to the face of the watch without cluttering the legibility of the time-telling functions.
The arrangement of the time display follows the regulator style that Roth championed, with the hours and minutes offset in a sub-dial at the top, and the running seconds displayed via the tourbillon cage at the bottom. These separate distinct zones are framed by chapter rings crafted from solid sterling silver, a material choice that introduces a bright, granular texture against the darker gold base. The creation of these silver components involves a technique known as filet sauté, where the borders are fluted using a manually operated rose engine. This creates a shimmering, rope-like border that delineates the functional areas of the dial. The most complex of these silver elements is the bridge connecting the tourbillon aperture to the rest of the dial, often referred to as the "moustache" due to its distinct curvature. Machining this sinuous shape from silver and applying the guilloché requires a bespoke tool and immense dexterity, as the slightest slip of the hand would ruin the component instantly.
The dial production is handled entirely in-house at La Fabrique du Temps Louis Vuitton, the manufacture responsible for the revival of the Daniel Roth name. The facility has invested in restoring antique engine-turning machines, ensuring that the guilloché is applied using the same mechanical principles that would have been used during the brand’s original golden era. This reliance on manual machinery rather than CNC stamping means that production is inherently limited by human bandwidth; a single dial can consume up to three days of labor by a master guillocheur. The result is a surface that possesses the slight, almost imperceptible irregularities that characterize true hand-craftsmanship, distinguishing it from the sterile perfection of mass-produced textured dials.
Courtesy of Daniel Roth
At the six o'clock position, the tourbillon cage rotates once per minute, carrying a three-armed seconds hand that has become another hallmark of the brand's design language. Because the seconds scale is laid out in a semi-circle rather than a full circle, the hands are of varying lengths to reach the scale at different points in its rotation. The longest of these three arms sweeps across the scale from 0 to 60, passing through a specifically machined channel cut into the interior wall of the case. This "step" in the case interior is a direct nod to the original C187 references, a private detail that is largely invisible from a distance but serves as a secret handshake for collectors familiar with the brand’s history. The hands themselves are stainless steel with a black coating, designed to match the stark, monochrome palette of the platinum case and grey dial.
Mechanically, the watch is powered by the calibre DR001, a manual-winding movement that was developed specifically to fit the double-ellipse case. Unlike many shaped watches that utilize round movements held in place by spacers, the DR001 is a "form movement," meaning its baseplate and bridges are machined to fill the case perfectly. This bespoke approach allows for a more efficient use of space and a more cohesive aesthetic when the watch is viewed from the reverse. The movement was developed under the supervision of Michel Navas and Enrico Barbasini, two master watchmakers who have long admired Daniel Roth's early work and sought to honor his legacy through this new engine.
The architecture of the DR001 is a significant evolution from the Lemania-based ébauches that powered many early independent watches. It offers a robust power reserve of 80 hours, a modern specification that ensures the watch can be left off the wrist for over three days without stopping. This increase in autonomy does not come at the expense of thickness; the movement measures just 4.6mm tall, contributing to the overall slimness of the cased watch. The view through the sapphire caseback reveals a finish that is traditional yet executed to a very high standard, featuring Côtes de Genève stripes that are aligned vertically, echoing the pinstripes on the dial side. The bridges are chamfered and polished, and the screw heads are black-polished to a mirror finish, reflecting light with the stark clarity that only steel can achieve.
Courtesy of Daniel Roth
One of the most notable visual features of the movement is the use of gold chatons to hold the jewels in the gear train. This is a very traditional element, often found in high-end pocket watches from the 19th century, where the ruby jewel is set into a gold collar which is then screwed into the bridge. While functional in that it allows for precise adjustment of the jewel height, its primary role in a modern wristwatch is aesthetic, adding pops of gold that contrast beautifully against the rhodium-plated bridges and the synthetic rubies. The presence of these chatons signals a refusal to cut corners, as pressing jewels directly into the bridges is the industry standard for efficiency.
The tourbillon mechanism itself is a tribute to the complication that launched Daniel Roth's independent career. After leaving Breguet, where he was instrumental in reviving that brand’s connection to the invention of the tourbillon, Roth made the complication a centerpiece of his own eponymous brand. The DR001 maintains the classic one-minute rotation speed, but benefits from modern manufacturing tolerances that likely result in better chronometric performance than the vintage originals. The cage is finished by hand, with the same attention to detail applied to the components that are hidden from view as those that are visible. This philosophy of "blind" finishing is central to haute horlogerie, where the quality of the work is maintained even where the owner cannot see it.
The strap choice for the Tourbillon Platinum is a braided calfskin leather in a soft taupe or beige tone, secured by a platinum pin buckle. This lighter strap color creates a sophisticated contrast with the cold grey and silver tones of the watch head, softening the overall look and making it more versatile for daily wear. The texture of the leather complements the guilloché on the dial, continuing the theme of tactile surfaces. The buckle mirrors the double-ellipse shape of the case, a small but significant detail that ensures design continuity across the entire object.
Visually, the watch presents a study in greyscale. The platinum case has a lustrous, white sheen that is distinct from the darker, more gunmetal tone of steel or the yellowish tint of white gold. This brightness frames the anthracite dial, which can appear nearly black in low light or a shimmering dark grey in direct sun. The black markings on the silver chapter rings are printed in a serif font that feels classical, grounding the modern colorway in traditional typography. The blackened hands are legible against the silver sub-dials, though they might vanish slightly against the darker main dial, prioritizing the reading of the time in the specific designated zones.
Courtesy of Daniel Roth
The decision to use a sapphire caseback on this model, as opposed to the solid caseback found on the initial "Souscription" edition, opens up the movement to scrutiny. The alignment of the striping, the polish on the regulator assembly, and the anglage on the bridge edges are all exposed. This transparency is a confident move, inviting comparison with the very best movement finishers in the industry. It transforms the watch from a mysterious object into a pedagogical tool, allowing the owner to observe the winding mechanism and the oscillation of the balance wheel.
The rarity of this piece is guaranteed not just by the price, but by the difficulty of its creation. With the dial requiring days of work and the case taking weeks of machining and finishing, the annual output of the Tourbillon Platinum will remain extremely low. This scarcity is a key component of the watch's appeal, positioning it as an object for the connoisseur who understands the difference between mass luxury and artisanal creation. It is a watch that does not shout for attention with bright colors or gem-setting, but rather commands respect through its proportions and finish.
The collaboration with La Fabrique du Temps Louis Vuitton has provided Daniel Roth with the resources to pursue this level of manufacturing without compromising on the independent spirit of the design. Navas and Barbasini, having founded their own high-complication specialist workshop before joining LVMH, understand the ethos of the independent watchmaker. Their stewardship of the Daniel Roth revival feels less like a corporate acquisition and more like a preservation project, ensuring that the techniques and designs of the past are not lost to history.
In the landscape of modern horology, the Daniel Roth Tourbillon Platinum stands as a monument to the enduring appeal of shape watches. While round watches dominate the market, the double-ellipse remains a distinct and recognizable alternative that speaks to a specific era of design creativity. By rendering this shape in platinum, the brand has solidified the model's status as a heavyweight contender in the dress watch category. It is a watch that feels substantial on the wrist, a constant reminder of the precious metal from which it is hewn.
Courtesy of Daniel Roth
The market for high-end independent watches has grown significantly since Daniel Roth first set up his workshop, but the values that defined his early work—distinctive design, reverence for the tourbillon, and hand-finishing—remain as relevant as ever. This new release proves that those values can be translated into a modern context without losing their soul. The Tourbillon Platinum is not a retro-reissue in the lazy sense; it is a remastering of a classic track, played with better instruments and recorded with higher fidelity.
Ultimately, the Daniel Roth Tourbillon Platinum is available for purchase at a price of 185,000 CHF, excluding taxes. Given the labor-intensive nature of its production, particularly regarding the platinum case and the hand-guilloché dial, availability will likely be tightly constrained. It represents a significant tier above the standard production models, targeting the collector who prioritizes material value and mechanical pedigree in equal measure. For those fortunate enough to acquire one, it offers a tangible connection to the history of independent watchmaking, encased in one of the most noble metals available to the industry.
Case: Platinum double-ellipse shape measuring 38.6mm x 35.5mm with a thickness of 9.2mm. Features a flat anti-reflection sapphire crystal and a sapphire crystal caseback.
Movement: Manufacture manual winding Calibre DR001 developed and assembled at La Fabrique du Temps Louis Vuitton. Dimensions of 31mm x 28mm with a thickness of 4.6mm. Offers an 80-hour power reserve and features a one-minute tourbillon.
Dial: Solid white gold base with anthracite Pinstripes guilloché. Features a sterling silver 925 minute track, black decalque font, and black-coated stainless steel hands.
Strap: Calfskin leather.
Price: 185,000 CHF (excl. Taxes)
Notes: Directly inspired by the reference 2187/C187 of 1988, marking the return of platinum to the collection. The dial is produced entirely in-house and can take up to three days to complete by a single Maître Guillocheur.