I marvelled at the precision and complexity of it all; some parts were so minuscule they could barely be seen with the naked eye. For example, the bottom plate for the calibre 52 needs about 400 geometric features; any deviation in size or shape— even of a few thousandths of a millimetre—can prevent the components from fitting together and cause the watch to malfunction. This level of precision can only be achieved through automated processes and the most advanced computer-controlled turning and milling centres.

After the components are produced, they are sent to the electroplating shop for surface finishing. This process not only protects the components against corrosion but also enhances their visual appeal. Nickel and rhodium coatings prevent brass components from tarnishing and gives them a silvery-white appearance. The production of engraved components, like the barrel bridge, involves an even more intricate process. After being gold-plated and coated, the components are rhodium- plated in an electroplating bath. The remaining coating is then washed off, leaving the engraving gleaming gold.

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From here, the transition to movement assembly is seamless. Unlike the largely automated production of movement components, the assembly of a movement requires careful, manual manipulation, as piecing together the complex mechanism is beyond the capabilities of any machine.

Multiple specialists, each with specific expertise, are assigned to various assembly sub-processes. The case production department is housed in the Manufakturzentrum’s basement. This is where the watch cases, made from a variety of materials including stainless steel, titanium, platinum, red gold, white gold and the innovative Ceratanium, are made. Ceratanium is a material developed by IWC that combines the advantages of both titanium and ceramic: it’s as light and unbreakable as the former, yet as hard and scratch-resistant as the latter. In addition, it has the unique ability to take on a dark black hue during the manufacturing process, lending timepieces a unique, striking aesthetic.

The machining process for these cases is customised using computer-controlled turning and milling centres, and then each case undergoes careful manual inspection. The specialists producing the cases are skilled in a variety of complex and demanding machining methods such as diamond turning, the method primarily used for red-gold and bronze cases, resulting in a unique, gleaming surface finish. I also witnessed a craftsman polishing an IWC Portugieser case, his fingers moving with deft precision and a grace that was almost artistic; a testament to the century- old traditions of IWC and a fitting realisation of Jones’s vision. 

During my visit, I was also given the opportunity to participate in a watch assembly workshop. Despite my knowledge of timepieces, I found myself hilariously frazzled, struggling to keep a steady hand while piecing together the intricate components of the watch. I left the workshop mopping sweat from my brow, and with an even more profound respect for the skilled watchmakers who perform this delicate ballet of assembly every day.

The tour concluded in the museum, a veritable treasure trove of horological history. From the very first Jones calibre to the famed Mark XI used by the British Royal Air Force, and from the original Big Pilot to the Ingenieur SL—legendary watchmaker Gerald Genta’s contribution to the brand—and the latest Portugieser and Portofino models, the timepieces are evidence of IWC’s enduring legacy.

As I stood there, immersed in the past, present and future of IWC, I couldn’t help but feel acute admiration for the dedication, craftsmanship and passion that have sustained this horological powerhouse for over a century. The experience was an important reminder that watchmakers are not just manufacturing timepieces; they are custodians of an art form, a tradition and a legacy.

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