There are watches that impress instantly, and there are watches that reveal themselves slowly. My rose gold Speake-Marin belongs firmly to the latter category. It is not a watch that shouts, nor one that competes for attention in a crowded room. Instead, it rewards familiarity – that case shape and lug type – truly signature Speake-Marin.
I have owned more than one Speake-Marin, but this rose gold piece has gradually become the one I return to most often. Perhaps it is the warmth of the metal, or perhaps it is the unmistakably English spirit expressed through Swiss craft. Either way, it has aged with me — gracefully, honestly, without pretence.
The Piccadilly Case: Early Intentions
Signature Speake-Marin extended lugs and over-sized crown in the Resilience - both the 38mm (rose gold) and the 42mm (white enamel).
The case is the Piccadilly, one of Peter Speake-Marin’s earliest and most recognisable designs. When I asked him about it years ago, he told me simply that the white enamel dialled version was “one of the very first 42mm cases I made.” That statement alone gives the watch a certain historical gravity.
In rose gold, the Piccadilly case takes on a softer, almost architectural presence. The 38mm proportions suits me better, with the same straight lugs and a profile that sits comfortably on the wrist because of its diameter. Unlike many modern gold watches, it avoids excess polish or flamboyance.
An Engraved Dial That Demands Attention
Hand engraving on a watch dial is a quiet celebration of human artistry, where precision meets individuality. Though the design may follow a defined pattern, each line is cut by hand, guided by the engraver’s skill, pressure, and instinct in that exact moment.
No two strokes are ever perfectly identical, and subtle variations in depth, spacing, and texture naturally emerge. These minute differences give every dial its own character, catching light in a slightly different way and revealing a unique visual rhythm.
As a result, even dials that appear similar at first glance are, in truth, singular works of craftsmanship — each one bearing the unmistakable imprint of the artisan who created it. And, no, the engraving is not done by Peter but an engraver located in a town next to his.
An Enamel Dial With Character
The white enamel dial is one of the highlights of this watch.
It is not flawless in the way modern industrial dials strive to be — and that is precisely its charm. Peter confirmed that these early grand feu enamel dials were produced by Donzé, a name well respected among traditional enamel specialists.
The details of the Roman numerals clearly shows that these are hand painted, then fired.
Under different light, the dial shifts subtly, revealing depth and texture that other material dials simply cannot replicate. Paired with heated-treated blued hands and restrained Roman typography, the result feels timeless.
Peter once described his inspiration for this design as early 18th-century English pocket watches, and that lineage is unmistakable. As for the rose gold beauty, no two hand engraved dials while engraved by the same engraver and in the same way are identical, a subtle play that demands close attention. Under natural light, the engraved gold dial comes alive, its texture shifting with every movement of the wrist.
Beneath the Dial: Honest Watchmaking
At its heart lies a modified ETA base movement — something that might give pause to those chasing exotic calibres. But context matters. These were Peter’s very first pieces, built at a time when resources were limited but intent was clear.
So, what kinds of modification did he make to the base ETA movement?
The movement FW2012 is an automatic movement using an outsourced ébauche. The "topping tool" rotor is a distinctive design signature and brand logo for Speake-Marin watches, shaped like an antique watchmaking tool used for finishing gear teeth.
He explained to me that the movement was not simply dropped in and forgotten. The setting mechanism was simplified. The automatic mechanism was rebuilt and hand-finished, the rotor bridge and mass redesigned such that they could hand finish personalised components, and components such as the cannon pinion and hour wheel upgraded.
Regulation was done carefully, by hand, with time and patience. To improve accuracy of the timepiece, Peter regulated the escapement and performed a series of adjustments to the balance assembly and hairspring.
As Peter himself put it:
“All very simple things but these watches were my very first pieces and they look as good today as when I made them which was a few years ago now. The Resilience was one of the first two pieces I design in 2002 and first made in 2003.”
Years later, I can confirm that statement without hesitation.
Small Details - The Buckle
Even the buckle is signed and the amount of work going into making the buckle shows the little details that matter to Peter.
Wearing the Watch Today
In an era of oversized branding and aggressive designs, this rose gold and enamel dial Speake-Marin feels refreshingly sincere. It is elegant without being fragile, distinctive without being loud. The gold piece has developed a gentle patina, the enamel dial remains quietly luminous, and the watch continues to do exactly what it was made to do — tell time beautifully.
The early year Speake-Marin watches were created during a period when independent watchmaking was driven more by conviction than visibility, and it carries that spirit proudly.
Final Thoughts
Looking at this watch today I am reminded why independent watchmaking matters. Not every piece needs to be revolutionary. Some simply need to be honest.
This rose gold Speake-Marin is exactly that: an honest expression of a watchmaker finding his voice, shaped by English heritage, executed in Switzerland, and worn years later by someone who values the story as much as the object.
And that, to me, is what makes it special.
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