Interview: Christine Hutter On German Watchmaking At 2026 India Watch Weekend Mumbai

German watchmaking, once perceived as the quieter counterpart to its Swiss neighbour, has over the decades profoundly altered the dynamics of modern horology by championing a philosophy rooted in engineering integrity, uncompromising precision and an almost philosophical reverence for craftsmanship, thereby reminding the world that excellence need not announce itself loudly to be deeply influential. At the heart of this transformation lies Glashutte, the small Saxon town whose legacy has become synonymous with meticulous finishing, technical innovation and an enduring commitment to artisanal independence, shaping generations of watchmakers whose creations embody restraint rather than spectacle. It is within this context of heritage and evolving global appreciation that Outlook Luxe had the rare opportunity to engage in conversation with Christine Hutter, the CEO of Moritz Grossmann, during India Watch Weekend in Mumbai, where discussions traversed not only the enduring philosophies underpinning German horology but also the shifting contours of a luxury landscape increasingly shaped by informed collectors and culturally curious markets such as India. Speaking with eloquence and conviction, Hutter articulated a vision in which tradition and modernity coexist harmoniously, where the patient artistry of hand finished components continues to matter in an age of accelerating technology, and where the dialogue between maker and wearer becomes as meaningful as the mechanical achievement itself, offering a compelling reminder that the true measure of a watch may lie not merely in its precision but in the values it quietly upholds across generations.

India Watch Weekend has grown into a place where real horological conversations happen. What does it mean for Moritz Grossmann to be back in Mumbai in 2026?

Christine Hutter: It is actually our first time to be able to show our Moritz Grossmann watches to Indian collectors, so we are excited and happy about this opportunity.

One of the strengths of India Watch Weekend is that collectors can speak directly with founders and watchmakers. How does that kind of access change the way you share the Moritz Grossmann story?

CH: We always prefer to tell our story in a direct conversation. The hands-on experience with the watches and engaging in a direct conversation are the best way to understand a brand but also the collector`s expectations.

Mumbai is a city built on ambition and endurance. Does presenting Moritz Grossmann here feel different from showing the brand in more traditional European watch settings?

CH: Every region has it is personal preferences and differences. At the core, the passion for the watches and their craftsmanship are still shared across the globe, so it is not really that different – only a new experience, in a new market.

You revived Moritz Grossmann with a clear decision not to chase scale but to focus on correctness and responsibility. Has holding that line become more difficult over time or more important?

CH: It has always been a clear vision to grow the production slow and steady, always in a healthy way. This is perhaps more important than ever before, but we will continue on this path.

Independent watchmaking is receiving more attention than ever. What do you think collectors understand today about independent brands that they did not fully see ten years ago?

CH: It is clear that information is a lot more accessible now, then it had been ten years ago. It is far easier for collectors to educate themselves and find exactly the type brands that fit their personal taste, rather than being influenced only by marketing campaigns.

Moritz Grossmann waited seventeen years before introducing its first perpetual calendar. What did the brand need to experience or master before taking on a complication of this scale?

CH: We are still a small team and each new complication takes time. Our first automatic caliber, the HAMATIC, was a big step already and now we were able to release our first Perpetual Calendar. So far, we have developed 15 of our own calibers, but a large complication will take up to three to four years to be completed.

This perpetual calendar is programmed correctly until 2100 and follows the full logic of the Gregorian calendar. In a world where many things are designed to be replaced quickly why was it important to build something that will outlast its maker?

CH: Every watchmaker dreams of one day having their own Perpetual Calendar, so it was always in our long-term plans. Not only the movement mechanics, but also the finishing techniques that we apply are a form of preserving the traditional art of watchmaking. We all have the correct time on our mobile phones, but having a reliable watch that is crafted by hand still provides a different joy and keeps us grounded in the fast-moving times.

With four hundred and one components the perpetual calendar is undeniably complex yet it feels calm on the wrist. How do you keep such mechanical depth readable and serviceable for the long term?

CH: Our philosophy is still based on Grossmann`s essay on “The construction of a simple but mechanically perfect watch”. While the perpetual calendar complication is challenging to execute for a watchmaker, it should always be easy to use and legible. We have already had our DATE model with the circumferential date display on the outside and it was our starting point for doing our own perpetual calendar, with our own Grossmann signature.

Many perpetual calendars are designed to impress instantly. Yours feels like a watch that reveals itself slowly over time. Was that a conscious decision based on how collectors live with watches today?

CH: We hope to create watches that will stand the test of time and are not only following the trend of the time. Our aesthetics are unmistakenly Glashuette and German but also distinct for Moritz Grossmann. Some watches will take time to grow on you but then hopefully will stay with you for a long time.

Your tourbillon completes one rotation in three minutes rather than one. What does slowing the tourbillon down allow you to express that a faster rotation does not?

CH: It is one way of preserving energy but we also want to remain true to our slow beat balance wheel. It is the heartbeat of a watch and it was also our goal to make it as soothing as possible, in line with the old pocket watches. A Tourbillon can always be very busy and distracting on the dial. The three-minute pace still provides an element of calmness.

The tourbillon follows Alfred Helwig’s flying tourbillon principles rather than Breguet’s original construction. How do you decide which parts of watchmaking history deserve to be carried forward unchanged?

CH: In this case, we did what felt natural. Not only is the flying tourbillon a part of Glashütte history, but it is also more challenging for a watchmaker. The same applies to our manufacturing methods. There are easier and more modern ways to apply finishing techniques, but there is also a responsibility to carry forward the traditional techniques and watchmaking crafts.

The tourbillon cage measures sixteen millimetres and the balance is unusually large. What does working at this scale give your watchmakers in terms of stability finishing and visual presence?

CH: The large size offers a very high inertia, which can help to limit the effect of smaller impacts on the watch accuracy. This works in harmony with the slow beat rate of the watch, achieving the best possible results for the calm visual appeal and accurate functionality. However, preparing our balance wheel is no easy task. The trueing and finishing alone can take anywhere between six to eight hours for each balance wheel.

Both the perpetual calendar and the tourbillon place their mechanics openly in view. Is this openness central to how you believe fine watchmaking should be experienced?

CH: Most of our high finishing can only be admired from the open caseback, once you take of the watch. Sometimes, we also try to bring it to the forefront and have it appreciated even while wearing the watch. It is also the case in our BACKPAGE model, with its inverted movement. It is the watch I wear on a daily basis.

Indian collectors often place great value on heritage craftsmanship and longevity. Do you see a natural connection between those values and the way Moritz Grossmann approaches watchmaking?

CH: Yes, that is in line with how we approach watchmaking, based fascinating history and heritage of Glashütte as the center of German watchmaking. We are grateful that we can share our philosophy and passion with the Indian collectors during India Watch Weekend.

Events like India Watch Weekend are as much about education as admiration. What do you hope Indian collectors and younger enthusiasts take away from encountering Moritz Grossmann in person?

CH: We hope that the collectors can appreciated not only the aesthetics but also the detailed level of finishing in our watches. It is something that we take great pride in but also something that needs to be experience up-close. Representing German watchmaking all over the world, is always a privilege that we highly appreciate.

As India Watch Weekend continues to grow in international importance what would success look like for you once you return to Glashütte beyond commercial results?

CH: Since it is our first time presenting our brand in India, we hope to raise enough interest that collectors would like to follow-up on our journey and discover that German watchmaking has a lot more to offer.

When someone in India encounters a Moritz Grossmann watch for the first time whether it is the perpetual calendar or the tourbillon what do you hope they feel before they understand the mechanics?

CH: Hopefully, they can appreciate our high level of finishing and all the efforts that went into the creation of our watches. Moritz Grossmann likes to think outside of the box and we hope that it shows in our approach to watch complications, such as our HAMATIC or the unique hair brush used as a second stop mechanism in our Tourbillon.