Women Leading the Future of Watchmaking & Design

The future of watchmaking and perhaps the industry’s long-held traditions, is increasingly in the hands of women. From design schools to auction houses, and now at the helm of key institutions, a shift is underway. This isn’t simply about representation; it’s about a fundamental evolution in perspective, creativity, and the very definition of luxury in a field historically dominated by men. The conversation around women’s influence in horology is gaining momentum, and a new generation is poised to reshape the landscape.

Valerie Ursenbacher leads the design horology program at HEAD – Genève, the only art school in the world offering specialized bachelor’s and master’s programs in watch design. Aurélie Streit co-leads the Fondation de la Haute Horlogerie, a significant international institution dedicated to promoting watch culture and education. And at the Musée International d’Horlogerie (MIH) in La Chaux-de-Fonds, Nathalie Marielloni serves as the chief curator. Even at Kelloseppäkoulu, the prestigious Finnish School of Watchmaking – alma mater to luminaries like Kari Voutilainen and Stepan Sarpaneva – Hanna Harlainen is at the helm. What impact will this concentration of female leadership have on the future of watchmaking?

Breaking the Mold: Ursenbacher’s Journey at HEAD

“When I started, there were very few women in this field,” recalls Valerie Ursenbacher, who has directed watch design education at HEAD since 2010. She admits to initial apprehension, noting that navigating resistance from some individuals remains a consideration. Though, Ursenbacher asserts that “women have become indispensable to the watch industry,” a sentiment reflecting a broader, ongoing transformation.

Ursenbacher’s own career path illustrates the challenges and opportunities. She recounts instances where she had to “take a deep breath” in response to design feedback from male decision-makers. Rather than being discouraged, she leveraged these experiences, meticulously studying manufacturing processes and asking pointed questions. This approach allowed her to develop designs that were both aesthetically compelling and realistically producible, giving her a competitive edge. Today, with a 50/50 gender balance among design students at HEAD, Ursenbacher believes the barriers are beginning to fall. She envisions a future where women designers will gradually replace the traditionally male figures who have shaped the industry’s iconic designs. “Male designers have dominated the profession for a long time and have created iconic models. Now it’s time to let women designers have the time to see their own creations become iconic,” she emphasizes, while acknowledging that issues like equal pay still require attention.

Marielloni’s Expertise: A Career Across Collections

Nathalie Marielloni’s appointment as assistant curator at the Musée International d’Horlogerie (MIH) in 2018 marked a significant step in her already impressive career. As detailed in a 2018 article from the Fédération Horlogère Suisse, Marielloni, a 32-year-classic at the time, brought a wealth of knowledge in historical watchmaking and gemmology to the role. Her educational background includes art history and French at the University of Neuchâtel, a Bachelor’s Degree in the conservation and restoration of technical, scientific and horological objects from the Haute Ecole Arc, and specialized watchmaking training at WOSTEP in Neuchâtel. She also holds a Graduate Gemologist Diploma (G.G.) from the Gemological Institute of America and is an Accredited Jewelry Professional (A.J.P.).

Marielloni’s experience extends beyond academia. She previously worked at the Watch Museum of Le Locle and the Patek Philippe Museum (in 2009), followed by a stint at the Geneva Watchmaking Museum (2010), where she focused on collection conservation. From 2011 to 2015, she was a Watch Specialist at Sotheby’s, first in London and then in Geneva, involved in exhibitions, evaluations, research, and catalogue production. Notably, she was honored with the title “Freeman of The Worshipful Company of Clockmakers” in London in 2013. Before returning to the MIH, she spent time with Greubel Forsey (2015-2016) and worked as a freelance consultant in 2017, advising collectors and conducting evaluations. Europastar describes Marielloni as embodying the passion that drives the field.

A Broader Shift: Leadership Across Institutions

The presence of women in leadership positions isn’t limited to design and curation. Aurélie Streit’s co-leadership of the Fondation de la Haute Horlogerie underscores the growing influence of women in promoting and preserving watchmaking culture. Similarly, Hanna Harlainen’s direction of Kelloseppäkoulu, a school renowned for producing some of the industry’s most respected independent watchmakers, signals a commitment to inclusivity at the educational level. This isn’t merely about filling quotas; it’s about bringing diverse perspectives to an industry that has historically benefited from a narrow viewpoint.

The impact of these appointments extends beyond individual institutions. It sends a powerful message to aspiring watchmakers, designers, and curators – particularly young women – that leadership roles are attainable. It also challenges existing norms and encourages a more inclusive and equitable environment within the industry. The LinkedIn profile for Nathalie Marielloni, available online, further highlights her extensive network and expertise.

The Implications for Design and Innovation

Ursenbacher’s observations about the potential for women designers to create the next generation of iconic designs are particularly compelling. Historically, watch design has often been driven by masculine aesthetics – bold, technical, and focused on functionality. While these elements remain important, a more diverse design landscape could lead to greater experimentation with form, color, and materials, as well as a deeper consideration of the emotional connection between the wearer and the timepiece. Women designers may bring a different sensibility to the table, prioritizing elegance, wearability, and a more holistic approach to design.

This shift in perspective could also influence the way watches are marketed and sold. Traditionally, watch advertising has often targeted men, emphasizing technical specifications and status symbols. A more inclusive approach could broaden the appeal of watches to a wider audience, including women who are increasingly interested in horological craftsmanship and investment.

What Comes Next: A Gradual Evolution

While the progress made in recent years is encouraging, the journey towards full gender equality in the watch industry is far from over. Ursenbacher rightly points out that issues like equal pay remain a significant challenge. Systemic biases and unconscious prejudices may still exist, hindering the advancement of women in certain areas of the industry. The key to continued progress lies in fostering a culture of inclusivity, mentorship, and equal opportunity. The current generation of female leaders – Ursenbacher, Marielloni, Streit, and Harlainen – are paving the way for future generations, but their efforts must be supported by a broader commitment to change from all stakeholders in the watch industry.