watch: the name alone evokes not just a manufacturing and aesthetic revolution, but also a commercial and lifestyle phenomenon, the rebirth of the Swiss watch industry after years of struggle, and new, creative, non-conformist communication methods.

The enormous yellow watch stretched across a Frankfurt skyscraper’s façade, the vibrant and playful advertising, and the association with youth-centred events like the World Breakdance Championship were among the initiatives that had the most significant impact on the public.

1980: To defend the mechanical watch from the onslaught of quartz, the promotion group set up by the Swiss industry played the cards of durability and “free energy”. No need for batteries: “You pay for the watch and only the watch”.

The origins of Swatch lie in the technical solutions that enabled Switzerland to win the contest with Japan to create the world’s thinnest timepiece. The success extended beyond a single product and revitalised the entire Swiss industry, which once again became a major player across all sectors. While the plastic watch shattered conventions, manufacturers with a rich heritage – including IWC, Ulysse Nardin, Patek Philippe and Audemars Piguet – introduced both traditional and innovative complications that rekindled interest in mechanical timepieces.

1980: 1980 saw the end of the race to create the world’s thinnest watch. Switzerland overtook Japan with a design in which the case was an integral part of the movement. The ad describes the first three versions of the Delirium, with victory ultimately going to the Delirium IV, the first and only timepiece in history to be less than one millimetre thick.

Quartz movements were not confined to just Swatches and multifunction digital watches. Some made it into high-end products (Frédéric Piguet, Girard-Perregaux), while others were combined with automatic winding to eliminate the need for a battery (Seiko, Le Phare). In most cases, advertising took a traditional approach. Because images alone were insufficient, text was necessary to emphasise the benefits of technological advances. Finally, advertisements also showcased the introduction of novel materials such as titanium, high-tech ceramic, tantalum and meteorite.

1983: Digital LCDs were becoming more affordable and feature-rich. The Asia Commercial (Hong Kong) range offered models with calendar, chronograph, simple or musical alarm and calculator, powered by batteries that provided five years of autonomy.

1985: This ad, which is typical of Swatch’s communication style, features a famous testimonial. Ivan Lendl, the notoriously and perennially grumpy world number one tennis player, cracks an amused smile at the “crazy new wave in Swiss watches”.

1986: “A fragment of a star on the wrist”. Among the watch industry’s innovations, meteorite was the only one accompanied by a “certificate of cosmic origin”. Here, Corum stresses that the material used for the dial is “rarer than gold”.

1986: The second half of the decade brought mechanical complications back into vogue. The text dedicated to the Da Vinci chronograph with perpetual calendar refers to the watchmaker who will have to replace the century indication bar in 2200.

1989: Quartz doesn’t necessarily mean cheap. Movement manufacturer Frédéric Piguet introduces a high-quality hybrid chronograph that combines electronic and mechanical functions.

1989: The first quartz automatic timepiece realises the dream of a battery-free electronic watch, powered by the movements of the arm. The ad emphasises that the rotor’s speed is ten times faster than a Formula 1 race car.