n 1925, three brothers named Shaw founded the Tianyi Film Company (also known as Unique Film Productions) in Shanghai. At the time, the so-called ‘silver screen’ was extremely popular. Tianyi quickly grew to become one of the ‘Big Three’ most successful film companies in pre-Second World War China.

The public was won over by the studios’ large offering which consisted mainly of costume dramas drawing extensively on traditional literature, myths and legends. The Shaws also produced sword plays and ghost stories, and are now considered to be the creators of a brand-new genre: the martial arts/kung fu film.

A decade later, the three brothers sensed the winds of change in their city, with stricter Kuomintang-imposed censorship and the persistent threat posed by the Japanese armed forces. The brothers, fearing for their business, made the difficult decision to leave Shanghai. They shipped their professional equipment and headed for Hong Kong, where they established the renamed Shaw Brothers Studios. While the chaos of World War II interrupted film production here too between 1941–46, the production company survived both the Japanese occupation and the bombings.

Back in the 1920s, before turning to the film world, the eldest brother Shaw Runje (1896–1975) had been the manager of a theatre staging Chinese opera, a centuries-old form of entertainment hugely popular in China. This close link with tradition later influenced the family company’s choices. When the time came to take the leap from silent to talking pictures, the Shaws were the first to offer Cantonese spoken production inspired by an ancient opera – Platinum Dragon (released in 1933).

The tremendous success of this film doubtless contributed to the company’s subsequent expansion from Shanghai to Hong Kong, Macao, Singapore and Southeast Asia, reaching a wider Cantonese speaking audience.

Hong Kong, from a vintage Hong Kong Festivals & Fun guide, 1967. Tissot Museum Collection

The Shaw studios went on to become one of the most influential production companies in post-war Hong Kong, often spending large sums of money on impressive costume dramas like Empress Wu (said to have been inspired by big Hollywood productions such as Cleopatra – Mankiewicz – 1963). In later years, their ‘Unique’ style emulated many ‘made in Hong Kong’ movies and TV shows .

When the Shaws settled in Hong Kong, the port-city had been home to an estranged community living under British rule for a century after the island and its bay were ceded to Great Britain in the aftermath of the first Opium War (1839–1842). This strategically important location was on the doorstep of mainland China, yet living a life apart. With the gradual influx of Western women and children, a new community emerged in the harbour. This is how ‘The Rock’, as it had been first nicknamed by foreign sailors, grew into an intriguing blend of East and West.

Hong Kong grew as an intriguing blend of East and West, from a vintage Hong Kong for Shopping guide, 1967. Tissot Museum Collection

Westerners in Hong Kong began to export a range of Chinese goods (tea, silk, spices, etc.) as European imports started to reach China, including clocks and watches. Initially reserved for the elites, these mechanical wonders gradually won everyone’s hearts and timepieces became a part of everyday life.

Early pictures show how clocks swiftly found their way into Chinese homes, usually laid on the family altar. They also featured in the backdrop of seated portraits against a painted curtain, sat on a table with a cup of tea and a tobacco pipe. Other images show street signs in the shape of giant dials or clocks set into buildings for public display. So-called ‘pocket’ watches were first carried in the hands of influential people or hung from their belts in a specially designed silk pouch which served as a pocket, a feature absent from traditional Chinese dress.

In the early 20^th century, with the advent of the strap, watches made their way onto the wrist. From a luxury commodity for the elites, the watch became a widely coveted must-have. This sudden craze explains how China became a new prospect for watchmakers, Swiss in particular.

In 1853, the Tissot family established a watch assembly shop in Le Locle. Nestled in the Swiss mountains, the village and its vicinity had been home to farmer watchmakers since the 17^th century.

Le Locle had welcomed farmer-watchmakers since the 17th century. Detail from Souvenir du Locle et des Brenets, engraving by Rüdisühli Jakob Lorenz (1835–1918), 1869. Tissot Museum Collection

This savoir-faire was imported by refugees fleeing persecution who found a new home in this peaceful region. The production of timepieces – from large church mechanisms to domestic clocks and pocket watches – provided farmers with an additional income during the winter season, before becoming their primary activity. Over time, Swiss artisans developed a talent that made their creations truly unique, as did the Tissots. Shortly after founding their workshop, they set off in search of new markets, carrying suitcases filled with their finest watches to sell abroad. Their many adventures took them around the world before they finally arrived in China.

According to the Maison’s archives, the company had been seeking new opportunities in Hong Kong since 1918, but Tissot found its way into China through Shanghai. Early on, a Swiss “voyageur” (travelling agent) named Marc Paul Croset (1891–1968) was appointed representative for the brand in Asia. From 1920 onwards, he ensured that Tissot watches were distributed by various stores in Shanghai and worked hard, travelling back and forth between other Chinese cities and neighbouring countries to find new sales prospects.

In the 1930s, Croset had met the Berahas and the Stettens, with whom he had founded a new venture, CROBEST (CRO-BE-ST for Croset-Beraha-Stetten), in Shanghai – mainly focusing on the sale of Swiss watches [see the two previous essays on this precise subject ]. Their trade flourished in the metropolis until the Second World War abruptly brought all business activities to a halt.

Consequently, many people left Shanghai seeking refuge in Hong Kong, as did Marc Croset and some members of the Beraha family. Matheo Beraha (1893–1960) had already left in 1938 to open a jewellery store – M. Beraha & Co – in Central Hong Kong, putting his nephews (Dario, 1899-1979 and Albert, 1907-1977) in charge of Shanghai. The island’s peculiar position transformed it into a prosperous place with a comfortable lifestyle, where people could aspire to luxury.

Once settled in Hong Kong, the Berahas reorganised their business, continuing under the company name of OMTIS (founded 1954). At this point, they decided to focus on two major Swiss watch brands they had been representing in China since 1932: Omega and Tissot (hence the OM – TIS name). The company soon received a new confirmation letter from Switzerland appointing OMTIS as their sole agent for Hong Kong and China. Around the same time, Marc Croset gradually retired from business. He had originally appointed his son Gaston (1924–2009) to replace him, but ultimately transferred all his authority to the Berahas. The last shares he placed in various other Hong Kong companies seem to have lasted until 1964.

In Hong Kong, OMTIS grew quickly. Former employees from Shanghai also joined the team. Management oversaw the distribution, advertisement campaigns and promotion of their two watch brands in a select number of stores. The commitment of these retailers was such that they soon decided that an impressive gift should be sent to Tissot headquarters to celebrate their collaboration. For this, they chose a striking pagoda carved from buffalo bone, inscribed with the dedication “To: Chs Tissot & Fils S. A. Le Locle, Suisse. From: Tissot Authorized dealers”. It was an iconic gift from Hong Kong to Switzerland.

Tissot Pagoda given as a gift by Hong Kong and Macau authorised dealers in the late 1950s to early 1960s. Made of carved buffalo bone. Tissot Museum Collection

Tissot Pagoda (detail)

Hong Kong island view with the famous Tiger Balm Gardens pagoda in the forefront (detail of an advertisement), 1957. Tissot Museum Collection

In turn, in 1964, more than 30 agents from Hong Kong and Macau were invited to visit the main factory as well as famous scenic sites in Switzerland. It is said that “the tour was long remembered by the participants”.

The 1964 tour of Switzerland made by more than 30 Hong Kong and Taiwan Omega and Tissot agents. OMTIS Ltd private collection

During the 1950s and 1960s, Hong Kong society underwent major transformations. The post-war baby boom and a huge economic upturn provided the perfect environment for the emergence of a new popular culture fusing East and West.

The emergence of a new popular culture, from a vintage Hong Kong Festivals & Fun guide, 1967. Tissot Museum Collection

The result was a flood of new films, Cantonese opera, rock and pop music, fashion and related magazines – much to the public’s delight. As for the Berahas, they had never forgotten their penchant for the entertainment industry during their Shanghai years. In the 1930s and 1940s, they had leveraged their strong connections with the film world to promote the watch brands they represented, choosing the best ambassadors in major Chinese film stars. After years of experience, it was time to adopt a similar strategy in Hong Kong and reconnect with old acquaintances.

There is no doubt that the Berahas already knew the Shaw brothers from their previous life in Shanghai where they also owned and managed film theatres. This might well explain the close collaboration that developed between them. So, in the early 1960s, when they decided to ramp up their promotions of Tissot watches in Hong Kong, OMTIS supported the launch of new releases by the studios.

Tissot premiere of The Love Eterne, 1963. Tissot News, vol. IV, September 1964. Tissot Archive

Tissot premiere of the Love Eterne, 1963. Tissot News, vol. IV, September 1964. Tissot Archive

In 1963, Tissot was involved in the première of The Love Eterne at the Golden, Capitol and Sky theatres. The film was an adaptation of the famous love affair between Liang Shanbo and Zhu Yingtai (often compared to the story of Romeo and Juliet in the West). To celebrate this important event, two leading actresses – Betty Loh Ti (1937–1968) and Ivy Ling Po (b. 1939) – signed their own pictures, for display by Tissot watch retailers.

Betty Loh Ti signed picture, 1960s. Tissot Museum Collection

Ivy Ling Po signed picture, 1960s. Tissot Museum Collection

The huge success of the film and its cast helped boost the popularity of the Swiss watch brand in Hong Kong. Consequently, just one year later, Tissot participated in other premières, including The Shepherd Girl, The Dancing Millionaires (also starring Betty Loh Ti) and Lady General Hua Mulan (with Ivy Ling Po).

Tissot clock at a Star Ferry station with Lady General Hua Mulan movie announcement, 1964. OMTIS Ltd private collection

While OMTIS clearly favoured the Shaws’ productions, it collaborated with other partners for the release of A Beggar’s Daughter (1965, again starring Betty Loh Ti), City Fantasy (1964), Battle of the Bulge (1965), White Swan (1968) and a Metro Goldwyn Meyer (MGM) film, Doctor Zhivago (1966) which won six Academy Awards. This list of films is probably incomplete.

During the same period, and to further raise Tissot’s profile, many branded clocks were installed around the city. Star ferry stations and the Hong Kong and Macau piers were chosen, among others.

A Tissot billboard at Macau pier with a new Seastar Seven model advertisement, 1960s. Tissot Archive

These places were carefully selected for their strategic importance and daily flows of passengers between the continent and the islands. Initial studies into mass transportation, which later resulted in the Hong Kong MTR (Mass Transit Railway or underground), had just started, but would not become effective until 1979, so the OMTIS marketing campaign clearly achieved its aim. Further, the backlit panels the clocks were placed on allowed for large-scale advertisements and proved very efficient at promoting the various events Tissot was supporting – films, varied shows, sports competitions and other contests – as well as new watch model campaigns.

Miss Hong Kong Pageant, 1964. Tissot News, vol. II, March 1965. Tissot Archive

In June 1964, Tissot was involved in a very special evening – the Miss Hong Kong pageant. The ceremony was held in the President Hotel’s Convention Hall (later Hyatt Hotel) in Tsim Sha Tsui, and a visit was expected from the most surprising of guests: The Beatles. The ‘Fab Four’ had landed at Kai Tak airport that same day, greeted by screaming fans awaiting their arrival. The impact of the Hong Kong stop on their world tour was later considered a turning point in local history.

Their performance marked the beginning of local rock’n’roll music sung in English on a market previously dominated by Cantonese opera. A whole host of Cantonese-language pop songs were later inspired by this new genre. As for the Hong Kong 1964 beauty pageant, the group turned down the invitation at the last minute as they were too tired. The public and the contestants were so disappointed that John Lennon (1940–1980) finally changed his mind and decided to make a short appearance to greet the girls.

This type of event was so popular among young people that it was beneficial to the brand’s image. Hugely impressed, the Berahas – who had also attended the Beatles’ concert – decided to follow suit with Tissot supporting concerts by Herman’s Hermits (1966), The Ventures (1968), Teddy Robin and the Playboys (1968), The Menace (1968), and other singers and bands. This clever move fit perfectly into the watchmaker’s production orientation, recently determined in Switzerland.

At the dawn of the 1970s, Tissot was looking to increase its appeal to a younger clientele through innovative strategies. Management appointed new designers with fresh ideas to create stylish watches. These included the ‘Carrousel’ – with interchangeable straps and bezels – launched in 1968; the ‘Sideral’, mounted in a fibreglass case (1969); the quirky ‘Pinky’, with its matching jewellery (1971); the ‘Idea 2001’, equipped with an Astrolon synthetic movement (dated 1971); and the ‘Tissot Design’ collection, made of solid silver (since 1973). Each of these models were specially designed to reach this young audience. And, the OMTIS company from Hong Kong always had playful proposals to match the Maison’s choices.

Sideral advertisement in both Chinese and English languages, 1969. OMTIS Ltd private collection

Tissot Sideral, mounted in a fibreglass case, 1970. Tissot Museum Collection

Tissot Pinky watch and matching ring, 1971. Tissot Museum Collection

Tissot Idea 2001 with an Astrolon synthetic movement, 1971. Tissot Museum Collection

Tissot Design, made of solid silver, by Pekka Piekäinen (1945–2004), 1973. Tissot Museum Collection

When the Carrousel watch was released in 1968, the Berahas partnered with the Hong Kong Broadcasting Co. Ltd. They invited Norman Cheng (b. 1947) – then lead guitarist of Teddy Robin and the Playboys (a local pop band formed only two years earlier) – to write a song about ‘The Tissot Carrousel’.

“It is the closest anyone has come to an original Hong Kong sound,” was the enthusiastic response from a contemporary radio station DJ. “The song is progressively commercial, it’s happy, infectious, and it’s the young sound of today – if it makes you feel like you were on a ‘Carrousel’, it should, because that’s what’s it’s called,” he added. Inside the record’s cover, the watch model was introduced: “The fab watch that carries it off with flying colours” – an interesting description after the Fab Four’s concert left such an impact on the Hong Kong scene! Once again, the communication campaign was perfectly in tune with its time.

‘Carrousel’ song by Teddy Robin and the Playboys, 1968. Tissot Archive

‘Carrousel’ record inside cover: Tissot advertisement for “The fab-watch that carries it off with flying colours”, 1968. Tissot Archive

In 1982, OMTIS/Tissot stepped out of their comfort zone by supporting a Zao Wou-Ki (1920–2013) retrospective exhibition at the Pao Sui Loong Galleries in the Hong Kong Art Centre. The Chinese-born French artist was praised for his contribution to bridging the East-West cultural gap. During the event, 21 large masterpieces dating from 1954 to 1981 were displayed for the first time, which also marked the first – to our knowledge – association between the watchmaker and painter.

When the Tissot factory released the RockWatch in 1985, it met with unprecedented success in the United States, Switzerland and Hong Kong. This new model was unique in that it was encased in a real piece of granite stone from the Swiss Alps.

Tissot RockWatch, made of granite from the Swiss Alps, 1985. Tissot Museum Collection

This poetic material, combined with a bold design, became a global sensation and OMTIS decided to celebrate this event with one of its ‘secret recipes’. A five tonne lump of stone was flown from Switzerland to Hong Kong, where it was placed in the expert hands of a Swiss sculptor named Felice Bottinelli. A giant clock, almost 2 metres high, quickly took shape and was later erected in Kowloon, along the waterfront promenade.

Picture of the Giant RockWatch clock sculpted by Felice Bottinelli and erected on the Kowloon Waterfront (Hong Kong). Bottinelli Sculp GmbH – Felice Bottinelli – Sculptor.

It became the biggest watch ever seen there, and was very accurate too! For its launch, the audience was invited to guess the weight of the installation as part of a competition. Promotional sales were later organised at the Hong Kong Club and showcased on cards made from fine plaques of green marble.

Raymond Bera (his name was shortened) took the helm in 1979, and OMTIS successfully represented Tissot in Hong Kong until 1997. For 65 years, successive members of the Beraha family (who first represented the watch company in Shanghai in 1932) were closely involved in supporting the brand’s distribution and promotion. Their personal stories, intricately linked with the vagaries of local history, were also intertwined with Tissot’s presence in China.

Finally, it is interesting to re-evaluate Tissot’s various business choices and activities in China from a present-day perspective. Just recently, 2023 saw the launch of the new “Focus Forward” brand campaign, targeting the ‘young and ambitious’ – echoing events in Hong Kong during the 1960s and 1970s.