As a Swiss native, you initially pursued industrial design and cinema before returning to watchmaking. Can you share the story behind this journey?

In reality, I studied industrial design, not cinema, and I never truly “returned” to watchmaking, I’ve been immersed in it since the age of 15. My grandfather always wore the same Rolex, which he never took off… except when I was with him. He would take it off and hand it to me so I could draw it. That’s where my passion was born.

I then completed internships at Chopard, Hublot, and other maisons, which allowed me to discover this world early on. After graduating in industrial design, I worked for four years with independent watchmaker Dominique Renaud. Later, I moved to Asia to work for major watchmaking groups.

The idea behind Furlan Marri came from a desire to combine fine watchmaking know-how with larger-scale production done to high standards. That’s when Hamad and I imagined our Kickstarter campaign and began designing our first watch.

What was the defining moment or trigger that inspired you to launch your own watch brand?

It was above all the desire to chart my own path in watchmaking. My experience in Asia confirmed that it was possible to create something well- made and innovative in the accessible segment. Hamad and I wanted to bring that vision to life together.

You’ve had the privilege of working alongside legends like Dominique Renaud and Jorg Hysek. What are some of the most valuable lessons you learned from them—both technically and creatively?

Working with Dominique Renaud was a unique experience: we were a very small team of just four people. I was able to learn directly from him every day, tackling highly technical questions of horological research and innovation. My work went far beyond design: I also created bridges, screws, and components, as well as packaging and exhibition spaces. For example, I designed the entire scenography for a world premiere event, from the display cases to the exterior lighting.

This taught me to think with both technical precision and creative depth, ensuring that everything was considered inside and outside the watch.

With Jorg Hysek, I refined my hand-drawing skills. He had an exceptional stroke and taught me traditional techniques, using gouache and paint, similar to what I had done previously at Chopard.

In your view, what defines a well-crafted watch today? And where do you find inspiration when designing a new piece?

For us, every project must have a genuine story to tell. We don’t create a watch simply because we like it or to add a new color, there has to be a strong meaning behind it.

That story lives in the product itself, but also in its packaging, the experience we offer, and the way we present it. A watch rich in details and meaning naturally sparks longer conversations, allowing the collector to make the story their own and share it with others.

Winning the GPHG Horological Revelation Prize in your very first year was an extraordinary achievement. What’s the story behind that watch, and how did it feel to receive such a prestigious recognition so early on?

We were very surprised; it was only six months after our Kickstarter launch. This award was incredible, but it also put pressure on us: we had to prove that we truly deserved the title of Horological Revelation. Within a year, we launched a secular perpetual calendar developed with Dominique Renaud and Julien Tixier, complete with a patent. It is one of the simplest in the world, which is rare at this level of complication. This showed that we were not only here to create accessible watches, but also to innovate.

Do you feel a sense of pressure to maintain that momentum or does it motivate you creatively?

Yes, there is inevitably some pressure, but it also drives us to structure the brand. We need to take the time to think about our collections so that they make sense together  both in terms of design and price positioning. We already have projects mapped out for the next five years, which allows us to move forward with a clear vision.

Many people know Furlan Marri for its vintage-inspired designs. Can we expect something radically modern or regionally influenced in the future?

We often blend vintage spirit with contemporary touches: for example, the Disco Volante features luminova for a more modern look. The perpetual calendar revisits an old complication but in a way that was impossible to achieve in the past.

We have also created regionally influenced editions, such as dials with Eastern Arabic numerals or colors evoking the Saudi desert and the Middle East. In the future, we’ll continue in this direction, while also exploring more modern materials like sapphire or titanium.

You’ve hinted in many forums at more mechanical complications ahead. Can we expect a Furlan Marri perpetual calendar or automatic series soon?

Absolutely. We are currently developing a perpetual calendar for public release, and we also plan to offer the secular perpetual calendar. We’ve designed a module that can be adapted to an automatic movement, to make these complications accessible to a wider audience. The goal is to create a technical collection with innovative complications.

What advice would you offer to aspiring designers and young watchmakers who admire your journey and hope to follow a similar path?

If you want to create your own story, design, or brand, you need to talk about it early: to collectors, journalists, and those around you. Gather as much feedback as possible.

Don’t be discouraged by people who tell you it’s impossible, many told me that, and yet we made it happen. Don’t listen to those who haven’t tried what you want to accomplish. Follow your vision, and start communicating months before launch: that’s how you can gauge interest and refine your project.