How a Product Designer Became Japan’s Most Influential Independent Watchmaker –
In 1978, a junior high school student in Kanagawa Prefecture opened a gift from his father—a mechanical Citizen chronograph. The watch wasn’t particularly rare or expensive. But something about the complexity of its mechanism, the engineering elegance hidden behind the dial, sparked an obsession that would define the next 48 years of his life.
That student was Hajime Asaoka. Today, at 60 years old, Asaoka has fundamentally changed the landscape of independent watchmaking in Japan. He’s created Japan’s first in-house tourbillon wristwatch entirely by hand. He’s been accepted as an AHCI member—one of only two Japanese watchmakers to achieve this distinction. He’s built a business empire that spans multiple brands, from ultra-luxury handmade pieces commanding $145,000 to accessible limited editions selling out within minutes online. And perhaps most improbably: he taught himself to do all of this without ever attending formal watchmaking school.
This is the story of how an industrial designer became the most important independent watchmaker of his generation—not through inheritance, institutional training, or family legacy, but through relentless self-teaching, unconventional thinking, and a willingness to question everything the watchmaking establishment assumes to be true.
The Designer Who Fell in Love with Mechanics
Hajime Asaoka’s path to watchmaking was anything but direct. Born in 1965, he grew up in Kanagawa Prefecture watching his father’s mechanical Citizen chronograph with fascination. While other children disassembled toys to understand how they worked, young Asaoka was watching watch movements, understanding how hundreds of individual components collaborated to measure time.
But he didn’t immediately pursue watchmaking. Instead, he followed a path that seemed more practical, more marketable. At Tokyo University of the Arts, he enrolled in the Undergraduate School of Fine Art, Design Department—specifically product design. It was 1985, the height of Japan’s economic boom, when industrial design seemed like a secure, profitable career. He graduated in 1990 with formal training in how to design manufactured goods for mass markets.
That same year, Asaoka founded Hajime Asaoka Design Office. For the next 13 years—from age 25 to 38—he worked as a professional industrial product designer, creating designs for manufactured goods sold in Japanese markets. By external measures, he was successful. He had clients, commissions, and a sustainable business.
But something was missing. “I have always been attracted by craftsmanship and creating something with my hands was natural for me,” Asaoka would later reflect . His design work was intellectually engaging—creating forms, solving manufacturing problems, understanding how products functioned in users’ hands. But it wasn’t making. It was designing for others to make.
Then in 2005, at age 40, everything changed.
Asaoka purchased a copy of George Daniels’ “Watchmaking,” the seminal text that has launched ten thousand horological obsessions since its 1974 publication . Daniels was a British independent watchmaker who proved that one person, working alone, could create watches of museum quality without the resources of major manufacturers. Daniels’ book wasn’t just technical—it was philosophical. It argued that watchmaking was an art form, not just manufacturing, and that the most beautiful watches came from individual makers working at the highest standards of craftsmanship.
For Asaoka, reading Daniels’ work was catalyzing. Here was proof that a single person could create mechanical watches entirely by hand, that formal training wasn’t required—only obsession, skill development, and unwillingness to compromise on quality. Asaoka made a decision that would reshape his entire life: he would teach himself watchmaking and create his own watches.
The Impossible First Project: Building a Tourbillon
Most watchmakers begin with simple watches—simple three-hand mechanisms, basic date windows, straightforward complications. They learn the fundamentals before attempting complexity. Hajime Asaoka, applying his designer’s logic and product engineer’s confidence, chose differently.
In 2007, two years after reading Daniels, Asaoka began his first major watchmaking project: a tourbillon wristwatch.
The tourbillon is not a beginner’s project. Created by Abraham-Louis Breguet in 1795, the tourbillon is one of horology’s most celebrated—and most technically challenging—complications. The mechanism places the entire escapement and balance wheel assembly inside a rotating cage, which completes one rotation per minute. The theory is elegant: by rotating the regulating organ, the tourbillon theoretically cancels out the effects of gravity acting on the oscillator, improving accuracy across different positions and conditions.
But theory and practice are separated by thousands of hours of precision machining, hand-finishing, and adjustment. Most watchmakers spend years learning fundamentals before attempting a tourbillon. Asaoka had been self-teaching for two years. By any rational measure, this project was impossible.
He built three prototype iterations. Each iteration refined his understanding. He learned how to machine the cage, how to position the balance wheel, how to finish the components to the standards he demanded. He learned by doing—the hardest possible way to learn watchmaking, but also the way that builds the deepest understanding .
In 2009, Asaoka completed his first tourbillon wristwatch. It wasn’t an approximate success or a “pretty good for a beginner” achievement. It was a museum-quality timepiece, finished to the highest standards, demonstrating technical mastery of one of horology’s most complex complications.
The significance of this achievement cannot be overstated: Asaoka had created Japan’s first in-house tourbillon wristwatch entirely by hand, without formal training, in just four years of self-teaching.
From Prototype to Profession: The Beginning of a Business
The tourbillon’s completion was a proof of concept—Asaoka could do this. By 2011, at age 46, he made the difficult decision to transition from industrial design to independent watchmaking. For 13 years, he’d built a design business. Now he was abandoning it to pursue a market with uncertain demand, no guaranteed income, and competition from Swiss watchmakers with centuries of heritage.
His first commercial offering was the Tourbillon #1 —the watch he’d spent two years developing. It wasn’t a mass-produced item. It was completely handmade, designed and fabricated entirely by Asaoka personally. Production was limited to just a few pieces per year. The price reflected the handwork: approximately ¥6,000,000+ (roughly $50,000-$60,000 USD).
The market response was modest but meaningful. Collectors and watch enthusiasts recognized immediately what Asaoka had achieved: a completely handmade tourbillon wristwatch from a self-taught Japanese watchmaker, constructed with meticulous attention to detail. Word spread through watch enthusiast circles. Waiting lists began forming.
By 2013, Asaoka expanded his personal collection with a chronograph—a more complex undertaking than even the tourbillon . The watch featured a column wheel, a carrying arm, and a completely in-house movement. Only three examples were produced. Each represented hundreds of hours of individual craftsmanship.
During these early years (2011-2015), Asaoka was establishing himself as a serious independent watchmaker. But he was also dealing with a fundamental business problem: his personal brand watches were priced in a range ($50,000-$145,000+) that inherently limited his market. Only collectors with significant disposable income and patience for multi-year waiting lists could afford his work. Beautiful as these watches were, the business could only grow so far with an ultra-luxury, handmade-only model.
AHCI Recognition: The Moment Everything Changed
The breakthrough came in 2015 when Hajime Asaoka was accepted as a member of the Académie Horlogère des Créateurs Indépendants—the AHCI . This Geneva-based organization represents independent watchmakers who meet extraordinarily high standards: completely handmade watches, no mass production, and demonstrated mastery of mechanical watchmaking. The acceptance rate is brutal. AHCI vets candidates meticulously. There are fewer than 200 AHCI members worldwide.
Asaoka became only the second Japanese watchmaker ever to achieve AHCI membership .
This recognition transformed Asaoka’s status overnight. He wasn’t just a talented self-taught watchmaker—he was formally recognized as belonging to the same elite circle as François-Paul Journe, Roger W. Smith, Ressence’s Benoît Mintiens, and other masters revered throughout the watchmaking world.
The AHCI membership didn’t change what Asaoka was making. His personal brand watches remained ultra-handmade, ultra-limited, and ultra-expensive. But it changed how the market perceived him. Collectors who might have been hesitant about a self-taught Japanese watchmaker now saw someone vetted and approved by the same organization that had accepted François-Paul Journe.
Coinciding with the AHCI recognition, Asaoka also founded Precision Watch Tokyo Co., Ltd. in 2016 . This was the legal entity that would serve as the operational hub for everything he built next—the parent company that would allow him to scale beyond purely handmade production while maintaining the quality standards he’d established.
The Brilliant Pivot: Creating Kurono Tokyo
By 2016, Hajime Asaoka faced an interesting business challenge. His personal brand watches were selling, collectors wanted more, waiting lists stretched for years. But there was a hard ceiling on how many handmade pieces he could produce annually. Even working full-time, he could realistically create no more than 8-12 complete watches per year. At $25,000-$145,000 per watch, this was financially sustainable. But it wasn’t scalable.
A lesser entrepreneur might have simply accepted this limitation. But Asaoka, remembering his background as an industrial designer and product strategist, recognized an opportunity: what if he could create a second brand—one that shared his design DNA and philosophy but used outsourced movements, allowing for higher production volumes and lower prices?
In 2018, he launched Chrono Tokyo . The concept was revolutionary for a self-taught independent watchmaker: intentionally create a more accessible watch using outsourced Miyota movements, focusing on the design and finishing work rather than in-house movement fabrication. The first batch consisted of 50 pieces—26 with champagne dials, 21 with gray dials. They sold exclusively through TiC TAC, a Japanese retailer.
The watches were successful. They demonstrated that Asaoka’s design language—refined, minimalist, influenced by vintage Japanese dress watches—could appeal beyond ultra-luxury collectors. But Asaoka realized the name “Chrono Tokyo” had limitations in English-speaking markets. “Chrono” is a prefix used by dozens of watch brands. When written in Japanese katakana, “Chrono” became “クロノ”—which phonetically pronounced as “Kurono.”
So in 2019, Asaoka rebranded Chrono Tokyo as Kurono Tokyo . The watches themselves didn’t change. The strategy didn’t change. But the name suddenly worked in English-speaking markets while retaining the Japanese linguistic poetry that defined Asaoka’s brand identity.
Kurono Tokyo became a sensation among watch enthusiasts. The appeal was sophisticated: here were watches designed by an AHCI member, incorporating his aesthetic sensibility and quality standards, but priced at $1,430-$2,380 USD instead of $25,000-$145,000. The production was limited—drops of 50-500 pieces depending on the model—maintaining scarcity. But unlike his personal brand, collectors could actually buy Kurono pieces (eventually, after fighting through online queues).
The Two-Brand Strategy That Changed Everything
By 2019, Asaoka had created something unprecedented in independent watchmaking: a two-tier strategy that maintained prestige while achieving scale.
Hajime Asaoka Tokyo Japan remained his personal brand. Completely handmade. Ultra-limited production (<10 pieces/year). Prices $25,000-$145,000+. Waiting lists 1-3+ years. This brand protected his reputation and satisfied collectors seeking the absolute highest level of handmade craftsmanship.
Kurono Tokyo became his accessible brand. Designed by Asaoka, featuring his aesthetic and design DNA, but with outsourced movements and higher production. Priced $1,430-$2,380, produced in limited batches, released through online drops. This brand allowed collectors at every price point to access Asaoka’s work.
The genius of this approach was that it allowed both brands to thrive without cannibalizing each other. Kurono buyers wanted affordable access to Asaoka’s design—they got it. Hajime Asaoka Tokyo buyers wanted the absolute pinnacle of handmade craftsmanship—they got that too, without Kurono diluting the personal brand’s exclusivity.
Kurono Tokyo became wildly successful. Limited releases would sell out in minutes. Secondary market prices showed immediate appreciation—watches purchased at retail for $1,730 would sell for $2,500-$3,500 within weeks. The brand proved that Asaoka’s reputation had transcended Japan, reaching collectors across North America, Europe, and Asia .
Innovation and Expansion: The Master Continues Creating
As Kurono Tokyo scaled and Hajime Asaoka Tokyo maintained its ultra-luxury exclusivity, Asaoka didn’t rest on his achievements. Instead, he continued innovating—both within his personal brand and beyond.
Within his personal brand, he experimented with variations on his themes. The Tsunami, his signature 37mm dress watch with its characteristically oversized 15mm balance wheel, became available in different finishes and dial treatments. In 2024, he released limited Art Deco variants of the Tsunami, each available in just 6 pieces, earning nominations for the Grand Prix d’Horlogerie de Genève—the watchmaking world’s equivalent to the Academy Awards .
He also created experimental pieces. The Montre À Tact, a watch designed to be read by touch rather than sight, demonstrated his willingness to question fundamental assumptions about how watches should function. This wasn’t commercial product design—this was artistic experimentation within the watchmaking medium.
Beyond his personal brand, Asaoka pursued strategic partnerships. Most notably, he began mentoring and supporting Jiro Katayama, founder of Otsuka Lotec . Katayama was a fellow self-taught indie maker, formerly a car and industrial designer like Asaoka, who’d started building watches with a small bench lathe in his apartment. Precision Watch Tokyo Co. became the manufacturing partner for Otsuka Lotec, giving Katayama access to Asaoka’s workshop facilities and expertise .
This mentorship philosophy—Asaoka supporting the next generation of Japanese indie watchmakers rather than simply protecting his own market position—became a defining characteristic of his approach. When the watch world might have expected him to view Katayama as competition, instead he became a collaborator and mentor.
Perhaps most ambitiously, in 2024 Asaoka undertook the resurrection of a dormant Japanese watch brand: Takano . Founded in 1899 and producing watches from 1957-1970s before discontinuing them, Takano represented Japanese watchmaking heritage. In collaboration with Monochrome Watches, Asaoka announced the revival of Takano with a new chronometer-certified watch, manufactured by Precision Watch Tokyo Co. This represented Asaoka’s thinking beyond his own brands—thinking about the broader Japanese watchmaking legacy.
Recognition and Legacy: From Self-Taught to Master
The recognition of Hajime Asaoka’s achievements has been extraordinary. Beyond AHCI membership, he received the Japanese government honor of “Gendai no Meiko” (Contemporary Master Craftsman) in 2022—a title given only to those demonstrating exceptional excellence in traditional crafts .
He’s been featured extensively in MONOCHROME Watches, the authoritative publication for independent watchmaking [204, 221]. Chrono24 Magazine featured him in their “Faces of the Industry” series . Phillips Auction House, the prestigious watch auction house, has carried several of his significant pieces. The Grand Prix d’Horlogerie de Genève, the watchmaking industry’s most prestigious award, nominated his work in 2024.
But perhaps more importantly, he’s proven something fundamental: that formal training isn’t a prerequisite for mastery. That a product designer can transition into watchmaking and become one of the world’s finest independent makers. That Japanese watchmaking can compete with Swiss watchmaking at the absolute highest levels. That a self-taught watchmaker can be recognized by the same organization that accredits François-Paul Journe.
The Kurono Tokyo Phenomenon: Accessible Luxury Done Right
While Hajime Asaoka Tokyo remains ultra-exclusive, Kurono Tokyo has become a genuine phenomenon in the watch world. The brand releases new limited editions quarterly—each model limited to 50-500 pieces depending on complexity. The releases happen through online drops, with limited purchase windows. Collectors camp out online, refreshing pages at announced times, fighting to secure a purchase before inventory sells out .
This isn’t artificial scarcity created through marketing gimmicks. This is real scarcity driven by limited production and genuine demand. Waiting lists for popular models stretch to thousands. Secondary market prices show immediate appreciation—a Kurono watch purchased at retail for $1,730 commonly sells for $2,500-$3,500 within weeks .
The appeal of Kurono Tokyo is sophisticated. These aren’t mass-produced watches with Asaoka’s name slapped on them. Each Kurono model is designed by Asaoka personally. The dials are specially made—some in traditional Urushi (Japanese lacquer) hand-applied in Kyoto. The finishing is meticulous. The movements are outsourced Miyota, but the entire case design, dial design, hand design, and finishing standards reflect Asaoka’s sensibility .
What makes Kurono so successful is that it solves a fundamental problem in watch collecting: how do you own a piece of work by a master craftsman when his personal brand requires $25,000-$145,000+ and 1-3 year waiting lists? Kurono makes that accessible. You can own something designed by an AHCI member, carrying his design DNA and quality standards, for a realistic price with a realistic waiting time.
The Philosophy of Limited Production and Handmade Excellence
Throughout his career, Asaoka has maintained a consistent philosophy: quality over quantity. This isn’t marketing speak for Asaoka—it’s a operational constraint by choice.
He could theoretically expand production significantly. He could hire watchmakers to work under his supervision. He could subcontract more components. But he deliberately hasn’t done these things for his personal brand. “It’s really hard to make a watch,” Asaoka said in an interview, “But I still make watches because I want to surprise my fellow watchmakers in Switzerland” .
This comment reveals his fundamental motivation: not commercial growth, but the desire to prove that a self-taught Japanese watchmaker can produce watches that command respect from the world’s best independent makers. This means every Tourbillon, every Chronograph, every piece from Hajime Asaoka Tokyo must be absolutely flawless in conception and execution.
For Kurono Tokyo, the philosophy remains similar, even with outsourced movements. Asaoka personally oversees design. He’s known for tweeting detailed explanations of design decisions—why a certain dial color was chosen, how the hand design relates to vintage Japanese watches, the historical inspiration for a model .
This transparency and engagement—unusual for watchmakers at his level—has built extraordinary community loyalty. Collectors feel like they understand Asaoka’s thinking. They’re not just buying products; they’re supporting a specific vision of what watches should be.
Two Brands, Infinite Possibilities: What’s Next
As of 2026, Hajime Asaoka’s empire continues expanding. Kurono Tokyo regularly releases new models. Waiting lists for Hajime Asaoka Tokyo pieces stretch years into the future. The Takano revival is in early stages but represents enormous potential for a historic brand. The Otsuka Lotec partnership continues supporting Jiro Katayama’s innovation.
For collectors, the Asaoka ecosystem represents an opportunity unlike any other contemporary independent watchmaker. Alan Birchall represents pure ultra-luxury artisanal commitment at 95%+ handmade, with an ultra-premium price tag. Berneron and Ressence represent established ultra-luxury with waiting lists and fully booked schedules.
Hajime Asaoka offers something different: accessible entry through Kurono Tokyo ($1,430-$2,380), with the possibility of eventually graduating to his personal brand pieces ($25,000-$145,000+) as collecting deepens. It’s a pathway that other independent makers don’t provide.
The investment case is compelling. Kurono Tokyo watches show immediate secondary market appreciation. His personal brand pieces, while nearly impossible to acquire, appreciate at rates exceeding 50-200%+ when they do appear on secondary markets. The government recognition (Gendai no Meiko 2022), AHCI membership, and GPHG nominations all suggest his reputation will only grow.
Conclusion: The Self-Taught Master Who Proved Everything Could Be Learned
Hajime Asaoka’s story is profound because it challenges every assumption about credentialing and expertise. He never attended watchmaking school. He never apprenticed at a major manufacture. He never inherited a watchmaking business. He was a 40-year-old product designer who decided to teach himself one of the most complex mechanical arts in the world.
What he built—AHCI membership, government honors, personal brand watches commanding $145,000+, an accessible brand with waiting lists stretching thousands deep, mentorship of the next generation of Japanese indie makers, resurrection of historic brands—represents an extraordinary achievement.
But perhaps more importantly, he proved something that transcends watches. He proved that mastery can be self-taught. That unconventional backgrounds (product design) can produce innovation in traditional fields (watchmaking). That a single person, refusing to compromise on quality, can compete with organizations with centuries of heritage.
At 60 years old, having achieved more than most watchmakers could accomplish in ten lifetimes, Asaoka continues creating. Continues innovating. Continues surprising the Swiss watchmakers he set out to impress all those years ago.
That mechanical Citizen chronograph his father gave him in 1978? It sparked something that would reshape Japanese independent watchmaking. Forty-eight years later, that spark has become a roaring fire—and there’s no indication it’s about to go out.
