Q&A: Atelier Wen on reclaiming ‘Made in China’

Atelier Wen has been making waves in the independent watchmaking scene since its launch in 2017 by two Frenchmen — Wilfried Buiron and Robin Tallendier. 

The brand is dedicated to showcasing Chinese craftsmanship within contemporary horology, and they have come a long way in a short period of time.

With a passion for cultural storytelling, the brand works with skilled Chinese artisans to produce timepieces that highlight traditional techniques, such as intricate ​​guilloché dial finishingn by Master Cheng, Grand Feu enamel, and forward-thinking materials.

They have gained extreme popularity and acclaim for their renowned Perception series, launched in 2022, while stepping into the realms of Haute Horologie, with an all-tantalum release housing a Girard-Perregaux movement.

Focusing on design originality, transparency, and quality Swiss manufacturing, their watches blend modern aesthetics with respectful nods to Chinese heritage, offering collectors something distinctive and desirable in a crowded market. 

Simon Lazarus, head of PR & content at Chrono Hunter, spoke with co-founder Robin Tallendier for Watch Insider.

Simon Lazarus: What was the inspiration behind setting up Atelier Wen?

Robin Tallendier: Honestly, frustration more than anything else. There’s this huge gap between what “Made in China” means to most people and what Chinese artisans are actually doing. 

China has a horological history that predates most Swiss maisons. Nobody was telling that story seriously. Wilfried (Atelier Wen’s other co-founder) and I just wanted to fix that. 

Not through symbols or clichés, but by actually working with people like Master Cheng and Master Kong and letting the work speak for itself.

SL: What is the key to having a successful watch brand?

RT: Have a real reason to exist. That’s it, really.

Everything else follows from that. Our relationships with our artisans, the way we approach materials, the community we’ve built, none of it would hold together without a clear “why.” 

Collectors are smart. They see through brands that are just filling a gap in the market.

We’ve been lucky in that our mission has always been obvious to us: prove what Chinese craft is capable of. That clarity makes a lot of decisions easier.

SL: How important is storytelling in watchmaking?

RT: Pretty essential, I think, but it has to be honest.

Atelier Wen means “culture workshop.” That’s not a branding exercise. It shapes every decision we make. Without that context, a tantalum case is just a heavy piece of metal. 

The story is what gives the object meaning. It connects the person who made it to the person wearing it. When it’s genuine, people feel it. When it’s manufactured, they feel that too.

SL: You constantly push the boundaries with tantalum and have introduced Pietersite dials this year. Any plans to work on other far-reaching materials?

RT: Yes, though I won’t say more than that for now.

What I can say is that we don’t chase materials for novelty. Each one has to make sense as a vehicle for Chinese artistry. That’s the filter. There are a few things in development that I think will feel surprising but inevitable once people see them.

SL: Rolex may say “A Crown for Every Achievement”. However, what is your proudest Atelier Wen release to date?

RT: Inflection. Not because of the technical achievement, though that was real, but because of what it represents. 

Building the world’s first permanent full-tantalum bracelet watch collection with Chinese workshops, and having it recognised by the broader community, meant a lot. It felt like the mission was landing. 

I’m proud of what our partners pulled off. It wasn’t easy.

SL: You have had some phenomenal collabs, including working with Pequignet, and housing a Girard-Perregaux movement for the Inflection release. Which three brands would you like to work with next and why?

RT: Honestly, I’m more drawn to collaborations outside watchmaking at this point. The most interesting territory for Atelier Wen is where horology meets spatial design, architecture, and interiors. The conversations around materiality, proportion, craft, they’re the same conversations, just in a different language.

A practice rooted in Asian design philosophy would make a lot of sense for us. That feels unexplored in this industry and genuinely exciting.

SL: Name three elements you love about mechanical watchmaking.

RT: The hand behind it. You can tell when something has been made with care. That’s not romantic, it’s just true.

The fact that there’s nowhere to hide. Every part has a job. It works or it doesn’t, and you can see exactly why. That kind of transparency is rare.

And the fact that it lasts. Making something that will outlive you changes how you think about what you’re doing. There’s a responsibility in it that I find grounding.

SL: What future do you see for Atelier Wen and the independent scene?

RT: I think the hype cycle is running out of steam, which is a good thing. Depth is winning over noise, slowly but surely.

Independents are well-placed for that shift. We can offer something larger houses genuinely can’t, real human connection, direct relationships, a clear point of view. The brands that stay honest to that will find their people. The ones chasing volume will struggle.

For us, the plan is simple: keep pushing the craft, stay close to our artisans, and let the work do the talking.

SL: Finally, if you turned back the clock, which horological figures, past or present, would you invite to dinner?

RT: F.P. Journe, he’s from Marseille, like me. That already makes him interesting!

But beyond that, he built something completely on his own terms, with no compromise, and the industry came around to him eventually. I’d want to understand how he held that line.

And Kiu Tai Yu…an overlooked figure in my view. A Chinese watchmaker who was working at the highest levels of independent horology long before that conversation existed. His story feels very relevant to what we’re trying to do at Atelier Wen.