FHH | The Quirky Backstory Of The Roger Dubuis Follow Me

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30 January 2026

The Quirky Backstory Of The Roger Dubuis Follow Me

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by @watches_and_culture

Before Roger Dubuis became the gladiator of hyper-mechanics, there was a moment in the early 2000s when the brand flirted with pure fashion, geometry and attitude. The Follow Me is the perfect relic of that era.

A watch shaped like a cross, worn like a manifesto, engineered like a Geneva-seal calibre, and styled like nothing that came before or after.

The idea was simple and completely wild. Take a symbol that usually stands still, turn it into a watch case, stretch it across a wide leather cuff and let it dominate the wrist like a piece of jewellery with a heartbeat.

The Follow Me didn’t whisper time, it broadcast it. Between the oversized numerals, the guilloché patterns, the candy-coloured dials and the diamond-set borders, this was maximalism with horological credentials.

And it was more than a shape. The collection explored textures, colours and attitudes: pink guilloché with blue hands, sand-toned cases on mustard straps, Art Deco numerals stretched to the edges of each branch.

Even the buckles echoed the design, turning the whole piece into a continuous cross motif. Some editions spelled LOVE in four languages, others played with vertical and horizontal reading, as if the dial itself were drifting in two directions at once.

Yet behind all the flamboyance, there was discipline. These watches carried the Poinçon de Genève, a reminder that even at its most theatrical, Roger Dubuis insisted on proper watchmaking.

It is one of the most fascinating contradictions of its time. A watch shaped like a symbol, behaving like a sculpture and certified like a true piece of haute horlogerie — proof that Roger Dubuis, long before carbon-fiber warriors and skeleton tourbillons, already knew how to break rules with elegance and confidence.