Campaign ambassadors (from left): Tems, Danielle Marsh, Ashley Graham, Marisa Abela and Ariana DeBose (All photos: Omega)
Most travellers arrive in Kyoto with images already seared into their imaginations: vermilion torii gates stretching into the forest, geisha gliding through the cobbled lanes of Gion, autumn leaves ablaze along the Philosopher’s Path. To the untutored Western eye, this former seat of imperial power for more than a millennium — before ceding to Tokyo in the late 19th century — aligns neatly with a romanticised idea of old Japan, as if performing a well-worn script. But much of what defines this haven of hieratic calm is held in reserve, revealed not to the hurried or unobservant. Those willing to pause might glimpse a courtyard briefly visible when a temple gate swings open for a passing resident, or notice the flicker of incense curling from an unmarked doorway.
The Japanese have a word for this concealment — intentional or otherwise — that is not legible at once: miegakure, literally “to be seen and not seen”. The concept is perhaps best encapsulated in the city’s most famous rock garden at Ryōan-ji temple, where 15 stones are arranged so that only 14 are visible from any single vantage point. By obscuring part of the composition, the staggered design introduces a gentle tension, compelling the viewer to move around, explore and complete the scene in their mind.
It is an idea that reappears — in a different but no less intricate form — through steel, enamel and gears, where horologers construct an entire universe beneath a dial. Like Kyoto, which asks to be read slowly, so too time in fine watchmaking. Omega chose this cradle of heritage to unveil its new Aqua Terra 30mm collection for that reason: a watch’s character does not announce itself immediately but unfolds in layers, rewarding those eager to look beyond the surface.
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“Kyoto is a city of hidden meanings,” says CEO Raynald Aeschlimann, in a nod to the recent Aqua Terra campaign, “My Little Secrets”. First introduced in 2002 (lest we forget the smouldering Pierce Brosnan in its maiden print ad), the versatile timepiece — named after the Latin words for “water” and “earth” — was Omega’s response to a world no longer bound by rigid lines between “sport” and “dress” tickers. For the first time, the collection features a 30mm case size targeted at women, along with two brand-new Master Chronometer movements engineered specifically for it: Calibres 8750 and 8751.
“When we came up with the idea for the campaign, we felt we had to go to Kyoto, where you find concealed gardens and can sense the vibration of art and femininity. If we think about a celebration of emotion, it wouldn’t happen at a lounge in, say, Singapore, New York, Zurich or [the boring halls of] Geneva. I told my team, let’s go to a place where there is a constant search between past and modern. And I believe you find that here,” asserts Aeschlimann.
While he frames the choice of this old capital — which recently hosted a string of exclusive events by major fashion houses — through emotional and aesthetic lenses, the decision also carries strategic weight. The island nation remains one of Omega’s key markets, particularly in women’s watches and design-led varieties, making it a logical launchpad for an initiative that blends sophistication with storytelling.
“Japan is among the five largest watch markets in the world, and also one of the most influential. When you look at its consumer habits and production efficiency, it is a country known for specialisation, refinement and accuracy. Having said that, I didn’t want the event to be in Tokyo. I felt it was time to launch a new product based on the energy you get from a destination.”
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Much like the locale that inspired its unveiling, the new Aqua Terra 30mm measuring 10.6mm thick is a study in contrast and construction. The 12 new references span a spectrum of materials: stainless steel, Omega’s proprietary Sedna Gold and Moonshine Gold, as well as two-tone combinations — each paired with a carefully curated dial colour, ranging from frosted silvery white and mother-of-pearl to jewel tones of emerald, sapphire as well as amethyst. Applied hour markers and a crisp date window at 6 o’clock reiterate the emphasis on clarity and proportion. Crafted for comfort as much as finesse,
the watches are fitted with integrated bracelets featuring the maison’s patented screw-and-pin system, a butterfly clasp with discreet side-pushers, and a 2mm adjustment mechanism that allows for effortless wear throughout the day.
Despite the compact dimensions of the calibres — each just 20mm in diameter — they demonstrate the full weight of Omega’s technical prowess. Both feature the brand’s iconic Co-Axial escapement, a silicon balance spring and bi-directional winding, delivering a power reserve of over 48 hours. They also offer 150m water resistance and anti-magnetic protection up to 15,000 gauss, meeting the same rigorous standards found in the brand’s core line-up. While technically identical, the two movements differ in finish: The 8750 powers the stainless steel and two-tone models, while the more elaborately decorated 8751 is reserved for the solid gold editions in Sedna and Moonshine.
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Nevertheless, it is hard not to detect a glint of tactical intent beneath the polish, as seasoned collectors will no doubt spot the parallels — from the case size and pare-backed elegance to the promise of daily wearability — between Omega’s latest drop and a certain Swiss stalwart long crowned for its perpetual commitment to precision. Where that counterpart keeps things classic and closed, Omega instead takes a more transparent approach via an exhibition caseback that puts its arguably more advanced engine on full display.
“Any new watch we develop needs to have a new movement, and this Aqua Terra took four years,” Aeschlimann explains. “Since it is part of the Seamaster line [and we’re not jewellers], it obviously couldn’t be quartz. It had to be Metas-certified. Believe it or not, developing miniature movements is even harder because it’s more susceptible to variations caused by shock, changes in position, temperature and manufacturing tolerances. It’s no good if you’re checking the time while trying to catch a train, and it doesn’t deliver. And yes, I’m Swiss, so I take the train,” he laughs.
Case study
Women wear big watches — that much is clear. Not only is it a matter of style or silhouette, it pushes back against what the industry has long prescribed for those with slimmer wrists: less complexity, and by extension, a lack of mechanical ambition. Without waiting for the market to catch up, they reach for pieces made to endure, not merely to decorate. So what, then, is the aim of the ladies’ watch in a landscape where traditional gender lines have blurred, and where men, too, now embrace diamond-studded dials without hesitation?
“I just want to emphasise that we’re not selling watches to ladies. Small does not mean ‘ladies’; it means delicate. A man can wear this if he wants to explore a more feminine feeling. You might ask whether the 30mm launch is about targeting the other missing 50% of the world as potential customers but that’s not the point. It took years to develop the right movement at the right size and to reimagine every component, so we could introduce a complete series from the very beginning,” says Aeschlimann. He also remarks that the Calibre 8750 is neither the thinnest nor the smallest movement ever made but it is the smallest in the world to have achieved both Chronometer and Metas certifications.
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As attention to detail became increasingly central in modern watchmaking, Omega approached the Aqua Terra 30mm with the purpose of preserving its core design language while honing its execution.
The bracelet and case were subtly reworked for greater ergonomics, while signature elements — such as the almond-shaped hour markers — were retained to maintain the collection’s identity. Much of the design process revolves around balance: how to honour the brand’s legacy while creating a timepiece that resonates with a younger and discerning generation of enthusiasts.
For context, that storied legacy stretches back to 2002, when the Aqua Terra was introduced as a refined embodiment of Omega’s maritime roots. A member of the longstanding Seamaster line — first launched in 1948 — it drew visual cues from the clean, symmetrical contours of the 1957 Seamaster 300, combining a city-ready look with professional diving practicality. With a depth rating of 150m and a distinctive teak-pattern dial (a homage to yacht decks), it swiftly earned a reputation for straddling poise with utility. In the years since, this staple of the ocean has grown to include everything from 43mm Worldtimer complications to 28mm quartz variations. Now with the new 30mm model, the Aqua Terra provides a more concise yet contemporary option than ever before.
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These hallmarks and milestones point to a vision of “layered” luxury that unfolds with integrity, or as Aeschlimann poetically calls it, “Omega’s sweet secret”. He elaborates, “Craftsmanship is important but what’s more crucial is to evoke emotions. A watch will never be just an accessory. Omega [which has produced ladies’ watches since 1902] has never treated them as scaled-down men’s alternative. Although we already have the very recognisable Ladymatic and Constellation, we wanted to create a new icon with the Aqua Terra.”
Carrying that ethos forward, the maison has named six women to lead its campaign, each chosen for her accomplishments as well as the distinct path she has forged. They are K-pop artist Danielle Marsh, Bafta recipient Marisa Abela, Oscar winner Ariana DeBose, actress Sunday Rose Kidman-Urban, Grammy-honoured singer-songwriter Tems, and body positivity advocate Ashley Graham. Spanning a spectrum of disciplines and backgrounds, the group reflects different ways of navigating the world — with confidence, conviction and entirely on their own terms.
Size and sensibility
For weeks, the campaign ambassadors had existed only as glimpses and gestures across billboards and banners — one pressing a finger to her lips, another caught in a hushed exchange, as if sharing something meant only for two. They finally stepped into view during the launch event at Shōgunzuka Seiryūden on Mount Higashiyama, as dusk settled over the historic heartland of Japan. Bathed in sunset glow, the glitterati — each dressed in ethereal whites and soft neutrals alongside a different iteration of the updated Aqua Terra — moved through the crowd gathered on the wooden observation deck, which appears to float above trees and overlook an unobstructed vista of the Imperial Palace, Heian Shrine and Nanzen-ji temple 220m below.
The international gathering also drew a diverse roster of global talents, including friends of the brand Karla Souza and Aislinn Derbez from Mexico, as well as Japan’s Yuriko Yoshitaka. Also in attendance were special guests Thai actress Orm Kornnaphat, Spanish star María Pedraza, American actress Yara Shahidi, Italian TV presenter Melissa Satta, German content creator Lena Mantler, and Malaysia’s own model and TV host Scha Al-Yahya.
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The setting engaged not just ceremony but the senses. Guests sashayed through translucent voile passageways, which led them to a live demonstration of shodō calligraphy and a confessional-style photo booth where their deepest thoughts, small or significant, were murmured and immortalised.
In keeping with the evening’s introspective mood, the campaign headliners spoke candidly about their offstage personas. Marsh shared her pre-show ritual: Beyond stretching, she and her bandmates perform what they call “the sandwich”, a break-cheer where hands come together in a tight huddle before lifting skyward in a unifying shout. Tems named her dream collaborators: Stevie Wonder, Sade and Billie Eilish. Asked what she might be doing if not acting, Abela said she would be chasing pleasure through plates and places, pursuing a career as a hotel and food critic.
Ultimately, the most compelling move Omega makes in its latest endeavour is not a reinvention but a shift in tone, one that repositions women not as muses but narrators with appetites and agency. It also suggests that luxury, when it truly resonates, does not always need to be seen to be felt. Some things, like a good watch or a well-kept secret, are better whispered after all.
This article first appeared on June 30, 2025 in The Edge Malaysia.
