Galatea begins with the square. A dial held at the centre like a quiet room, framed by an architecture that refuses the obvious. Around it, the cuff expands into a landscape: undulating bands that alternate between pavé brilliance and lacquered depth. This is not decoration for its own sake. It is chiaroscuro rendered in materials, with time set inside the contrast.

In the photographs, the watch reads as a sculpture you wear. The turquoise beads form a measured edge, almost cartographic, as if the piece were bordered by a coastline. Against that line of colour, diamonds behave like weather: dense, granular, alive, and never flat. The black lacquer gives the light a place to land. It makes the pavé speak with clarity, and it allows the geometry of the cuff to breathe.

The marquise diamonds at the flank gather into a flower like a starburst, caught mid bloom. It is both floral and architectural, a motif that bridges softness and precision. The setting is clean, deliberate, and sharp at the edges, with every stone made legible. This is where jewellery practice becomes a kind of editing, removing the unnecessary until only the essential remains.

Galatea carries the values at the core of Hugo Cahill’s aesthetic: structure and emotion, restraint and intensity, craft and narrative. Years of jewellery work find their counterpart in the best Swiss hands, where finishing is not a final step but a philosophy. Every surface is asked to hold its own, whether in reflection, in shadow, or in the gentle inevitability of touch.

Two faces appear. One is pavé, a field of light that feels intimate and continuous. The other reveals an open framework, a cadran squelette that turns time into architecture. Together, they speak to Maison Cahill’s pursuit: objects of distinction that feel composed, lived with, and quietly unforgettable.