Five Underrated Neo-Classical Watches from the 90s

From dials inspired by nature to indicators inspired by fuel gauges, watchmakers draw inspiration from countless sources. But if you’re looking for something utterly timeless, distinct from the exhausting trend cycles of colours and sizes, look no further than neo-classical watches.

Drawing on the art and architecture of the ancient world (at least in some elements), these beautiful watches are an underrated sub-genre of horological design… and there was no better era for them than the 90s. Because if you’re considering an underrated style, might as well get one from an underrated decade to match.

So, from the worryingly accessible to the downright mesmerising, here are five underrated neo-classical timepieces from the 1990s.

Ulysse Nardin San Marco

Image credit: Watch Brothers London

Is there anything more evocative of the classical era than the Birth of Venus? Sandro Botticelli’s masterpiece is the thing of beauty, beauty that it owes almost entirely to the clamshell. And some other things too, I’m sure. The gorgeous wavy dial of the too-often-forgotten Ulysse Nardin San Marco echoes those scalloped curves across its otherwise restrained dial, with small indexes and Roman numerals.

It might share some similarities with the maison’s modern Marine collection, but it’s much more ornate, an unexpected freak from a brand known for them. This handsome steel version is also almost worryingly accessible.

IWC Da Vinci 3528

Image credit: Sothebys

I miss the Da Vinci collection. It was where IWC did some of their most interesting (aka slightly insane) stuff, dating all the way back to the early days of full-ceramic watches. Even in gold however there’s a lot to love and this example from 1990 is a neo-classical stunner.

The pocket watch-adjacent case shape measures in at 37mm, a decent size for a dress watch at the time and defined by its perfectly round shape, signature lugs and stepped bezel. Pair that with a dial crisper and cleaner than Roman marble and you have a forgotten classic on your hands. Potentially on your wrist.

Chopard Linea D’Oro

Image credit: Vintage Gold Watches

Let’s just list everything there is to love about this mid-90s neo-classical stunner. First, the shape of the case and lugs is about as timeless as it’s possible to be outside of a mind-bending sci-fi. Second, the Roman numerals are beautifully rendered, as is the unusual typography of the date window at 3 o’clock. Finally, it’s Chopard.

If anything, the Linea D’Oro illustrates why neo-classical’s worth investing in. If I didn’t tell you this example was from 1995, would you even know? It will just run a lot better than you might expect.

Audemars Piguet Edward Piguet

Image credit: Kibble Watches

Back when Audemars Piguet did more than the Royal Oak, Royal Oak Offshore and Royal Oak Round (better known as the Code 11.59), they had fun with their twist on the Cartier Tank, dubbed the Edward Piguet. There were a fair few versions produced across the 90s but most had this stunning stepped rectangular case, far more classical than deco, compounded by the unusual wavy dial on this all-silver version.

At 44.5mm of white gold it’s pretty big for the era but honestly, it’s the kind of watch that doesn’t really fit into any temporal slot. If you want to know why Audemars Piguet is considered one of the big three this, rather than the Royal Oak is a great indicator.

Parmigiani Toric Memory Time

Image credit: Mrwatchley

Michel Parmiani’s always worn his classical inspirations on his sleeve, leveraging the Golden Ratio in the form of a double bezel ripped straight from Doric columns. And while the revived Toric has come at just the right time, the 90s saw some incredible variations on the theme – such as the superb Toric Memory Time. Indeed, the Memory Time was Parmigiani’s debut, and what a debut it was.

The concentric fluted bezel is paired with a ring for the Roman numeral hours (with a date window at 12) and a centre section gloriously guilloched and dominated by the brand logo at 6 o’clock. You can see the through-line from this to the modern Torics, but this was Parmigiani at his most neo-classical.