LUXURY watches have long blurred the line between horology and jewellery, but few have challenged where that line should begin.
Traditionally, gemstones are introduced only after the engineering is complete, transforming an already finished timepiece into a statement of opulence.
With the RM HJ-02 In-House Automatic Tourbillon, however, Richard Mille has reversed that convention.
Rather than just imparting a finishing touch, gem-setting has become the starting point – shaping the watch’s architecture, proportions and identity from the very first sketch.
The RM HJ-02 marks the second chapter of the brand’s high jewellery journey, following the steps of the RM HJ-01 that was introduced in 2020.
At its launch was a screening of a short film The Dazzling Division starring Oscar-winning Malaysian actress Tan Sri Michelle Yeoh, who is a global ambassador for Richard Mille.
Conceived to celebrate two decades of designing timepieces for women, this limited-edition RM HJ-02 collection of 12 unique pieces is grouped into four distinct colour families.
While all share a common design language, each variation exudes its own personality through carefully orchestrated combinations of precious and ornamental stones, presented on layered surfaces with asymmetrical transitions.
Richard Mille reimagined its signature tonneau case as a sculptural object, its familiar curves interrupted by deliberate changes in geometry that allow light to interact differently from every angle.
This bold approach demanded more than a year of development for the case alone, contributing to an overall development programme spanning more than three years.
Art Deco provided the creative foundation, though not in a nostalgic sense.
Instead of reproducing period motifs, the movement’s geometric vocabulary was distilled into contemporary forms.
Every RM HJ-02 incorporates 1,399 gems − or 1,274 precious stones and 125 ornamental stones to be precise − rubies, sapphires, diamonds, emeralds and Paraiba tourmalines are paired with turquoise, malachite, chrysoprase and mother-of-pearl in dazzling compositions.
It’s not just about showcasing individual gemstones, as Richard Mille focuses on how they interact – balancing transparency with opacity, brilliance with softness and colour saturation with tonal shifts as well.
Kaleidoscopic hues
Each of the RM HJ-02’s four colour families tells its own visual story.
Blue evokes the movement of light across water, blending the luminous hues of Murano glass with subtle Mediterranean warmth.
Blue sapphires are juxtaposed against pink and orange Padparadscha sapphires.
Turquoise and mother-of-pearl introduce opacity, creating marine-like interplays of reflection and depth.
Green draws inspiration from lush landscapes, layering tsavorites and green sapphires with flashes of aquatic blues and pale lime.
Malachite, chrysoprase, turquoise and mother-of-pearl bring depth and tonal variation.
Violet is perhaps the collection’s boldest expression, with rich fields of rubies intersected by baguette-cut purple sapphires.
Tsavorites, chrysolemon, sugilite, opal, malachite and mother-of-pearl contribute to a palette that is expressive and unapologetically vibrant.
Pink exudes tropical vibes, with pink sapphires, rubies and Padparadscha sapphires generating glossy warmth and intensity.
Cooler inlays of turquoise and mother-of-pearl provide visual balance, recalling 1980s neon via a contemporary lens.
All four versions are paired with crocodile-pattern rubber straps in complementary tones.
The RM HJ‑02 universe is not about lending brilliance to women.
The conversation is about women deciding exactly how brilliant they want to be, no matter the setting.
Intricate craftsmanship
Bringing these colour palettes to life required craftsmanship of extraordinary precision.
The work was realised at Richard Mille’s in-house gem-setting workshop that opened in 2019.
The space allows engineers, designers and gem-setters total freedom to collaborate and innovate.
The RM HJ-02 treats gem-setting as a structural system, using three complementary techniques − snow setting, grain setting and bezel setting − to achieve the designed optical and architectural effect.
Snow setting establishes the foundation, creating dense fields of stones in varying diameters and minimising visible metal to produce uninterrupted blocks of colour.
Grain setting introduces subtle texture, with tiny raised beads of metal securing individual stones while regulating transitions between adjacent colour zones.
Bezel setting surrounds selected stones with continuous rims of metal that sharpen the watch’s geometry and reinforce key architectural lines.
Many of the ornamental materials demand equally specialised treatment.
Stones such as chrysoprase, chalcedony, sugilite and mother-of-pearl are milled directly from source material before painstaking finishing to create perfectly uniform thickness.
Such craftsmanship is nothing short of extraordinary.
The gem-setting for every RM HJ-02 requires some 458 hours of intricate work, with the caseband accounting for a further 125 hours.
Combined with preparation, finishing and multiple quality control procedures, nearly 700 hours are devoted to each individual watch – the equivalent of 88 full working days.
The attention to detail can be seen on every component.
The crown has gemstones radiating along its fluted profile, preserving the grip needed for daily use.
The buckle mirrors the segmentation and colour language established by the case.
The RM HJ-02 demonstrates that high jewellery need not merely embellish a watch, it can also define it.
By treating gem-setting as a structural language, Richard Mille has created a collection in which colour, geometry and craftsmanship exist in complete harmony.
The outcome is a wearable piece of art, in which jewellery and horology blend into one.
