by Brent Robillard
Introducing Tessé Watches
Founded in Canada by designer Thomas Brissiaud, Tessé Watches has, in a relatively short time, established a visual identity that feels cohesive. Across its first collections—the Michel GMT and The Architect—the brand has demonstrated a clear interest in proportion, geometry, and surface treatment, rather than overt nostalgia or decorative flourish.
In a recent conversation with Brissiaud, we discussed the evolution of Tessé through the lens of design: how he defines it, how it manifests in case shapes, colour, and dial construction, and how Brissiaud sees Tessé’s place within contemporary independent watchmaking.
Defining a Design Language
From the outset, Brissiaud framed design it in terms of intention rather than style. For him, Tessé’s design language is about “controlled character.” And not about decoration. “I aim for shapes and details that feel purposeful rather than ornamental: clean lines, geometric balance, and subtle depth. Even when two models evoke different emotional worlds, they share the same foundation of proportion, restraint, and a small spark of eccentricity.”
This emphasis on restraint recurs throughout his thinking. For Brissiaud, design in watchmaking is less about visual excess and more about clarity within limits.
“In watchmaking, design is the art of creating emotion through constraints. You have a fixed canvas of roughly 36 to 40 millimeters, a dial, hands, and a movement, and within that space you try to express an idea clearly. Good design isn’t decoration. It is intention made visible.”
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The Case as Architecture
One of the most recognisable elements of a Tessé watch to date is its case shape, which blends tonneau and cushion forms without settling neatly into either category.
“I’ve always loved shapes that aren’t easily categorised,” says Brissiaud. “The tonneau-cushion hybrid gives a watch presence without relying on size. It has softness and sharpness at the same time, a duality that I felt represented Tessé perfectly: warm and approachable, but still precise.”
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That form was not fixed from the outset. Early sketches explored sharper geometries, but wearability ultimately dictated refinement.
“Early sketches leaned more rectangular, almost like a softened TV case. Prototypes revealed that the sharper geometry looked good on paper but uncomfortable on the wrist,” Brissiaud admits. “I gradually rounded the transitions, refined the bevels, and tightened the proportions until the case felt natural both visually and ergonomically.”
Function and comfort were also at the forefront and just as important as aesthetics.“I also ended up applying curvature to the whole case: I wanted a watch that could easily slip under the cuff for a dressier feel,” says Brissiaud.
While the case has become a defining feature, Brissiaud does not see it as immutable. He sees it as a strong foundation, but also envisions an evolution. He says, “A design identity should be recognizable, not frozen. I expect future cases to explore smaller diameters, thinner profiles, new bevels, or more dramatic curvature, but the DNA will remain.”
Between Past and Present
Although Tessé watches often evoke familiarity, Brissiaud is careful to distinguish influence from imitation. The starting point, he explains, was personal. “Everything started from my grandfather’s watch, an automatic Lip from the 70’s, ‘Fabriquée en France’. I’m nostalgic for 70s experimentation, but I didn’t want to make a reissue.”
The challenge was to translate that essence without replicating it wholesale—”capturing the spirit of that era, the confidence and the geometry, while giving it a crispness and refinement that feel modern. That balance is where Tessé lives.”
When asked what most excites him about mid-century design, his answer points less to form and more to mindset. “The futurism,” he states. “Mid-century designers imagined a world that didn’t exist yet. I love that blend of optimism and experimentation.”
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Colour as Meaning
Colour, too, plays a central role in Tessé’s identity. The tones and hues are not chosen as afterthoughts, but rather as part of the ethos which is the watch.
“I treat colour the way others treat typography,” Brissiaud explains. “It carries meaning. I draw from visual culture, from cars, architecture, and industrial design. A colour needs to do more than look good; it needs to reinforce the mood of the model.”
In some cases, colour becomes the primary narrative device, as I found with his most recent release, the Silverstone Drive. “Colour is a shortcut to emotion,” says Brissiaud. “The Silverstone Drive works largely because the tone instantly evokes motorsport history. You feel the story before you understand the watch.”
Dial Restraint and Visual Hierarchy
Across Tessé’s collections, dial design tends toward layered simplicity rather than overt complexity. This is visible equally in both the Michel GMT Collection and The Architect, though it is expressed differently. When asked about this, Brissiaud posited that this practice most likely arose from his dislike of “visual noise.”
“I enjoy complexity when it’s invisible: depth you feel more than you see. Negative space creates calm, and calm allows the eye to appreciate the structure,” he explains.
In fact, decisions about omission are as deliberate as those about inclusion. “If an element doesn’t support legibility or emotion, it goes. I ask myself: ‘Does this help the idea?’ If the answer is no, it disappears.”
Surface treatment also plays a crucial role in creating depth without clutter. “I focus on hierarchy. Every surface should have a role. A polished bevel guides the eye; a brushed plane settles it. Layering should feel like architecture: intentional, not ornamental.”
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Positioning Tessé Among Independents
In a crowded independent landscape, Brissiaud sees Tessé occupying a specific middle ground. “I think Tessé sits at the intersection of warmth and precision. Some independents are very nostalgic and others are ultra-futuristic. Tessé is neither. It is contemporary design with emotional roots.”
That positioning is reinforced by his approach to form. “I’m less driven by heritage or minimalism and more by structural depth,” says Brissiaud. “Tessé watches aren’t flat surfaces. They are small pieces of architecture. The grammar is geometric, layered, and quietly expressive.”
For Brissiaud, Tessé is explicitly design-led. “Design-first, but with mechanical honesty. I’m not trying to compete with haute horlogerie. I’m trying to build objects with meaning and quality. The movement supports the design, not the reverse.”
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Process, Feedback, and Refinement
For Brissiaud, the design process itself is methodical but intuitive at its core. “It starts with a feeling. Then rough pencil sketches. Once the proportions make sense on paper, I move to CAD to test light and volume. I revisit historical references only to check balance, not to imitate.”
Feedback, too, plays a role, but not a directive one. “Instinct drives the concept, and feedback refines the execution. Collectors often reveal practical details I hadn’t considered such as legibility, strap fit, and daily wear factors. I never design by committee, but I listen carefully.”
When asked about challenges in the design process, Brissiaud is quick to answer. It’s the finishing. “For me, the real obsession is always the finishing… Each surface had to catch light in a very specific way, and the smallest change in direction or texture completely altered the character of the watch.”
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Looking Forward
As Tessé grows, Brissiaud sees authorship as central to the brand’s future. “The brand exists because I had something personal to say. Design is how I express it. I want Tessé to be recognised for a point of view, not just a product.”
Despite perceptions of independence as freedom, he emphasises reality. Even for a brand owner with complete creative control, barriers exist. “Many assume independents have total freedom. In reality, constraints are everywhere… The creativity lies in working within those boundaries without compromising the vision.”
Asked what he hopes will endure decades from now, his answer remains consistent with everything that precedes it. “I hope people will say Tessé brought sincerity back to contemporary design, with objects that felt modern without feeling cold, and precise without feeling sterile.”
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About the author
Brent Robillard is a writer, educator, craftsman, and watch enthusiast. He is the author of four novels. You can follow him on Instagram.
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