Earlier this year at Watches and Wonders Geneva, Piaget unveiled a new timepiece collection unlike anything it has launched in the past decade. Called Sixtie, the new line struck a deeply personal chord with me. I had the opportunity to go hands-on with it during the fair, and it immediately resonated — not just for its elegant trapezoidal shape and retro flair, but because it so clearly channels the essence of a golden Piaget era. The line reflects the Maison’s profound respect for its own archives while boldly reinterpreting them for a new generation.

Having covered the watch and jewelry industry for 40 years, I’ve watched styles change, brands evolve, and trends recycle — but few names have remained as true to their DNA as Piaget. I’ve also known Yves Piaget for decades, having met him many times throughout the years. Back in the 1980s and 1990’s, long before the polished spectacle that Watches and Wonders has become, we would sit down for lunch in Geneva and talk about everything from mechanical innovations to the art of high jewelry, his love of roses (yes, he has cultivated his own eponymous rose), his passion for merging glamour and craftsmanship and more. For me, that spirit — daring, inventive, elegant — is what I see in the Sixtie collection.

Piaget Sixtie watches

As its name implies,  Sixtie draws its soul from the 1960s, a period when Piaget didn’t just embrace fashion — it chased it, interpreted it, and often led it. This was the decade when the Maison famously sent designers to Paris Fashion Week to study couture for inspiration — a radical notion at the time.

What emerged was a series of playful and provocative pieces that blurred the line between jewelry and watchmaking. Think swinging sautoirs, gold cuffs, and gem-set watches with shapes inspired by modern art and haute couture. The 21st Century Collection of 1969 was groundbreaking — and it’s no coincidence that the trapeze case shape of today’s Sixtie first gained traction during this period.

The Sixtie feels like a time machine disguised as a jewel. At just 29mm x 25.3mm, with a 6.5mm profile, the proportions are delicate yet assertive — a reminder that femininity and strength often reside in the same form. The dial is rendered in a white solar satin-brushed finish, set with gold hour markers and baton hands. Roman numerals bring a touch of gravitas, while the gently asymmetrical trapeze silhouette evokes a breezy confidence. Inside beats the 57P manufacture quartz movement, keeping the profile sleek and feather-light.

But it’s the way the watch sits on the wrist that really tells the story. The interlaced trapeze-shaped links of the supple bracelet flow like fabric. There’s a soft radiance to it, the kind that doesn’t shout but lingers. The gadroons on the bezel — a nod to vintage Piaget models, including one owned by Andy Warhol — subtly anchor the design in the brand’s legacy.

The watch is offered in rose gold with or without diamonds, in two tone rose gold and stainless steel, and in steel  with a diamond-set bezel. It retails from $11,500 for the steel and diamond version to $13,400 for the two-tone without diamonds, $32,500 for the rose gold model and $38,300 for the rose gold watch with diamonds. Every watch boasts a supple five-row ink bracelet.

“At Piaget, a timepiece is first and foremost a piece of jewelry,” said Yves Piaget, and with  the Sixtie, that philosophy is in force. This is a watch for aesthetes, for women who appreciate nuance and style that doesn’t conform to the usual playbook. It’s retro, yes — but also radically current. Sixtie doesn’t merely revisit the past; it reframes it, offering a fresh take on glamour that feels instinctively modern.