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Beyond the Dial: The Memorigin Presentation
A presentation box, a collector’s object and a thoughtfully chosen strap extend Memorigin’s design work beyond the face of a watch.
The dial may be the first thing we remember about a watch, but it is not the whole encounter. Opening a box, choosing a strap and putting the watch away each create another moment with the object. At Memorigin, these surrounding details can continue the idea that began on the dial.
Presentation also has a human side. Memorigin’s October 2026 racing-community report records a watch presentation at an anniversary gathering. The open box turns viewing into a shared moment between the brand and its recipient.
A visual world around the watch
During the retail downturn in 2020, William Shum, JP, told Wen Wei Po that he was using the quieter period to renovate the company’s premises. He saw a showroom as a way to express the brand’s ideas to visitors and support its international ambitions. The same question applies to a watch box and a room: what does a person notice first, and what invites them to look again? Source
The official photographs for Memorigin’s Andyhood project show an open presentation box beside a vivid, characterful outer design. The colours and graphic vocabulary relate to the street-art language of the watch. The object has a setting that prepares the eye for what is inside.
The photographs of FaLaLa Tourbillon, introduced in late 2025, offer a different mood. Its presentation combines a restrained watch box with the outline of the original character on the surrounding packaging. The illustration gives the collaboration a recognisable presence before the watch reaches the wrist.
These examples show how presentation can contribute without competing with the timepiece. The exterior carries the project’s visual identity; the interior allows the watch to become the focus. A considered relationship between the two makes the act of opening feel like part of the same design.
A film remembered in another object
The December 2024 introduction to the BGM King of Comedy Tourbillon included a specially designed clapperboard bearing Stephen Chow’s autograph. Its relevance is immediate: the film-set vocabulary already appears on the watch, in details such as clapperboard-inspired hands and studio-light hour markers.
The accompanying object gave that theme a second scale. A motif reduced to a small hand on the dial could also be encountered as a familiar piece of filmmaking imagery. The connection made the presentation specific to this project rather than interchangeable with any watch.
For Memorigin, the interest is in the coherence of those choices. A collaboration becomes more convincing when its surrounding details understand the same subject as the watch. The collectible belongs to the published 2024 project, with its own terms and moment in the archive.
The detail that remains in contact
The strap introduces a more continuous relationship. Memorigin’s April 2025 partnership with HIRSCH focused on an ARNE textile made with SEAQUAL yarn and a rubber backing. HIRSCH’s own description identifies recycled PET and its caoutchouc core, bringing a specialist material perspective to the project.
Colour, texture and the underside of a strap all affect how a watch is encountered. These are details the wearer returns to through use, rather than only through display. They complete the watch in a different way from a presentation box.
Seen together, the box, the project-specific object and the strap show how far a design idea can travel. Memorigin’s presentation becomes a succession of small, related encounters: opening, looking, fastening and wearing. The watch remains at the centre, with its story continuing around it.
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