There are few people whose names feel as closely tied to Patek Philippe as Tania Edwards. Over the course of her career, she’s helped define how the brand is seen, spoken about, and—most importantly—collected. Tania spent over three decades in various roles related to the watchmaker, first as Senior Vice President of Marketing in the U.S., and later as a Special Projects Consultant. She’s also held roles at Christie’s and Bremont, and today co-leads Collectability, a platform dedicated entirely to vintage and pre-owned Patek Philippe watches. Her perspective blends hard-earned experience with a genuine, ever-curious love for horology.

In this edition of Come Collect, Tania shares the story behind her first Patek, the iconic campaign that changed everything, and the lessons she’s learned about collecting throughout her career in watches to date. 

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In Conversation with Tania Edwards

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Isaac Wingold: What was your first watch, and what’s the story behind it?

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Tania Edwards: The first one I remember was a bright pink, plastic, quartz watch I got as a child—nothing fancy, but I was obsessed with it. My first Patek didn’t come until much later, in the mid-'90s. It was a Ref. 4860, which I bought while working in the New York office. I had seen something similar years earlier as a student visiting Geneva, and it had stuck with me. When that reference came out, I didn’t hesitate. It felt like a personal milestone.

IW: What’s on your wrist today?

TE: Today it’s a Gondolo Ref. 4824/1. It’s elegant, and just sparkly enough thanks to the factory-set diamond dial. It’s not a loud watch, but it makes an impression—refined and a little unexpected. I like that combination.

‍IW: Do you remember your first real introduction to Patek Philippe?‍

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TE: Yes, vividly. I was in university and tagging along on a low-budget trip through Europe with my boyfriend at the time. His dad was a Swiss watchmaker, which is probably why we ended up making an unplanned stop in Geneva. I didn’t quite know what to expect until we were suddenly standing outside the Patek Philippe salon on Rue du Rhône. I glanced down at my outfit—jeans and a very lived-in t-shirt—and mumbled something about not being dressed for the occasion. He just smiled and said, "It’s Patek. Of course we can."

We walked in and were warmly welcomed, which was a pleasant surprise. My boyfriend asked the staff to walk me through the collection, and they were kind enough to do just that. It was a gracious, unpretentious moment that stuck with me. As we stepped back out onto the street, I turned to him and said, probably half-joking, "One day, I’m going to own one." Turns out, I meant it.

‍IW: You spent over three decades working with Patek Philippe. What first brought you to the brand, and how did your role evolve?

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TE: It actually started through a PR agency. I was assigned to Patek’s 150th anniversary campaign and ended up getting to know the Stern family through that work. A few years later, after some time away, I reached out for advice on working in the watch world more permanently, and to my surprise, they offered me a role. I joined the team as Marketing Director for the U.S., and over time, my role expanded. Eventually, I oversaw marketing efforts nationally and later focused on special projects. It never really felt like a traditional job, it was more like stepping into a world I already felt a deep connection to.

IW: You helped introduce Patek’s iconic "You never actually own a Patek Philippe..." campaign. What do you remember about that moment?‍

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TE: I’ll never forget the day we saw the line for the first time. We were looking for something that spoke to emotion, not just luxury. When Leagas Delaney presented it, I got choked up. Philippe Stern just nodded and said, "C’est bien," and that was it. It still gives me chills.

And the message has always felt true to me. When my children were born, I set aside a watch for each of them—a Ref. 4900 Pagoda. 

IW: How has your professional experience influenced the way you collect?

‍TE: It’s changed everything. The more you know, the more you appreciate. With Patek, especially, there’s always more to learn—Philippe Stern once told me that no one knows everything about the brand, not even he. That’s definitely stayed with me over the years.

I’ve developed a soft spot for the unconventional pieces, especially the asymmetrical designs by Gilbert Albert. I’m fortunate to own two pocket watches, a Ref. 788/1 and 789/1 and I’d love to own a Ref. 3424, but that’s out of my price range! They’re incredibly expressive.

‍IW: You’ve seen the watch world evolve. What shifts have stood out most to you?

TE: The biggest one? Age. When I started, most collectors were older and marking significant milestones. Now, collectors are much younger, more engaged, and more curious. Social media, podcasts, publications—it’s all made watches more visible and the conversation much bigger.

And I’m thrilled that smaller watches are making a comeback. There’s so much elegance in restraint.

IW: Is there a watch you’ve always wanted but haven’t added to your collection?

TE: The Ref. 3940 Perpetual Calendar. It's timeless, beautifully balanced, and full of quiet presence. Knowing Philippe Stern wore one adds a lot. And yes, I'll say it again, I’d still love to have a Gilbert Albert Ref. 3424 someday. They’re like miniature sculptures.

‍IW: In addition to Patek, you’ve worked at Christie’s, Bremont, and now Collectability. How have those perspectives shaped how you collect?

TE: Each one offered a totally different lens. At Christie’s, it was all about condition and provenance. Bremont gave me insight into building a brand from the ground up. Collectability brings it all full circle—it’s about education, trust and transparency, which matter so much to me.

However, across all of it, the constant remains this: the more you know, the more meaningful collecting becomes. Especially with Patek. There’s always another layer, and that’s what keeps it exciting.

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PSA: Watch Collectability's site closely for a special announcement, arriving on May 6th, 2025

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