Nº 1953 is one part from a diptych of watches (to sit with Emmeline). Elegant, sophisticated and considered classic men’s watches.


  • Launched 13:00 Thursday, 13 September 2018.
  • Head dimensions: 37.5mm width x 43mm length x 12.5mm depth.
  • Citizen 9015 automatic calibre / Swiss-made Ronda 513S quartz movement.
  • Limited to only 125, 100, 25 and 1 watch(es) depending on colour.
  • Serial numbered watch back, screen print & book.
  • Grade 316L stainless steel.
  • Custom numbered enamel screw down back.
  • Signature red crown with embossed WT Author trademark.
  • Sapphire crystal lens.
  • Milanese band and / or handmade Italian leather strap fitted with stainless steel buckle.
  • Recyclable packaging with exclusive artwork.
  • 2-year limited product warranty.
  • Built in Britain with British and imported parts.
  • One time manufacture. Once it’s gone it’s gone.

Classic Men’s Watches Intro:


Our limited edition classic men’s watches are available with the sixth chapter of WT Author’s book and comes accompanied by a signed limited edition print with corresponding number.

Launched Thursday, 13 September 2018 at Blenheim Palace, Nº 1953 by WT Author is currently available for general sale through our store from £350.


Launched Thursday, 13 September 2018. Nº 1953 classic men’s watches are set thirteen years after WT Author’s fifth collection. It marks the coronation of Elizabeth II on 2 June 1953 at Westminster Abbey, London. Our signature silhouette adopts a sophisticated aesthetic by referencing dress watches from the time. Each watch is finished beautifully with a refined 20mm handmade leather strap. Or choose a silver-tone stainless steel Milanese bracelet instead.

Utilising a combination of matt and highly-polished surfaces. The classic men’s watches measure 37.5mm across, 43mm high including the lugs with an overall case depth of 12.5 mm. The dials utilise applied faceted indices taking influence directly from those of the 1950’s and are enhanced with Author’s unique shape. Each finished product utilises a bespoke dial design that brings a subtle knurled textures, combined with traditionally formed custom-made hands. The classic watches for men have been modernised with a bespoke “casino chip” enamel screw down back, and signature red aluminium crown embossed with our brand’s iconic trademark.

Each Nº 1953 Milanese bracelet is constructed from fine-knit stainless steel therefore harking back to 1950’s mesh jewellery. It is stamped from sheet metal and stitched together. This makes it a far more economical process than that of traditional bracelets. It represents a dressier alternative to our raw leather straps

Each Nº 1953 leather watch strap has been handmade in Britain using vegetable tanned dyed through shoulder. The rich colour which is treated with waxes and oils offers a distressed effect which lightens in colour when folded or turned. The natural grain is left intact to show all the growth marks and unique character therefore giving a distinctive antique look with this mellow feeling skin. The strap has been designed and manufactured to fit a 20mm lug width with an overall thickness of 3mm and is embossed with the WT Author ‘A’ trademark. Each strap is completed with a polished stainless steel buckle and finished with rounded, burnished strap edges.

Classic Men’s Watches: Chapter 6 of 13

His fingers trace the seam which runs across the shoulder-line of the shroud tunic, feeling for the slightest imperfection. There is none.
He obsesses at a level of detail beyond the comprehension of others and so an item like this – simple and reflecting the piety of the position – is a challenge to accomplish. Much as an empire is forged from the domestic strength of a nation, so the shroud tunic forms the foundation of the entire ensemble. Without it, the remaining pieces will fail to flourish.

In a matter of days the eyes of the world will gaze on these very garments during the coronation of a Queen. As the people welcome their new monarch to the throne, his secrets will be enshrined in the annals of time. There is no room for mistake.

The shroud tunic will be worn after the anointing ceremony and largely covered by an item contrary in style, but no less integral to the whole: the supertunica.

He arranges the supertunica over a mannequin of her dimensions. Immediately the gold thread catches the light from the grand sash windows and dazzles, as if alive with an organic energy of its own. The corners of his mouth twitch, betraying his satisfaction with the garment. The shuttle-woven fabrics of the brocade have been worn by her father and grandfather and the design has changed little since the medieval coronations. Nobody would notice his alterations, he was sure of that. At least, not until intended.
Once the shroud tunic and supertunica are adorned, the Queen is invested with her iconic regalia. Such items are on constant public display.

He has had access to most, through maintenance and so forth, but he has been forced to craft his own versions which deviate subtly from the originals and will be substituted in at the critical moment.

The gold spurs can be traced back to the coronation of Richard the Lionheart. For generations they were attached to the ankles of the monarch during the investment of the regalia, but in this instance they will be presented and laid on the altar to be admired. He has replaced the velvet straps so as to better showcase the Tudor roses, cast in gold on the body of the spur itself.

The spurs derive directly from the ceremony of knighthood and symbolise a brave constitution required of the head of state. Such a quality will be in high demand soon, he thinks. If only they knew.

The jewelled Sword of Offering is perhaps the item decorated most directly with symbols of the Union: roses, thistles and shamrocks. The original royal goldsmiths, Rundell, Bridge and Rundell had unsurprisingly forged their own agenda into the style of the quillons. It had taken him some time to reinterpret these for the modern requirement, but he was now satisfied that his essential messages would be decipherable by his intended audience – whomever that may be.

Perhaps most symbolic of all the regalia invested is the coronation glove. He has crafted it at the behest of The Worshipful Company of Glovers. It seems we operate here in legend, the glove itself has accrued over the years a legend of its own and fitting of the occasion. It is understood that its origins can be traced back to a dream experienced by Edward the Confessor relating to a punitive tax on the poor.

The following day he repealed the tax and from that moment the glove was incorporated in future coronation ceremonies. Just before the Sceptre of Kingly Power is placed in the sovereign’s right hand, this single glove is laid there as reminder that all power associated with the position should be exercised with gentleness and empathy.
Central to the entire plan and critical to its success is his reinvention of the sovereign’s sceptre. In this instance he has created a direct duplicate, completely indistinguishable from genuine artefact. The original comprises of a decorative gold rod, formed in three sections, with enamelled collars at the intersections. A heart-shaped structure encases a spectacular diamond, weighing 530.2 carats. The stone was a result of the great ‘Cullinan Diamond’ – the largest diamond ever discovered – and was cut by three men over eight months. It was named after Thomas Cullinan, the Chairman of the Premier Diamond Mining Company and presented to Edward VII to heal the rift between Britain and South Africa after the Boer War. His own version of the sovereign’s sceptre is identical in every minute detail, except one: his diamond is hollow. When the time comes, the contents will become known.

And so his components are perfectly and painstakingly arranged. Global attention will once again turn in a singular direction and he will write his hidden agenda into the script of time.

They will not know his sacrifice.
They will not know how close they have come.
They will not know.

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Nº 1940 Pilot Watch

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