NEW Factory

NEW Factory Background

NEW Factory did not enter the replica watch market through the traditional path of a completely independent new maker rising from zero. Based on publicly available forum discussions, retail-side materials, and the way the market refers to it in circulation, the name “NEW” is better understood as a factory label that was re-recognized by the market on top of an existing high-complication route, rather than a completely unrelated new identity. In current public discussion, the connection between NEW and BBR is mentioned repeatedly, especially in the Roger Dubuis Excalibur and Richard Mille RM35-01 lines. This continuity has almost become the foundation of how the market understands NEW Factory.

From a timeline perspective, NEW Factory began entering clearer public market view mainly after 2023. In Roger Dubuis-related discussions, BBR had already left a visible trace in the Excalibur tourbillon category, and later public threads gradually began using expressions such as “New Roger Dubuis Excalibur,” with “NEW Factory” being treated as a separately recognizable name. By around 2025, public discussion around topics such as “BBR is NEW Factory” and “NEW Factory RM35-01” increased further. That suggests NEW did not remain only a short-term seller-side label, but had already entered the open comparison environment of players and forum communities.

In terms of product direction, the two clearest lines associated with NEW Factory are Roger Dubuis Excalibur tourbillons and Richard Mille RM35-01 / RM35-02 high-attention sports tourbillon themes. This product structure is highly revealing, because it shows that NEW did not take the route of basic mass-production models, nor did it enter through popular steel three-hand references. Instead, it built recognition directly around subjects defined by high display value, high structural difficulty, and strong mechanical visual impact. Roger Dubuis himself is not an easy category to scale in the replica market. It depends on case layering, open-worked dial presentation, large aperture structure, and tourbillon display effect. Richard Mille RM35-01 / RM35-02 then adds demands such as NTPT texture, tonneau-case architecture, lightweight visual identity, skeletonized structure, and a strong sense of motion. The fact that NEW continues to be mentioned in both categories already shows that it is not operating on an ordinary entry-level logic.

Within the Roger Dubuis line, NEW Factory’s presence is especially visible. Public forum materials show that BBR had already built a noticeable market trace in the Excalibur tourbillon subject, and later discussion around Roger Dubuis gradually began using “NEW Factory” as the continuing label for that line. In other words, NEW’s market foundation in Roger Dubuis was not built from a blank starting point. It is better understood as a continuation and relabeling of BBR’s earlier high-complication route. This kind of evolution is not unusual in the replica market, especially among factory systems that already carried some recognition in high-complication, niche, high-end subjects.

On the Richard Mille side, the most easily recognized NEW Factory references are currently the RM35-01 / RM35-02. Public discussion has already tied NEW Factory directly to the RM35-01, and some players explicitly interpret it as “BBR under a new name or in a new phase” in this direction. This matters, because the RM35-01 / RM35-02 belongs to one of the most closely examined categories within the RM system. It requires convincing case contour, texture language, movement presentation, and an overall strong dynamic feel. NEW Factory’s entry into this subject shows that it did not choose a conservative route. It moved directly into one of the most demanding and most closely watched directions.

In terms of factory character, NEW does not fit the profile of a traditional “basic mass-production factory.” It has not shown the kind of path built around high-volume output of the safest mainstream base models, nor has it developed into a broad multi-brand structure. A more realistic understanding is that it is a specialized factory that builds recognition around high-end tourbillon themes, open-worked structures, and strong mechanical visual presence. The overlap between Roger Dubuis and Richard Mille here is very clear: both depend on case engineering, skeletonized dial architecture, material layering, and overall display effect, rather than the standard replication logic seen in traditional steel-watch markets, where the focus is more on case proportion, bezel fonts, bracelet integration, and date-wheel details.

For that reason, NEW Factory should not be described as an all-purpose top factory. A more accurate definition is that it is a mid-to-high-end to high-end specialist factory with a visible continuity to BBR, rebuilding market identity around Roger Dubuis and Richard Mille tourbillon subjects. Its strength does not lie in wide coverage, but in the concentration of its product direction. Once the discussion turns to Roger Dubuis Excalibur tourbillons or RM35-01 / RM35-02 high-display Richard Mille themes, the name NEW begins to enter the conversation. That kind of market path may not be wide, but it creates strong recognition.

From a more realistic perspective, the “historical weight” of NEW Factory does not come from how long it has existed under that exact name, but from its continuity with the earlier BBR system. The market accepted the NEW label relatively quickly not because it was rebuilding recognition from zero, but because in many public contexts it was understood as a new-stage continuation of BBR’s earlier route. That also explains why, once NEW appeared, market attention immediately centered on Roger Dubuis and Richard Mille rather than on whether it could produce basic entry-level references. In the replica industry, this kind of factory evolution through renaming while continuing an older route is not unusual. Whether the market truly accepts it depends on whether the factory retains the completion level and recognizability of the earlier subjects.

Overall, NEW Factory is best defined not as a newly expanded multi-brand general factory, but as a mid-to-high-end to high-end specialist factory with a clear continuity to BBR, rebuilding market identity around Roger Dubuis and Richard Mille tourbillon themes. Its presence was not formed through wide product rollout, but through a small number of highly display-oriented, visually aggressive, and craftsmanship-heavy high-end subjects. That factory path is not loud, but it is much closer to the real market than vague narratives about the “rise of a new factory,” and it fits the actual circulation logic of high-complication replica subjects.