How Pleasure Works
Decoding the Psychology of Watch Collecting with Insights from Paul Bloom
Why does a watch worn by a famous actor command millions at auction, while an identical model sells for a fraction of the price? This is not about condition or complications, but about the depths of the human psyche.
Paul Bloom’s book “How Pleasure Works” offers a new lens through which we examine the world of watch collecting. Using Bloom’s concept of psychological essentialism, this post aims to unpick our seemingly illogical collecting obsessions.
We will start with a brief book summary, then dive into the implications and insights for watch collectors.
Estimated reading time: ~ 15 mins
Book Summary: How Pleasure Works by Paul Bloom
Paul Bloom’s “How Pleasure Works” is a captivating exploration of the hidden forces that shape how we enjoy things. As I delved into it, I found my preconceptions about why we like what we like, constantly being challenged. That alone, is an idea which resonates with the watch collector within me, so I was really excited to tie the book in to watch collecting.
Bloom, a Yale psychology professor, presents a compelling argument: Our pleasures are deeply influenced by our beliefs about the essence or origin of things, rather than just their superficial properties.
This concept, which he terms “essentialism”, forms the backbone of the book, and provides a fresh perspective on human behaviour. As a watch collector, you may not have a ‘term’ for this, but I would be surprised if this doesn’t already resonate with your world view as a collector.
The Essence of Pleasure
At the heart of Bloom’s thesis is the idea that humans are natural essentialists. We intuitively believe that things have an underlying reality or true nature that isn’t directly observable. This “essentialist tendency,” Bloom argues, profoundly shapes what we find pleasurable:
“What matters most is not the world as it appears to our senses. Rather, the enjoyment we get from something derives from what we think the thing is.”
This insight resonated with me as I considered my own experiences, even beyond watch collecting. Why do I cherish a an old cup of mine, acquired more than a decade ago - over a pristine, newer, more expensive one? Bloom’s theory provides an answer: It’s not about the object’s physical properties, but the essence I perceive within it.
Bloom illustrates this concept with plenty of other examples. He discusses how people are willing to pay exorbitant amounts for celebrity memorabilia - Not because of their inherent value, but because of the perceived essence of the celebrity they contain. He cites a case when Jacqueline Kennedy’s monogrammed Tiffany & Company tape measure, the very same model that usually goes for around $150 on the secondary market, sold for nearly $50,000 in 1996. The tape measure itself was unremarkable, but its connection to Kennedy imbued it with special significance in the eyes of collectors. We will come back to this point later.
Developmental Roots
Bloom’s background in developmental psychology shines through as he explores how essentialist thinking emerges in childhood. I was fascinated by the studies he presents, especially one where children name their own drawings based on their intent rather than the appearance of their scribbles. I have witnessed this with my own kids too, and it suggests essentialism is a deep-seated, possibly innate human tendency.
In one experiment, Bloom and his colleagues asked children to draw four pictures: a balloon, a lollipop, themselves, and the experimenter. Even though young children’s drawings often look quite similar, the children consistently named their drawings based on what they intended to depict, not what the drawings actually looked like. This was intended to prove that even at an early age, we assign value and meaning based on perceived essence rather than observable properties.
Bloom also discusses how children’s essentialist thinking extends to their understanding of the natural world. For instance, young children tend to believe that a tiger dressed up as a lion, is still a tiger on the inside. This really highlighted how early we begin to look beyond surface appearances to the underlying essence of everything.
Beyond Utility
While acknowledging evolutionary explanations for basic pleasures like food and sex, Bloom pushes further. He tackles the thorny question of why humans enjoy activities with no obvious survival benefit, like art or fiction (or in our case, watch collecting).
Bloom argues our enjoyment of fiction, for example, stems from our ability to become emotionally invested in the perceived essences of characters and situations, even when we know they’re not real. He discusses how people can cry when watching movies or become deeply attached to fictional characters - this is not because they’ve forgotten these aren’t real people, but because our essentialist thinking allows us to engage with their perceived essence as if they were indeed real.
The same idea applies to art, where Bloom explores why we value original paintings over perfect forgeries. He explains it’s not about the visual experience - which would be identical of course - but about our belief in the essence of the original as a product of the artist’s creative act.
Food and Sex
In perhaps the most provocative section in the book, Bloom extends his framework to our most visceral pleasures. It will not surprise long-time SDC readers to hear that our beliefs dramatically alter our experiences. For instance, people enjoy wine more when they are told it’s expensive, even if it’s actually cheap. Bloom argues this isn’t just snobbery, but a fundamental feature of how our minds process pleasure.
Bloom cites a fascinating study where participants were given the same wine twice, but with different price tags. When told the wine was expensive, participants not only rated it as tasting better, but brain scans showed increased activity in the pleasure centres of their brains"! This is insane, and shows how our beliefs about essence can change our physical experience of pleasure.
Regarding sexual pleasure, Bloom discusses how our perceptions of a partner’s essence can profoundly affect attraction and enjoyment. He recounts cases of Capgras syndrome, a rare disorder where people believe their loved ones have been replaced by impostors. Despite the “impostor” looking identical to their loved one, the loss of perceived essence dramatically changes their feelings. This extreme example illustrates the extent to which our sexual and romantic feelings depend on our beliefs about a person’s true nature or essence - but it could also be applied to how we enjoy watches. If you bought a Rolex from an AD, and then were told by 3 reputable dealers and a watchmaker, that it was a fake - would you be able to let it slide? Or would you not rest until you got assurances from the brand that it was indeed an authentic piece? Once again; Hold that thought, because we will come back to it later.
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Art and Authenticity
The art world is as close at it gets to the world of watches, and it offers some of the most striking examples of essentialism in action. Bloom recounts the story of a Han van Meegeren painting, once celebrated as a Vermeer masterpiece. When exposed as a forgery, its value tanked - despite no change in its appearance. Bloom’s explanation, that we value original artworks as traces of creative performance, made me reconsider how I view art, and even watches.
Bloom delves into the psychology behind our preference for originals over reproductions. He argues that we value original art not just for its visual properties, but for its history; The fact that it was touched by the artist and stands for a unique creative act. This explains why people will pay millions for abstract art that, to the untrained eye, might look like something a child could produce. It’s not about the end product, but about the essence of the artistic process it represents.
He also explores the concept of “performance” in art appreciation. Bloom suggests part of our enjoyment of art comes from our perception of the skill and effort involved in its creation. This helps explain why we might appreciate a hyper-realistic painting more than a photograph of the same scene - we’re not just admiring the result, but the perceived essence of the artist’s skill and effort.
Again, I see no difference between this interpretation for art, and how collectors perceive watchmakers’ efforts in producing watches!
Imagination and Fiction
One of the most intriguing chapters deals with our ability to gain pleasure from imaginary worlds and fictional characters. Bloom’s insights into why we cry at movies or become attached to novel protagonists are both scientifically grounded and deeply human.
Bloom explores how essentialist thinking allows us to become emotionally invested in fictional worlds and characters. He argues we don’t suspend disbelief when engaging with fiction - we know it’s not real - but our essentialist cognition allows us to engage with the perceived essences of characters and situations as if they were real.
He discusses studies showing how people’s moral judgments about fictional scenarios are just as strong as their judgments about real situations. This seems to suggest, at some level, that we tend to engage with the essence of any moral dilemma, regardless of whether it’s real or imagined.
Bloom also delves into children’s engagement with imaginary friends and pretend-playing. He argues this isn’t just frivolous activity, but an important way that children explore and understand essences and identities with all the benefit and minimal consequences.
Practical Implications
I have no doubt that an improved understanding the role of essence in pleasure has real-world value. By better grasping why we like what we like, we can potentially enrich our enjoyment of art, relationships, life experiences, and even watches!
Bloom suggests understanding essentialism can, amonst other things, help us enhance our pleasures. For instance, learning about the history and context of an artwork can deepen our appreciation of it. Similarly, understanding the craft behind a fine wine or a complex dish can increase our enjoyment of it. We will get into watches in the next section.
He also discusses how this understanding can be applied in fields like marketing and education. For example, highlighting the unique history or process behind a product can increase its perceived value. In education, connecting abstract concepts to meaningful essences or narratives can make them more engaging and memorable for students.
Pre-Conclusion
This is not the end of the post, just the end of the ‘book review’ section. “How Pleasure Works” is a truly thought-provoking read that challenges us to reconsider how we enjoy things. While Bloom doesn’t dismiss cultural influences or evolutionary explanations, he presents essentialism as an explanatory framework for how we interpret human pleasure. I’ve got to say, it’s rather compelling.
Bloom’s work basically reminds us that our enjoyments are neither arbitrary nor purely sensory, but rich with unseen significance. It’s a perspective that not only illuminates human behaviour, but also offers the tantalising possibility of deepening our own pleasures in life - this mind map might help!
Applying Paul Bloom’s Insights to Watch Collecting
Imagine two nearly identical watches. Both seem decent. They both keep good time, and likely offer the same wearing experience in terms of comfort and fit.
Yet one watch sells for £500. The other fetches over £100,000 at auction.
Why?
The answer does not lie in engineering or aesthetic reasoning, but in the murky waters of human psychology. Specifically, it resides in Paul Bloom’s “essentialist” way of thinking: Our tendency to value things based on their perceived history and essence (branding, importance, historical significance etc) rather than just their observable characteristics.
The Invisible Essence of Watches
Bloom argues humans are natural essentialists. We instinctively believe that objects have hidden, non-obvious properties that make them what they are. This essence isn’t about physical characteristics, but about origin, history, and perceived authenticity.
When it comes to watches, I feel this essentialist thinking runs rampant. Consider vintage Rolex Submariners. Two examples from the same year, in identical condition, can vary wildly in price based on subtle differences in dial text or bezel colour. These variations don’t affect function, but collectors perceive them as windows into the history and production process of these watches.
As Bloom might say, we’re not just buying a watch, we’re buying a story.
Bloom writes: “Part of the pleasure is the belief that we’re wearing something with the right sort of history,” and I am sure you will agree, this sentiment applies perfectly to watches. Just like the Tiffany & Co tape measure, a watch worn by a famous explorer or movie star becomes imbued with their essence in our minds, elevating its perceived value far beyond its worth as a simple mechanical watch.
There is perhaps no better example than the Rolex Daytona worn by Paul Newman. When it sold for $17.8 million in 2017, it wasn’t just the watch itself that commanded such a price, but the story and essence of Newman that it carried.
The Performance Behind the Piece
One key aspect of Bloom’s theory is that we value original artworks because they represent traces of creative performance. We’re captivated not just by what we see, but by our beliefs about how it came to be.
This idea resonates powerfully for watch collectors too! Hand-finished movements, meticulously applied enamel dials, and other artisanal techniques are prized not just for their beauty, but for the skill and effort they represent.
When you peer through a loupe at the smooth finishing on a Dufour movement, you’re not just admiring metal - you’re imagining the master craftsman hunched over his bench, wooden sticks in hand, perfecting each angle with decades of accumulated expertise.
Consider the intense fascination with independent watchmakers like F.P. Journe or Roger Smith. Their watches aren’t just valued for their technical merits, but for the direct connection they provide to the craftsman’s storied past (or their mentor’s!). Even someone like Max Busser, who isn’t even a watchmaker, leverages this psychological theory to endear himself to collectors with his captivating and emotional storytelling. You are literally buying into the dream he is selling - the watches happen to be the tokens which connect people to these emotions.
The Authenticity Premium
Bloom’s research shows people derive more pleasure from objects they believe to be authentic, even if they can’t perceive any difference. This explains phenomena like the premium placed on “box and papers”, or the obsession with period-correct components among collectors of vintage watches.
A 1960s Omega Speedmaster with all its original parts might be functionally identical to one with replacement parts, but the former will command a significant price premium. Why? Because collectors perceive it as more “authentic” - closer to its original essence.
This phenomenon extends to more recent watches too. The furore over “ghost” Rolex Pepsi bezels - where the blue half fades to a greyish hue - demonstrates how collectors value perceived authenticity and unique histories. I suppose this dynamic is exacerbated by the rise in frankenwatches and fake parts flooding the market - these make original watches with flawless provenance all the more attractive, and this means even if you do find an original watch in good condition, the provenance will come with a hefty premium because it is in low supply. Bringing us back to the ‘value’ of “box and papers” once more! Speaking of provenance…
The Power of Provenance
Perhaps nowhere is the influence of essentialism more apparent than in the context of important historical watches. Take the Patek Philippe Henry Graves Supercomplication. This pocket watch, commissioned by the eponymous banker in 1925, sold for a staggering $24 million in 2014.
“In my opinion, the $24 million price of the Patek Philippe Supercomplication isn't really a testament to its real value, but rather a testament to the remarkable appeal in fantasy of the unattainable and the unique. There are some comparable timepieces, although none quite like the Supercomplication. In many regards, the story of the watch is as valuable as what many would consider its intrinsic value as a very complicated, very rare type of watch. What the anonymous bidder was really buying is the privilege of owning the accumulated effort of one of the world's most impractically amazing gadgets.”
Was it the most accurate watch ever made? No. The most beautiful? Debatable. But its unique history - the story of its creation, its famous owner, its place in horological innovation - bestowed this piece with an essence that collectors find irresistible.
As Bloom might argue, the pleasure derived from owning such a piece comes not just from its physical properties, but from the connection it provides to horological history.
The Limits of Logic
Understanding essentialism can help us explain certain irrational behaviours in watch collecting. Why do some enthusiasts insist on never polishing their vintage pieces, preserving every scratch and ding? It is not about maintaining resale value - it’s about preserving the perceived essence, or accumulated history of a watch.
Similarly, the fascination with “tropical” dials which have faded or discoloured over time, or “spider” dials which are essentially damaged/cracked dials, speaks to our essentialist thinking. These imperfections are different types of damage. They should really devalue the watches. As it happens, the opposite is true. They not valued for their aesthetic appeal alone, but for the story they tell about the journey of that watch through time.
The recent trend of “reissue” watches, where modern brands recreate the aesthetics of their historical models, further illustrates this point. Collectors are drawn to these pieces not just for their looks, but for the connection they provide to horological heritage.
Enhancing Horological Pleasure
Bloom’s insights also support something I have been saying recently as well; That we can potentially increase our enjoyment of watches by deepening our understanding of their history and creation. As I wrote in a recent essay:
“As I reflect on this experience, I can’t help but feel a deep sense of appreciation for the passion, skill, and dedication of the people who make this industry what it is, and the friends I have made along the way.”
By learning about the effort and processes behind the creation of a watch, we’re not just gaining knowledge. We are enriching our perception of its essence, and thus, enhancing our pleasure in ownership.
This concept aligns with my calls for the increasing transparency in the watch industry too. Brands who offer extensive manufacture tours are tapping into this desire for deeper connection and understanding. Some larger brands (like Patek Philippe and Vacheron Constantin) reserve these experiences for only the biggest spenders - which is foolish to say the least.
Conclusion
Paul Bloom’s theory of pleasure as rooted in essentialism offers a compelling framework for understanding the seemingly illogical world of watch collecting. It helps explain why we cherish watches, with reasons that go far beyond timekeeping, and why the stories behind our watches can be as valuable as their mechanisms are sophisticated.
The next time you find yourself captivated by a particular watch, take a moment to reflect. Are you admiring its physical beauty and technical prowess alone, or are you, perhaps subconsciously, responding to its perceived essence - the invisible aura of history, craftsmanship, and human ingenuity that it represents?
In the end, the true pleasure for watch collectors may lie not just in the watches themselves, but in the stories we believe they tell, and the connections they allow us to make across time and human achievement.
As Bloom would probably say… the essence of a great watch is more than the sum of its parts - it’s the intangible allure that makes our hearts beat a little faster every time we look down at our wrists.
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Interesting topic(s), per usual; a few thoughts:
The essay brought to mind this book, of which I have a copy - https://www.goodreads.com/en/book/show/836365.Quintessence
To extend the thinking a bit further, think about how hard it is to divorce the cultural baggage of a particular item from its form, or even its myth. I’m not talking about a *particular* watch (or car or …) that is accorded talismanic properties by a previous owner, but rather the status and esteem accorded to certain coveted consumer goods by decades (or longer) of historical momentum.
Can anyone truly evaluate the merits of a Porsche 911 without falling back on cultural baggage? How would the 911 be viewed today if the 928 had usurped it (as was planned)? What if the line had ended with the 993 (the final air-cooled model)? Would Singer exist today? Would Porsche exist today??
I am confident that Mies van der Rohe had multiple chair designs in mind when he furnished the Barcelona pavilion. Let’s say he went with another option … would that alternative chair have become as “iconic” as the actual Barcelona Chair itself?
To bring things back to watches … what if Patek really lays an egg with the forthcoming Cubitus? What if it looks like this beauty - https://hypebeast.com/2021/4/genius-genta-watches-royal-oak-nautilus-hybrid? How many commentators will be seduced by the august name on the dial in the stead of cohesive, enduring design as a manifestation of horological excellence?
And a final comment on dials! De gustibus non est disputandum, there’s an ass for every seat, etc … but the prevailing belief that the addition of a common ecdysiast’s name (Tiffany) to the dial of a Patek Philippe enhances the timepiece’s value baffles me! When I think of “Tiffany” I think of baby rattles and fanny packs clanging inelegantly against the prodigious FUPAs of charmless tourists buying little blue boxes containing attainable charm bracelets on their annual pilgrimage to “the City.” This controversial opinion was strengthened immeasurably by Kelly Yoch’s recent appearance on The Collectability podcast - she came across as crass, inelegant, and overtly commercial. So perhaps a good fit for her antepenultimate employer, but not for association with Patek Philippe.
Nice weekend read!! This has become a Saturday morning ritual for me, cup of coffee, SDC..
While Paul Newman adds value to a Daytona, are there similar examples in the art world? I couldn’t think of it.. like would a Picasso be 20 times more expensive if Elizabeth Taylor owned it, or ‘defiled’ it by signing on the back or leaving a message… what about in the world of cars or just houses/estates. I know the latter does make a difference but is it really to the 50x levels that can be seen with the Daytona or the Tiffany tape measure?