Plaza Watch International - - Sihh Roundup -

First came the crys­tal back – all the bet­ter for watch­mak­ers to show off the artistry in their move­ments. So why not a crys­tal dial too? The Squelette (such a great word) edi­tion of Parmi­giani’s Tonda 1950 of­fers that, with only a rim of metal to cover up where the lugs at­tach the case. The re­sult, of course, places dou­ble the em­pha­sis on the hand-made open-worked ge­om­e­try, curves and cut-outs of the skele­ton move­ment – of which the mak­ers are acutely aware. It has, for ex­am­ple, moved the plat­inum mi­cro-ro­tor to the sur­face of the watch, up from the back, and given it a dec­o­ra­tive pat­tern taken from the pro­file of Parmi­giani’s sig­na­ture lugs. Even the brand’s badge has been dis­pensed with, re­duced to a trans­fer of the com­pany name and tucked away along the top rim. There’s a nice touch for the women’s ver­sion of this watch too – though it is quite un­clear what, a slightly smaller size aside, makes this any more or less fem­i­nine than the men’s watch. Rather than the lat­ter’s crys­tal-clear dial, the women’s comes frosted, the in­ten­tion be­ing to soften, and per­haps beau­tify, the view of the move­ment. Parmi­giani hasn’t gone so far as to build in a light source – maybe a ring of Su­per­lu­mi­nova would work – but lit from be­hind the effect is to bring the shapes of the move­ment to the fore, in a way that’s akin to shadow play. It’s much as the cin­e­matog­ra­phers of Hol­ly­wood’s golden era rubbed Vase­line over the lens when shoot­ing their star­lets, giv­ing them a cer­tain mys­tique in the process. JS

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