Creating a shade is a real work of art and Parmigiani Fleurier’s signature Abyss blue is no exception. Despite the many previous successes of the manufacture’s master dial-maker, it remains conscious to come up with a unique color; the initial bright orange turns into an almost rust-colored brown, then tones of purple make an appearance followed by aubergine nuances and blue, to finally morph into the famed Abyss blue.
At this year’s edition of the Salon International de la Haute Horlogerie, the Swiss watch manufacture will showcase its much-awaited Tonda Métropolitaine and Tonda Métrographe. Featuring a new range of movements entirely manufactured by Parmigiani Fleurier, these watches represent an industrial achievement for the brand. In addition, the watchmakers have created one-piece designs to decrease the settings required in case of malfunction.
Calibers are handmade as well as the finishing touch at the end of the timepiece’s creation process, giving it an effect that cannot be reproduced by machines. Industrial expertise, watchmaking and craftsmanship meet in this movement and reside at the heart of the Métro collection.
Both the men’s and women’s versions of this round steel timepiece reflect a sense of elegance through their long proportions. The modern and urban design is more refined than the brand’s other classics and reminiscent of the Tonda 1950. Using the principle of contrast, the aesthetic of the Métro dial highlights a particular aspect of the piece.
The chronograph in the men’s Tonda Métrographe stands out by its complication that accentuates its minute and hour counters. The white dial version is supplied with grey counters and a blue disc, while the black or Abyss blue dial versions are outlined with Superluminova material.
Feminine curves are highlighted in the Tonda Métropolitaine to soften its modern lines. The long case is contrasted by the dial’s “flinqué” finishes that take the form of undulating waves.
Scroll through the Photo Gallery to take a closer look at Tonda Métrographe timepieces.
Mirella Haddad
