15 Days Clock by Lalique
Parmigiani Fleurier has joined forces with the prestigious French master glassmaker Lalique for a new interpretation of the Clock 15 Days, a marvel of clock mechanics encased in the very finest crystal.
This exclusive Clock 15 days limited edition is available in three different crystal colors: classy white, deep blue or red. For each version, Parmigiani will be producing 15 pieces in total, with a rhythm of 5 clocks per year till 2015. Unveiled in 2012, the Clock 15 days lays bare the stark architecture of its movement and the beauty of its transparent finish behind five rock crystal panels. Keen to augment the considerable aesthetic beauty of this piece, Parmigiani Fleurier has joined forces with Lalique, experts in fine crystal work, to create an exclusive limited edition version featuring a Lalique crystal to enhance the clock’s exquisite contours.
For Lalique, the challenge of this project was precisely the opposite: the surfaces of the clock’s five panels are much smaller and thinner than the threshold generally tolerated for working crystal. This delicate art, at which Lalique excels, requires the subtle alternation of heating and cooling to produce a pure crystal with no air bubbles. Working crystal of minimal thickness, as required for the panels of the Clock 15 days is no mean feat. The crystal is adorned with Lalique’s characteristic motif: theCoutard fountain. Invented by René Lalique in 1935, this panel design, which represents a spray of water droplets, is reminiscent of both Art Nouveau in the close arrangement of the drops and Art Deco in their rounded shape. The end of each droplet is worked to achieve an exceptional shine, creating an extraordinary contrast with the satin-finished crystal on its flat surface. A powerful symbol of life and rebirth, here the Coutard fountain is associated with an ageless Table Clock – a reminder that the possibilities for reviving the great classics are truly
This project was a feat of high precision workmanship from two great artisan companies. For Parmigiani Fleurier, this table clock represents gigantic dimensions, particularly in terms of its mechanics. Accustomed to minuscule watch components, the watchmakers at Parmigiani Fleurier had to shift their focus to a larger order of magnitude and, as a result, relearn much of their craft. To work standing up rather than sitting down, to swap tweezers for fingers, and reliance on the watchmaker’s magnifier rather than the naked eye. Most important was rediscovering the “pure movement” for each operation to develop a subtle touch suited to a world of giants.
For Lalique, the challenge of this project was precisely the opposite: the surfaces of the clock’s five panels are much smaller and thinner than the threshold generally tolerated for working crystal. This delicate art, at which Lalique excels, requires the subtle alternation of heating and cooling to produce a pure crystal with no air bubbles. Working crystal of minimal thickness, as required for the panels of the Clock 15 days is no mean feat. The crystal is adorned with Lalique’s characteristic motif: theCoutard fountain. Invented by René Lalique in 1935, this panel design, which represents a spray of water droplets, is reminiscent of both Art Nouveau in the close arrangement of the drops and Art Deco in their rounded shape. The end of each droplet is worked to achieve an exceptional shine, creating an extraordinary contrast with the satin-finished crystal on its flat surface. A powerful symbol of life and rebirth, here the Coutard fountain is associated with an ageless Table Clock – a reminder that the possibilities for reviving the great classics are truly
Mars 2014
