Illustrating the spirit of music through marquetry work – such was the challenge that Parmigiani Fleurier embarked upon. This year the brand is unveiling three astounding creations. Two Tonda Tourbillon wristwatches and a table clock which dials evoke the world of musical art and represent a new quest for excellence.

In order to project a colourful and musical dynamism, Parmigiani Fleurier has turned for the first time to the refined and delicate art of marquetry. This truly ancient process consists of cutting out and assembling veneers – wooden veneers in this case – on a flat surface in order to create a highly meticulous decoration.

A true mosaic of colours, marquetry brings out the musical character of each of the three pieces and celebrates the Fleurier-based company’s long-standing commitment to modern musical culture.

These three timepieces are an illustration of watchmaking excellence, but also of the boundless creativity of Parmigiani Fleurier. They express a genuine endeavour to promote the ancient and rare work of craftsmen; to ensure that traditional arts and crafts always have their place in the Swiss watchmaking scene.

Movement	:	PF 510 hand-wound
FunctIons	:	Hours, Minutes, Central second. One week power reserve indication. Tourbillon.
Case	:	3-part round
Diameter	:	Ø 42 mm
Thickness	:	11.5 mm
Material	:	18 ct rose gold
Finish	:	Polished
Water resistance	:	30 m
Crystal	:	Anti-reflective sapphire
Bezel	:	Engraved "Gibson motif"
Crown	:	Ø 7 mm
Case-back	:	Sapphire crystal Individual number, “MODELE UNIQUE”, “MJF” and “USA” engraved on the case-back
Dial	:	Special dial with Gibson motif in wood marquetry
Bracelet	:	Leather Hermès alligator strap
Folding buckle	:	Polished finish

Movement	:	PF 510 hand-wound
FunctIons	:	Hours, Minutes, Central second. One week power reserve indication. Tourbillon.
Case	:	3-part round
Diameter	:	Ø 42 mm
Thickness	:	11.5 mm
Material	:	950 platinum
Finish	:	Polished
Water resistance	:	30 m
Crystal	:	Anti-reflective sapphire
Bezel	:	Engraved "Gibson motif"
Crown	:	Ø 7 mm
Case-back	:	Sapphire crystal Individual number, “MODELE UNIQUE” and “MJF LONDON” engraved on the case-back
Dial	:	Special dial with Gibson motif in wood marquetry
Bracelet	:	Leather Hermès alligator strap
Folding buckle	:	Polished finish

The inspiration which forms the bedrock of its design comes from Dutch painter Piet Mondrian, known for his frescos of intersecting lines combined with blocks of colour. These gridlines and colour combinations give a musical air to Mondrian's work, suggesting a paradigm where sound and image are interchangeable.

The dial of this clock features the segmentation of surfaces so dear to Mondrian and the same vivid palette of primary colours which have musical overtones. Three instruments compete for space on the dial – a trumpet, a double bass and a piano – but this jazz trio is only partially displayed, like a suggestive hint. Indeed, the instrument is not important, it is only the music that it creates which emerges from this lively fresco.

Movement	:	PF 920
Thickness	:	58.25 mm
Jewels	:	14
Components	:	136
Frequency	:	2.5 Hz – 18,000 Vib/h
Main plates and bridges	:	With Côtes de Genève, hand-engraved and bevelled
FunctIons	:	Hours, Minute, Seconds Power reserve indicator on barrel
Exterior	:	Vermeil cabinet
Height	:	142 mm
Width	:	96 mm
Depth	:	80 mm
Material	:	925 silver plated with 18 ct yellow gold
Finish	:	Polished
Glass	:	Faceted mineral glass crystals
Secret key drawer	:	On the rear of the base Removable logo for key hole at 180°
Individual number	:	Engraved on the case-back
Dial	:	Two-part: Small dial in wooden marquetry, opaline small seconds counter Large dial with Côtes de Genève and hand-bevelling
Hands	:	Delta-shaped with luminescent coating
Keys	:	Double key: Large winding key Small time-setting key made from stainless steel plated with 18 ct yellow gold, fitting inside each other

Marquetry is a process which consists of cutting out and assembling veneers – in this case, wood – on a flat surface to create a highly meticulous decoration. Often trained as cabinetmakers, extremely diligent and accurate in their work, marquetry craftsmen are masters of the numerous highly technical stages of their craft, which starts with a sketch on a piece of paper and finishes with a spectacular mosaic of segments reconstructing the original design.

The marquetry craftsman starts his work by tracing the original design, detailing each element using a special tool (a Rotring). This tracing provides the dimensions and contours of each segment of the design and will be the basis for the marquetry work.

The marquetry craftsman then makes ten or more copies of the tracing printed onto paper, which he will use to cut out each of the different elements of the design.

In preparation for the crucial cutting stage, the marquetry craftsman stacks ten sheets of wood, carefully selected for their colour and surface. He firmly nails them together and sticks on top of this resulting wooden stack, the single tracing of the segment which will busy him. A jigsaw is used for cutting, carefully following the lines of the pattern so as to create ten identical copies of the required segment. Even for a unique watch and single dial, the marquetry craftsman will always work in stacked layers of wood in order to only keep the most successful segment among the ten that are cut. This entire process is repeated for every single element in the design, and with as many different woods and colours as there are shades.

The most difficult part would seem to be over once the last segment has been cut and the craftsman is ready to start assembling. However, this last stage is no less complex and often involves surprises which have escaped measurement. Despite rigourously following the dimensions along the entire pattern, when it comes to assembling the segments, the marquetry craftsman may find a minuscule error or an unpleasant little fissure which renders the entire piece useless. He must then go back to the primal stages and patiently retrace and recut with the required modifications.

Marquetry is work which requires perseverance and precision, work where one must be able to envisage the whole even when grappling with its tiniest part. Because marquetry’s reward comes at the end, when each segment is perfectly nestled in its enclave, playing its small part in enlightening the piece as a whole.