A gold bracelet like a fur
The mastery of gold bracelets at Piaget goes back to the origins of the Manufacture. For the SIHH 2018, the house launches theExtremely Lady, a model inspired by a historical piece, with a hand-guilloché bracelet. - Isabelle Cerboneschi.
It looks like a fabric, or rather a fur. When you take the watch and turn it over, you discover the stack side of the links in its "u" -shaped bracelet that fit together like a game of Tetris. While the front side, all this construction is hidden under a superb work of hand guilloche.
The watch Extremely Lady looks vintage even though it is today. His bracelet, entirely designed at the Manufacture of Plan-les-Ouates, is inspired by a historical model: the Patrimony. This gold ribbon carries with it a piece of mystery. How does one go from a geometrical assemblage to this abstraction?
It all starts with a thin golden bar of about 150 grams that enters a numerically controlled machine tool from which 500 small links will come out. It takes eight hours of work to make these 500 components, which are then checked one by one, to ensure that they have been perfectly cut.
In the workshops where jeweler-jewelers work, there is silence. All the gold bracelets, at Piaget, are assembled by hand. Heritage pieces, like theExtremely Lady, are manufactured in the same way as they were in the 60 years. A chance that Piaget knew how to preserve this know-how, unlike other houses that left it during the quartz crisis in the 70 years.
To make the bracelet, jeweler-chain link a link in the other using a clamp on a kind of mini-harrow, "a fork", a bit like a Lego. In Switzerland, there is no more training of chain. Piaget being the last manufacturer to manufacture such bracelets, she is forced to train hers.
It takes a week of work to make a bracelet: 9 assembly hours, plus 5 hours of adjustment (the operation thanks to which the bracelet is welded to the box, ed). It is then softened with Marseille soap before being etched. An operation that lasts about three days. To obtain this effect of fur, the engraver gives small scratches on the bracelet with the help of a stall that enters the material, leaving apparently disordered reasons. Each little move gradually masks the work of jewelry.
The links calibrated with the cord do not emerge unscathed from the marks left by the stall. Beauty is born of the scars left in gold, it springs from the passage of order to disorder.