Patrimony is the Vacheron Constantin collection characterised, in its latest versions, by a midnight blue dial – an emblematic shade created by the Maison specially for this line.
A tailoring operation involving precision and research, similar to the work that Eligo Studio has been carrying out for a long time, as one of its founders, Alberto Nespoli, tells us. For Watch Insanity he wears the Patrimony perpetual calendar ultra-thin, and he talks about how his design philosophy is extremely aligned with the timepiece on his wrist.
Vacheron Constantin’s perpetual calendar ultra-thin is put in motion a self-winding movement enclosed within a 41-mm pink gold case – a style not dictated by trends – with sleek lines embodying quintessential elegance. This model offers connoisseurs unparalleled contemporary refinement. Available exclusively from the boutiques, the 1120 QP caliber developed and crafted by Vacheron Constantin drives the indications of the hours and minutes, moon phase at 6 o’clock, day of the week at 9 o’clock, date at 3 o’clock, and finally month and leap year on 48-month counters at 12 o’clock. Absolute precision: this timepiece won’t need any corrections until March 1st, 2100. The final touch of elegance is given by the moon phase display, adorned in champlevé enamel.
Not only timeless in its history, classical nature and elegance, but also for the great mastery regarding innovation: to create a perpetual calendar ultra-thin, miniaturisation was pushed to the limit. The 1120 QP caliber is only 4.05mm thick and includes up to 276 components finished in accordance with the highest standards of haute horlogerie.
“Our DNA is embossed with the claim ‘Italian Beauty Is Timeless:’ we are always searching for a code of Italian elegance that is not influenced by trends and time, but that can be permanently and continuously appreciated. The products we create are highly characterized by their aesthetics and not influenced by marketing, and they are inspired by the ‘Made in Italy’ and the Italian savoir-faire distinguishing us. We act the same way towards architecture: regarding materials, aesthetics and shapes, we get our inspiration from the past – but we include this contemporary touch, making the project up to date.” Eligo Studio has a tailor approach, working with chosen materials provided most of the times by small craftsmen’s shops or Italian excellences who prefer high-quality production in small numbers over industrial production on a large scale.
Alberto once again confirms how much he feels in line with the model on his wrist. “We are currently working on projects related to the high-tech world,” he explains. “We have a great interest for this sector because the same approach we take on a project of tradition can be adopted on a project of extreme innovation. If you know the tradition’s know-how, you can reach a certain technological sophistication level. A recent example is the scenography we realized for Richard Ginori at the Musée des Arts Décoratifs in Paris, a tribute to Gio Ponti. Thanks to a blend of heritage and technology, Ponti’s drawings were animated inside the museum – forming a scene made of hundreds of his drawings coming to life within the space.”
Thus a perfect match, in which little details make the difference, and the Maison’s and Milan studio’s traditional souls can meet with contemporaneity and innovation – both in terms of the aesthetics and technical codes benefiting the project.
By Valentina Dalla Costa