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  • Raymond Weil - Nabucco Tourbillon Cello

    "My grandfather's lifelong love of music combined with my own passion for the cello are the two elements that inspired us to design and develop the nabucco Cello Tourbillon, which is intended as an expression of our brand's imaginative approach to watch design," says Elie Bernheim, CEO of the brand.

    The nabucco Cello Tourbillon features fine, clean-cut lines creating a striking contrast with the gentleness of the musical intention conveyed through this model. It embodies a clever intertwining of watch components evoking the theme of the cello and enlivening the vibrant heart of this mechanical hand-wound movement

    Both sides of this model are fitted with sapphire crystals, providing a plunge into a world of transparency and precision: the movement bridges supporting the tourbillon escapement and mainspring barrel, for example, take the form of the instrument's distinctive f-holes, while the slender hands are formed in the shape of a cello bow and the five lines of a musical stave are represented in the grooved bezel.

    Perhaps the most striking features of the nabucco Cello Tourbillon, however, are the four tiny strings which are stretched taught across the dial of the watch between the 9 o'clock and 3 o'clock positions, combining with the f-hole shaped bridges to create the illusion of an instrument in miniature.

    The remarkable musical elements of the mechanism were conceived entirely by the Raymond Weil in-house Research and Development department. The lightness required for the rotating cage harmoniously echoes the steel and titanium case and features an extremely airy variation, despite its generous 46 mm diameter. Carbon fibre sets the perfect finishing touch, stretching along the black PVD-coated sides of the timepiece. In a subtle detail much appreciated by connoisseurs, the screw-lock crown lines up the Raymond Weil logo with the curve of the case, while a genuine crocodile leather strap holds the model firmly to the wrist.

  • Satin finishing - Brushing up on the satin finish

    In watchmaking and jewellery, it's called a satin finish or straight graining, but a plumber is more likely to call it brushed metal. Basically it's the same technique but in watchmaking the workmanship is much finer. Yet it is often regarded as the poor cousin of finishing techniques. It consists of scoring a metal surface with a multitude of close parallel lines to create an even texture in which each microscopic furrow catches the light from different angles. Achieving consistency is the most taxing aspect: a satin finish does not tolerate imperfection. The appearance must be unvarying and the scratches perfectly parallel.

    It becomes complicated when you have to take into account two issues that are integral to horological finishing. Neighbouring but different components have to have a uniform look, which means that direction and intensity of the grain must be maintained from one surface to the next. That requires a calculated pressure applied by a steady hand. Given the fact that these tiny parts are often made by different manufacturers days apart, ensuring that the brush stroke is undeviating and parallel throughout the movement is no easy task.

    Of all the surface finishes, satin brushing is the one spoken of the least, if not entirely ignored. While Geneva stripes dominate the bridges, circular graining decorates the baseplates and polishing makes the chamfers gleam, the satin finish is relegated to the less visible parts of the movement. In fact it is mostly found on the flanks of a component. It at least goes to prove that watchmaking leaves few surfaces unattended and that the work of finishing can, if allowed to, reach into the smallest corners of every component. Nevertheless it's a pity that this finishing technique that gives such attractive results is generally hidden from view.

     However satin brushing comes into its own outside the movement. It is mostly found on watchcases and bracelets as the foil to polishing, offering a contrasting matt lustre to shiny reflecting surfaces. But that was before techniques of shot-peening and sand blasting became sufficiently developed to stealthily usurp its position.

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