Parmigiani Fleurier La Ravenale

Every year on the second of December, the workshops at Parmigiani Fleurier quiet down not for a cake-cutting ceremony, but for the reveal of a mechanical tribute. This date marks the birthday of the founder, Michel Parmigiani, a man whose reputation was built not originally on marketing gloss, but on the silent, steady hand required for restoration. To honor his seventy-fifth year, the manufacture has avoided the predictable route of releasing a limited-edition wrist chronograph or a gold-cased dress watch. Instead, they have looked backward to move forward, unveiling the La Ravenale, a unique Lépine pocket watch that functions as a high-concept vessel for a restored 1920s movement, effectively blurring the lines between archival preservation and contemporary artistic expression.



The inspiration for this piece is rooted in the botany of the Ravenala madagascariensis, commonly known as the Traveller’s Palm. This is not a random aesthetic choice but a nod to the mathematical perfection found in nature, a concept that has long fascinated Michel Parmigiani. The plant is native to Madagascar and is revered for its distinct fan-shaped leaf structure which naturally adheres to the Golden Ratio. This geometric purity provides the foundational design language for the watch, influencing everything from the engraving on the movement bridges to the complex stone marquetry on the caseback. It is a translation of organic architecture into the rigid, unforgiving medium of gold and precious stone, requiring a complete mastery of proportion to ensure the transition from leaf to metal does not feel forced or artificial.



Visually, the watch commands attention immediately through its caseback, which is a striking departure from standard guilloché or simple enameling. The posterior of the white gold case acts as a canvas for a highly complex marquetry arrangement featuring a dialogue between opal and jade. When observing the piece, one is struck by the interplay of textures and light reflection. The opal segments offer a volatile, shifting iridescence, flashing with blues and cyans that mimic the unpredictability of water or sky. In stark contrast, the jade sections provide a solid, opaque anchor to the design, their deep green hues absorbing light rather than scattering it. The arrangement creates a stylized, geometric flower or palm fan, radiating outward from the center in a symmetrical explosion of color that feels both ancient and sharply modern.



The creation of this marquetry panel is the work of LM Cadrans, an atelier known for pushing the boundaries of what can be done with mineral dials. Working with opal is notoriously difficult due to its high water content and internal tension; the stone is prone to shattering if subjected to incorrect pressure or heat. To cut such intricate, interlocking shapes from opal and then fit them seamlessly against the harder, denser jade requires a touch that is closer to surgery than traditional lapidary work. The result is a surface that feels seamless to the touch, a unified mineral landscape where the joins are invisible to the naked eye, creating the illusion that the stones grew together in this specific formation.



Turning the watch over to the dial side, the observer is greeted by a display that prioritizes legibility while refusing to abandon the artistic theme. The dial is crafted from 18-carat white gold which has been treated to achieve a specific shade of blue, providing a cool, industrial backdrop for the timekeeping functions. The surface finish is hand-grained, a technique that creates a matte, textured appearance similar to the surface of an eggshell or heavy paper, which helps to reduce glare and allows the polished hands to stand out in sharp relief. The layout is classic, with a sub-seconds dial situated at the six o’clock position, a traditional placement for Lépine calibers where the crown is located at twelve o’clock.



The hands themselves are worthy of close inspection. Crafted from white gold, the hour and minute hands feature an open-worked Delta shape. This skeletonization is functional as well as aesthetic, as it reduces the visual mass of the hands and allows the viewer to see through them to the grained texture of the dial beneath. The seconds hand is a slender baton, sweeping across the sub-dial with the distinct, ticking cadence of a low-frequency manual movement. The hour markers are applied squares of white gold, polished to a mirror finish to catch the light, while the framing of the sub-dial adds a layer of depth, stepping down from the main dial level to create a three-dimensional architectural effect.



Encasing this display is a substantial body of 18-carat white gold, palladium-rich alloy PD150, measuring a significant 51.8 millimeters in diameter. A pocket watch of this size has a tangible presence in the hand, a weightiness that conveys value and durability. The case thickness is 13.1 millimeters, a dimension necessitated by the domed sapphire crystals on both sides and the complexity of the minute repeater movement housed within. The case flanks are not left plain; they have been hand-engraved and polished to continue the La Ravenale theme, ensuring that the botanical inspiration wraps entirely around the object, creating a continuous narrative from front to back.



The crown, positioned at the twelve o'clock mark in the characteristic Lépine style, is oversized for easy winding and setting. It is topped with a blue sapphire cabochon, a subtle jewel that ties into the blue tones of the opal marquetry and the treated dial. The bow, the articulated loop to which the chain attaches, is architectural in its design, featuring sharp angles and polished bevels that mirror the construction of the case. It is sturdy and substantial, designed to bear the weight of the watch with confidence, acting as the bridge between the timepiece and its tether.



Inside this precious exterior beats a heart that has been beating for a century. The movement is a restored caliber numbered 78708, originally manufactured by Edouard Koehn in Geneva during the 1920s. Edouard Koehn was a significant figure in Swiss horology, having served as a technical director at Patek Philippe before establishing his own workshop. His movements are prized for their logical layout, their slim profiles, and their reliability. By choosing to restore a vintage caliber rather than manufacturing a new one, Parmigiani Fleurier is engaging in an act of preservation, acknowledging that the golden age of mechanical watchmaking produced machines of a quality that is difficult to replicate even with modern technology.



The restoration of this movement was undertaken by the Parmigiani Fleurier Restoration Department, a specialized unit within the manufacture that handles everything from automaton repairs to the conservation of museum pieces. Restoring a minute repeater is one of the most challenging tasks a watchmaker can face. The mechanism involves a complex web of racks, snails, and cams that must interact with perfect precision to chime the hours, quarters, and minutes on command. Over decades, these components can wear down, lubricants can solidify, and springs can lose their tension. Bringing such a machine back to life requires disassembling it completely, cleaning every individual part, and often fabricating replacement components by hand using traditional methods.



The technical specifications of the Koehn caliber are impressive even by modern standards. It is a manual-winding movement with a Swiss anchor escapement, the standard for high-precision timekeeping. It features a split bimetallic balance with a steel hairspring, a design used in the early 20th century to compensate for temperature changes that could affect the watch's accuracy. The barrel, which houses the mainspring, is of the "hanging" variety and is equipped with a Maltese cross stopwork. This specific mechanism is a hallmark of high-end vintage horology; it limits the number of turns the barrel can make, ensuring that the mainspring only operates in its range of optimum torque, thereby delivering more constant power to the escapement and improving isochronism.



Visually, the movement is a spectacle of finishing. Through the exhibition back (or when the cuvette is opened), one can admire the bridge architecture which has been modified and embellished by the artisans at Atelier Blandenier. The bridges are not merely striped with Côtes de Genève; they have been hand-engraved with the palm motif, creating a textured surface that catches the light in a myriad of directions. The engraving technique involves using a burin to remove metal, sculpting the design directly into the bridges. The jewels, twenty-seven in total, are set into polished sinks, their ruby red color contrasting vividly against the rhodium-plated brass of the plates. The screws are polished to a black mirror finish, and the edges of the bridges are hand-beveled, showcasing a gleaming outline that defines the shape of each component.



The auditory experience of the La Ravenale is just as important as the visual. As a minute repeater, it possesses the ability to chime the time on demand. When the slide on the case flank is activated, the movement translates the position of the hands into a series of mechanical strikes. Two small hammers strike onto two circular wire gongs that wrap around the movement. Low notes indicate the hours, a double high-low note signifies the quarter hours, and high notes count out the minutes past the quarter. The tuning of these gongs is an art form in itself; they must be filed and shaped to produce a sound that is loud, clear, and harmonically rich, without any buzzing or dampening.



Accompanying the watch is a chain that is far removed from the mass-produced accessories often found with modern pocket watches. This chain was hand-forged by Laurent Jolliet, one of the last remaining master chain-makers in Switzerland. It measures 31.5 centimeters in length and is crafted from the same 18-carat white gold as the case. The design features an alternating pattern of oval and hexagonal links. The hexagonal links mimic the angular geometry found in the watch’s design elements, while the oval links provide fluidity and comfort. Each link is formed, soldered, and polished by hand, a labor-intensive process that results in a chain with a fluidity and weight that machines cannot replicate. One of the oval links is discreetly engraved with the "PF" logo, signing the work.



The manufacturing of the chain involves drawing raw gold wire to the correct thickness, shaping it around mandrels to form the links, and then expertly soldering the joints so they are invisible. After assembly, the chain is faceted and polished. The bevels on the links reflect the light as the chain moves, creating a shimmering effect that complements the watch without overpowering it. Weighing 36.5 grams, the chain is a substantial object in its own right, balancing the weight of the watch when worn in a vest pocket or held in the hand. It is a reminder that in traditional horology, the method of securing the watch was often considered a piece of jewelry synonymous with the timepiece itself.



When not being carried, the La Ravenale is designed to be displayed as a static object of art. It comes with a presentation stand that allows the watch to hang freely, transforming it into a desk clock. The stand features a wooden base with a soft alcove for the chain, and a sleek metal frame from which the watch is suspended. Encased in a glass cube, the watch appears to float, allowing light to hit the opal and jade marquetry from all angles. This presentation emphasizes the dual nature of the piece: it is a functional, portable timekeeper, but also a sculptural object meant to be admired for its static beauty.



The collaboration required to bring this piece to fruition highlights the segmented but interconnected nature of high horology in the Fleurier region. It is not the work of a single watchmaker, but a collective effort involving a restorer, a marquetry artist, an engraver, and a chain-maker, all orchestrated by the vision of the Maison. Each artisan has contributed a layer of complexity to the final object. The marquetry brings color and texture; the engraving brings light and depth; the restoration brings history and mechanical soul; and the chain-making brings tactile luxury.



There is a distinct refusal in this piece to bow to transient trends. The decision to use a vintage movement dictates the size and layout of the watch, forcing the design team to work within the constraints of 1920s engineering. This limitation is actually a strength, as it imbues the watch with a sense of proportion that is often lost in modern movements designed to fit oversized cases. The placement of the sub-seconds, the winding feel of the crown, and the slow, deliberate beat rate of the balance wheel all serve to connect the owner with a different era of timekeeping, one where interaction with the object was a deliberate ritual.



The hand-engraving on the case and movement deserves further elaboration. The artisans at Atelier Blandenier in Neuchâtel used the "removed material" technique, where the background is cut away to leave the pattern in relief, or lines are cut deep to create shadow. On the bridges of the movement, the palm motif is integrated so that it flows with the shape of the mechanical parts, rather than just being stamped on top. This requires the engraver to anticipate the curvature of the bridges and the location of screw holes and jewels, adjusting the pattern on the fly to ensure visual harmony. It is a high-wire act where a single slip of the burin can ruin a component that is over one hundred years old and potentially irreplaceable.



The La Ravenale is a unique piece, a solitary creation that will not be replicated. It is a "1/1" designation that ensures its exclusivity. As for the cost of acquiring such a convergence of heritage and craftsmanship, Parmigiani Fleurier has not listed a public retail price. It is available strictly on a "Price on Request" basis, a classification reserved for items where the value is determined not just by the sum of gold and labor, but by the rarity of the artistic execution and the historical significance of the movement within. It is intended for a collector who values the narrative of preservation and the esoteric beauty of high-craft artistic techniques over brand recognition or resale speculation.



Case: 18ct white gold PD150, Lépine pocket watch style, hand-engraved and polished with La Ravenale theme, 51.8mm diameter, 13.1mm thickness, 8.00mm crown set with blue sapphire, domed anti-reflective sapphire crystals, polished and domed caseback inlaid with opal and jade marquetry, dust-resistant.



Movement: Restored manual winding caliber originally manufactured by Koehn A Genève (numbered 78708), Swiss anchor escapement, minute repeater chiming on two gongs, symmetrical hammers, hanging barrel with Maltese cross stopwork, split bimetallic balance with steel hairspring, 27 jewels, 38.25mm diameter, 6.8mm thickness, beveled and hand-engraved bridges and mainplate.



Dial: 18ct white gold treated in blue, hand-engraved and grained finishing, 18ct white gold square hour markers and PF logo applique, 18ct white gold openworked Delta-shaped hour and minute hands, 18ct white gold baton-shaped seconds hand.



Strap: 18ct white gold chain handmade by Laurent Jolliet, alternating oval and hexagonal links, beveled and polished, one oval link engraved with PF logo, 315mm length, 36.5g weight.



Price: Price on Request



Notes: A unique piece created as a tribute to Michel Parmigiani's 75th birthday. Features a restored 1920s minute repeater movement and a double hunter caseback with complex opal and jade marquetry inspired by the Traveller’s Palm (Ravenala madagascariensis).