FRENCH VERSION HERE !

Our relaxing halt in the mythical and legendary watchmaker’s hut Edox coming to an end, we are now perked up again to hit the road of this year micromechanical novelties again.

We are then going today to meet an horological blacksmith who made the choice of independence to be able to make, alone, the wood of his destiny burn with the fire of his heroism.

By the name of Cyrus, this company as a craftsman with her own Manufacture as a workshop is thus free to be able to shape with the only help of her powerful magic fingers the spear of her destiny with great hammer blows of originality given on the anvil of innovation before hardening her identity by quenching it in bath of difference.

If Cyrus the Great, famous conqueror who lived more than 2500 years ago and considered as the forerunner of human rights, is at the origin of the name of this Watch Manufacturer, it is another Great Man named Jean-François Mojon, conqueror of the modern watchmaking to whom we owe some of the greatest contemporary horological complications, who is at the origin of its singularity.

Evidence to support this year again with the magical and exclusive Cyrus Klepcys Vertical Skeleton Tourbillon.

CYRUS KLEPCYS VERTICAL SKELETON TOURBILLON

Skeleton version of the eclectic and pioneering Klepcys Vertical Tourbillon first of the name and of its kind to incorporate 90° tilted tourbillon in its center, the Klepcys Vertical Skeleton Tourbillon retakes the innovation of its elder but with the one and only objective of magnifying its complication.

For if the paradigm imagined, conceptualized, then created by the technical director of Cyrus Manufacture Jean-François Mojon of a central vertical tourbillon gave last year a representation in the form of a stand-up, it is in a spectacular horological theater’s decor it gives a show this year.

This horological scenography allows the viewer wearing the Klepcys Vertical Skeleton Tourbillon to be fully immersed in a true micromechanical ballet, allowing him to contemplate both the individual performance of each finely worked and decorated element, and the intoxicating dance in unison formed by their ensemble.

And this, thanks in particular to a perfect symmetry in the arrangement of the parts on either side of the curved and microbillé vertical bridge with beveled and polished edges inspired by the Leonardo da Vinci bridge, and framing the tourbillon cage harmoniously separating the dial in two parts.

This deep, three-dimensional architecture thus allows via a duo of recessed needles of an exclusive form a clear and immediate reading of the seconds on the perforated plates on the central tourbillon performing a revolution in 1 minute, of the retrograde minutes on the right arc, and of the retrograde jumping hour on the left arc.

Protected under a 1,2mm thick domed and anti-reflective sapphire crystal, this unique and sophisticated 3D structure reveals between the two arches of the median bridge a 5mm diameter microbillé black DLC sphere at 12 o’clock, providing information on the remaining days (from 1 to 4) of the timepiece’s 100-hour power reserve, and symmetrically, an applied plate with the CYRUS logo at 6 o’clock to maintain the aesthetic balance.

Syncretic in the smallest details of its finishes, the exotic Klepcys Vertical Skeleton Tourbillon is draped in a sublime cushion-shaped case of 44mm in diameter, excluding the two crowns at 3 and 9 o’clock, respectively used for time setting and manual winding the double barrel CYR 625 caliber, and rapid time correction.

Available in three versions each limited to five pieces, one in black DLC coated grade 5 titanium, a second in 4N 18K pink gold with a black DLC coated titanium bezel, both with black alligator strap and folding black DCL coated titanium clasp, and a third in 4N 18K pink gold with brown alligator strap and gold buckle, the Cyrus Klepcys Vertical Skeleton Tourbillon embodies in itself the quintessence of Modern Watchmaking, oscillating around the delicate balance between Art and technology.

Picture of the back not representative of the final product.

Picture of the back not representative of the final product.

Picture of the back not representative of the final product.

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