Ornatus-Mundi presents an in-depth, hands-on review of the Zenith Pilot Type 20 Skeleton, a timepiece that pushes the boundaries of haute horlogerie with its extensive use of sapphire crystal and intricate skeletonization. This article delves into the meticulous craftsmanship and unique design choices that make this limited-edition watch a significant piece for collectors and enthusiasts, despite its unconventional wearability.
With the Pilot Type 20 Skeleton the Le Locle based manufacture Zenith has released a timepiece destined as a supreme stage for the 'finer arts' of watch decoration: skeletonising, engraving and enamelling.
However, for reasons explained in detail below I would not call this a wristwatch.
This new offering is by all means a remarkable piece: 60mm diameter of a case entirely crafted in
sapphire crystal, housing a vintage
chronometer grade pocket watch movement extensively refined and open-worked, showcasing in a rather restrained fashion all the fine handicrafts of
haute de gamme watchmaking.
And on top, limited to only
5 pieces!
Sapphire is the prime constituent of this watch so it seems. Case, dial, back, everything is made of this ethereal material. All indications are applied with a technology called vapour phase deposition on their respective location, imbuing an airy impression to the entire piece.
The indices are applied to the inner surface of the crystal, whereas all other inscription (logo, small seconds, power reserve) are situated on a crystal-clear sapphire dial. The following image brings this out quite well:
Take a close look at the balance wheel: notice the small poisoning marks? These result from carefully 'balancing the balance' (=poisoning) to ensure that all mass is distributed evenly around its circumference. The tiny, tiny hole attest to the care Zenith applies to the chronometric qualities of this movement.
Shifting the focus a bit towards the face of the watch, one can clearly see the signs of careful hand-finishing of the skeletonised bridges and cocks of this movement. Its not ultimately perfect but instead shows a human touch which befits this movement so well (further down we will see that Zenith was not shy to tackle difficult to finish edges).
The hands are vintage-inspired 'cathedral'-type hands. They are crafted in solid gold and then are beautifully blued. Skeletonised as well, they still offer acceptable legibility thanks to their size.
The mainspring barrel is open-worked as well and thus can be used as an additional power reserve indicator.
A blued bezel frames the dial like a ribbon bow. The blue effect comes from an enamelling technique called 'Champlevé', where a translucent enamel powder is applied upon a structured metal surface, typically hand-engraved, thus allowing the light to play with the motif the artist edged into its base plate.
Und a different light, one can clearly appreciate the engraving work. The onion-shaped crown is a pleasure to behold and use, trust me!
The case-band is also sapphire and thus offers a rare view on the sides of the movement. With a height of a full centimetre, Zenith's artists had ample opportunities for additional decoration. They made good use by carving out an arabesque-like motive around the watch:
I really love the deep blue of the enamel bezel... mystic!
Almost filigrane compared to the remainder of the watch, the characteristic (and white gold) lugs are decorated with a motif closed to the one under the bezel's enamel layer:
Overall, the entire character of this timepiece is that of an arabic coffee cup with its simple function but ample and fine decoration on a rather simple base shape:
On the back, the main theme of the movement, open-worked bridges, and they are of course unobstructed!
Taking a closer look, one can get an early impression as to why Zenith most likely rightfully claims that more than more than 200 hours of hand-skeletonisation were invested into each of the 5 pieces to be made:
A few highlights: First of all, the vast number of
small openings integrated into the movement's surface: Note the balance cock (here aiding the regulation by doubling as scale) or on the bottom right cock.
Second, the many, many sharp edges each of which are carefully angled and polished. This is of course not Dufour or Kari standard, but it appears that Zenith did a great job on those difficult to finish elements.
Third, note the wheel atop the mainspring barrel. There are three different finishings: polished teeth (and their flanks), and two different sunburst brushings. The centre section of the wheel looks like a so called Maltese Cross (which was invented to control winding in pocket watches, thus its placement here is very apropos!).
Oh, and did I mention the
large rubies?
So, let's come to the business part of this review: how does it fare as a
wrist-watch? Well, you be the judge!
I have a fairly standard wrist... But definitely, this piece looks misplaced. As much as I love its conception and realisation, as little could I see myself 'adorned' with this
beast.
And let's not start discussing the perceived
weight. Clearly, this is a decidedly
"l'art pour l'art" timepiece that happens to come disguised as a wristwatch.
A magnificent, exuberant demonstration of Zenith's
savoir faire in the fine watchmaking disciplines, but not a practical watch by any means. Even if size and weight would allow, the sheer thought of carrying a piece of glass (well, essentially...) around my wrist would make me feel slightly uncomfortable.
However, there is still a place for such demonstration pieces. My study and my library would be an ideal surrounding, most likely with Boccherini's Cello Concerto in B flat major (G 482) in the background.
That would be my pleasure with this piece - of art, and with art!
Thanks for reading,
Magnus
This message has been edited by Ornatus-Mundi on 2015-08-24 10:01:06 
