SUCCESS

The “dress watch”, in theory, should be as easy to execute as it is to categorise. It is in the name: a timepiece to suit “dressy” occasions where attire call it an outfit if you want to be casual about it or a uniform if you prefer some ambiguity – that requires at least three pieces of clothing. A watch that qualifies to accompany such a dress code should be slim enough to slide under a sleeve, clean in design so as not to distract from the ensemble, cased in a precious metal, and affixed to a strap, by tradition made from leather but satin is acceptable.

But as menswear evolved, so have the rules that put the formal in formal wear and the accessories that accompany them. If limited-edition sneakers and boutonnieres the size of melons are now acceptable red carpet vestments, then big, burly tool watches or diamond mines masquerading as timepieces can also technically be counted as dress watches.

But Parmigiani Fleurier is having none of that.

When the brand launched its reimagined Toric collection at Watches & Wonders Geneva (WWG) 2024 , it was a proud declaration of what it thinks a dress watch should be: elegant, and, more importantly, restrained. This approach aligns seamlessly with a broader trend in fashion — what some call “quiet luxury,” or, to borrow a punchier but slightly grating term from the aughts, “stealth wealth.” In the fashion world, this meant the disavowal of loud branding (or any branding at all) and the pursuit of beige-adjacent hues that melt gently into clean silhouettes. In other words, this was a type of luxury that was felt rather than seen, and exactly what the new Toric Petite Seconde and Split Second Chronograph exemplify. As we reported in April, these are the first two models in this reimagined Toric collection.

“Fine watchmaking always goes beyond what is practical, as seen here
in the gold plates and bridges of the PF361-SLIM calibre”

CLASSIC ADJACENT

“In crafting the new Toric collection, we drew upon the rich horological culture and expertise of Parmigiani Fleurier to redefine the essence of the men’s dress watch,” says CEO Guido Terreni. “This collection embodies a spirit of freedom and sophistication that reflects the evolution of the modern man’s wardrobe.”

Indeed, the very first Toric — the Memory Time from 1996— certainly qualifies for a dress watch with its 36mm diameter, classically styled dial, and black alligator strap. But its double-stepped knurled bezel, jumping hour display, and javelin- shaped hands still made it a rather striking watch. As founder Michel Parmigiani’s introductory watch to his new brand, this approach served the nascent Parmigiani Fleurier well then. There was certainly nothing like it in 1996. The new Toric, by contrast, distils the original’s Roman architecture-inspired DNA into a much purer and more restrained expression, capturing the essence of the design while embracing a more understated elegance.

There is a lot to get into with this story, even if the Toric collection only has two models but we must begin with a few notes about structure, as we sometimes do. First, as usual, the cover watch itself has its specifications and details listed in the Cover Watch story, which is self-explanatory. Nevertheless, we open this more expansive narrative with a look at the Toric Chronograph Rattrapante, otherwise known as a split-second chronograph, and follow up with the two time-only models. This story also makes room for an unrelated watch from Parmigiani Fleurier, the Tonda PF GMT Rattrapante, and you can find that off in its own dedicated area.

Obviously, the connection between the two models is in that rattrapante function, which requires a more in-depth explanation. It is certainly true that the manufacture calibre PF 361 that powers the Chronograph Rattrapante is not new, having debuted in 2016 for the brand’s 20th anniversary, but the split-second complication is rare enough that we wanted to shine a spotlight on it. In fact, the split- second version of the chronograph is one area that we did not cover in our chronograph special in 2023 (issue #70) so we need a bit of space for an abbreviated explainer here. There is also the matter of names because the version of the calibre here is PF361-SLIM, implying small differences with the original.

HEAVYWEIGHT APPEAL

With all that said, it should be noted that the Chronograph Rattrapante and the Petite Second models are both in the Toric collection so commonalities are to be expected. As such, we will be making points about dials and cases in the later second part of the narrative, which deals with the Petite Seconde models. To begin though, let us get the easy points out of the way because we have written about the Toric collection on multiple occasions since the launch, not including our conversation with Terreni on this subject (in large part). While all the watches are handsome, they are defined by how they feel, both to the touch and on the wrist. Commensurate with that, the Toric is all about precious metals, with gold dials, gold hands, gold and platinum cases, gold indexes and gold movements. In the midst of all that resplendence, there are also gold pin buckles and crowns.

While this magazine has made the case that there is nothing like the Toric available from any brand – the key words there being ‘brand’ and ‘available’ – we also acknowledged that the Toric now looks very much like the Tonda PF. Analysing the Tonda PF model in this story, it is clear that they are from the same family. Terreni agrees but points out that the family in question is called Parmigiani Fleurier.

“The Toric has a Parmigiani Fleurier look to it (not a Tonda PF one) because you start (on a new style for a brand’s watches) from a vision…you start from the first collection that you want to work on. For Parmigiani Fleurier, this was (the Tonda PF), a sports chic watch, which is easier to do because we have to follow certain rules, such as the inclusion of an integrated bracelet (and a template existed, with the Tonda GT Sport). As a result, we played with the nuances and the finishings and the construction of the dial… What you see in the Tonda PF (from 2020) are the beginnings (in terms of the brand’s direction).” Terreni told us at WWG.

“It is about consistency really, which you can clearly see now in both the Tonda PF and the Toric. For a lot of brands, you can see two collections with little in common, because one is more contemporary and the other has been in the collection for 50 years or more. Brand identity and brand style that you recognize while playing with the aesthetic codes of the brand is very important to me. I think that the Tonda PF and the Toric are an expression of one style in two different categories of watches. One is a sports watch that has to be versatile and practical. The other is more dressy, but has to still use the same codes, which are subtlety and elegance. There is refinement for the finishing and freshness in the colours.”

DOUBLE TIME

The above will suffice to introduce the Toric, briefly, as will the images here. On the matter of the Toric Chronograph Rattrapante, it too can be thought of as a springboard of sorts. As noted, this is a gold movement that has been in service with the brand for close to 10 years now, at one time also with the grand date display. Despite this apparent familiarity, we discovered in the course of researching the aforementioned chronograph story that there is some confusion amongst casual watch enthusiasts. Let us use the description of the split-second chronograph as author and educator B. Humbert gives it in his book The Chronograph: Its Mechanism and Repair.

“The term ‘split-second’ was originally coined because of the fact that split, or double, readings may be taken, not because of the accuracy of the timing.” Donald de Carle, in his book Complicated Watches and Their Repair, gives an even more succinct description: “The split-second chronograph is so called because the (chronograph) second hands divide or split.”

Humbert notes that the split-second chronograph features twin sweep seconds hands superimposed. These appear, at rest, to be just one hand; even when the chronograph is activated, both hands move together and look for all the world like there is just one hand. It is only when the split-second button is activated that there is a change: one hand stops moving while the other continues around the dial. This is how the watch tracks more than one elapsed time and this explains another name for the complication: the double chronograph. The short story of it is that a chronograph tracks and records elapsed time, on-demand. Therefore, the split-second chronograph keeps track of two readings, also on-demand.

CLASS ACT

Now, a watch as magnificent as the Toric Chronograph Rattrapante makes it easy to think of the split-second chronograph as twice the timer the chronograph is, in every way. Most of the grand houses of fine watchmaking consider the split-second chronograph a high complication, with plenty of contemporary watchmakers reserving the highest praise for it, including Francois-Paul Journe and Anthony de Haas (of A. Lange & Söhne).

Humbert, de Carle and other luminaries offer a measured take, noting that the movement for the split-second chronograph is certainly more complex but what makes it challenging to construct and repair is how delicate it is. This suits the character of Parmigiani Fleurier to a tee; the complication even hides its true nature, appearing like a standard chronograph to the casual observer. Right from the start of his tenure at the brand, Terreni has described Parmigiani Fleurier as a brand with a gentle soul and the Toric Chronograph Rattrapante is the apotheosis of this idea.

This also speaks to the aforementioned use of gold for the calibre PF361-SLIM because this new Toric collection is the perfect home for this movement. Distinguished from the standard PF361 movement by its thickness (7.35mm vs 8.4mm), gold bridges and plates here are ideal for a classic high-end watch from a watchmaker with an idiosyncratic vision of such a watch. The manufacture notes that gold provides structural rigidity while admittedly also posing challenges dues to its malleability compared with steel and brass. That Parmigiani Fleurier opted for gold over base metals is presented as a bold decision that involved extra hours of effort to compensate for the properties of 18k rose gold. That is always a nice touch when it comes to fine watchmaking – going beyond what is merely necessary and practical.

It should be noted here that Parmigiani Fleurier is a class act in terms of its manufacturing capabilities. Just consider the fact that Vaucher (see below and also our numerous stories on the Fleurier-based watchmaker) collaborated with TAG Heuer in 2024 to produce nothing less than a split-second chronograph. This one is an automatic and famously takes an ultra-contemporary approach, with bridges and plates in titanium. Vaucher is well-known for such sturdy – dare we say avant-garde – approaches to the split-second chronograph that can be found within the cases of some of the biggest names. We mention this here because Parmigiani Fleurier could have decided on any direction it pleased for calibre PF361- SLIM and it reserved the most luxurious option for itself. Again, there is nothing like it from any brand (when one adds in the dial and casemaking touches detailed below).

The Toric Chronograph Rattrapante is a limited edition of 30 so it will be difficult to acquire but it is not completely unattainable. In a slight digression, we recommend a very different sort of rattrapante for those who miss the boat on this stupendous Toric, the Tonda PF GMT Rattrapante (see the section on this for more). For now though, it is about time to introduce the Toric Petite Seconde, which covers the essential information about the new collection.

“In crafting the new Toric collection, we drew upon the rich horological culture and expertise of Parmigiani Fleurier to redefine the essence of the men’s dress watch”

– CEO Guido Terreni

A HIS-TORIC RELEASE

The Toric Petite Seconde is 40.6mm wide and available in two versions: platinum or rose gold. The platinum model pairs a Celadon Grey dial with a matte sand-colored strap, while the rose gold variant offers the reverse: a Sand Gold dial matched with a Celadon Grey strap. Rather than relying on high-contrast pairings, these watches explore the interplay of complementary tones, creating a balanced and graceful aesthetic. And with an overall height of just 8.8mm, the watch is sure to glide effortlessly under a cuff.

The bezel remains fluted, but gone are the numerals, minute tracks, javelin hands, and brand name — features that once defined previous Toric models. In their place are sleek baton indices, sword-shaped hands, and a discreet brand logo, leaving much of the dial refreshingly uncluttered. But make no mistake, this largely empty dial is a masterclass in artistry and a showcase of the brand’s in-house know-how.

The industry as a whole has come to approach the term “in- house” with a kind of reverence that seems to imply that any watch worth waitlisting for had better have been made by the brand selling it. If not entirely, then at the very least, the movement.

The perception is understandable. A brand that crafts its watches with little external help signals that it has the requisite technical capability and expertise to do so. And since in-house movements are unique to the brand, they can be distinguished from competitors who rely on third-party movements, adding to the watch’s allure and value. Being able to tell consumers about the decades-long journey it took to develop a particular process or horological curiosity also makes for a deliciously emotional story.

But arguably the biggest benefit for a brand to spend the time and resources to become a true manufacture is freedom. Freedom to create features, complications, and decorative styles that best suit their philosophy, goals, and standards. So, it says something about what Parmigiani values that it has five facilities in its Watchmaking Centre, split between La Chaux-de-Fonds and Fleurier. And it is thanks to two of these — Quadrance & Habillage, and Les Artisans Boitiers (LAB), its dial and case making outfits — that the new Toric Petite Seconde looks so darn good.

Quadrance & Habillage was established in 2005, and it is there that artisans work alongside high-tech machinery to produce any kind of dial you can imagine. Specially calibrated machines take care of processes like the production of dial plates, surface treatment of the plates, and chemical dyeing but human hands take over after for more delicate procedures, covering everything from guilloche, sandblasting, satin-finishing, snailing, graining, and more.

DIAL P FOR PASSION

For the new Toric collection, Parmigiani revived the ancient art of grenage. Like many types of decoration, grenage was just another clever way of hiding imperfections on dials that have suffered from age or rust. Abraham-Louis Breguet invented this technique as a way to prevent rust from forming on his marine chronometers. Michel Parmigiani, who spent the first half of his career restoring many of such timepieces (including Breguet’s), became intimately familiar with the method himself.

The process begins with mixing tartar cream, finely ground sea salt, and silver, using a glass pestle. After demineralised water is added, the paste is spread across the dial’s surface with a horn spoon and worked on with circular motions, rubbing it in all directions using specialised brushes. Due to silver’s photosensitivity, the artisan must work in dim light. A stiff brush is used first to impart the colour of lead, then a softer and finer brush is substituted to achieve a denser, whiter grain.

At this point, experience and skill are paramount as hand pressure is applied in continuous movements until resistance is felt, revealing silver particles that stick to the surface, giving the technique its name — grene being the French word for “grain”. Rather than a highly polished surface to catch the light, this matte dial does well to serve the Toric’s sartorial ethos.

The dials themselves are made from gold — white for the platinum model and pink for the rose gold — and further details add to their minimalist beauty. The hours are applied tiny faceted rectangles that have been polished for contrast against the grainy dial. The brand logo is placed in the now familiar oval cartouche, and a polished bevel on the periphery acts as a chapter ring. You will also notice that the dial has a cheve design, which means it dips abruptly at the edges to meet the inner sides of the case. On that note…

Housed in the same building as Quadrance & Habillage is the Les Artisans Boiters, which Parmigiani Fleurier acquired in 2000. Like the dial-makers, the case craftspeople use a combination of tech-assisted methods and handcrafts to make its cases, with the Toric’s sleek case and signature knurled bezel not being an exception.

All the cases are designed using CAD software before being crafted from various metals in CNC machines. However, it takes trained eyes and hands to spot imperfections, clean, and polish each case to perfection. Even the often-overlooked case middles receive the same level of attention. The quality of the dials and cases produced at these two facilities is so exceptional that no fewer than 18 other watch brands have chosen them as their trusted partners.

HEART OF GOLD

While the case and dial embody restraint, the movement has the audacious aim of offering barely contained opulence. For one, the movement is crafted from 18k rose gold — a rarity in watchmaking. Beyond the obvious factors of cost and availability, it takes a certain amount of masochism to construct movements from a metal as soft as gold. As mentioned earlier, rigidity and resistance to wear are required — qualities traditionally provided by metals like brass and steel — meaning that ensuring a gold movement’s structural integrity demands exceptional care and expertise.

The payoff, of course, is prestige and stunning beauty. The entirely new calibre PF780 is a hand-wound movement that eschews the skeletonisation of the Toric Chronograph Rattrapante for two bridges that act as architectural elements. With only the two barrels and balance visible through this structure, the overall design is decidedly modern, with the eye drawn to the unusual “Cotes de Fleurier” guilloche pattern — an interpretation of the classic Cotes de Geneve.

Each incision is performed using an antique cam-operated guilloche machine, a deliberate choice that honours traditional artisanry over modern electronic tools. The finishing also imbues the bridges with a fabric-like texture, another nod to sartorial elegance. The mainplate is subtly sandblasted, creating a complementary matte finish that enhances the movement’s depth and complexity. The movement runs at 4Hz and comes with a power reserve of 60 hours.

TAILOR-MADE

For a collection that claims to bring back the apotheosis of dress watch elegance, it is evident that the straps have been approached with the same stylistic brio. Each alligator strap is an exercise in precision and craftsmanship, not unlike the process of tailoring a bespoke suit, with every piece made entirely by hand.

Some tasks, like padding the leather tongue’s edges, are beyond the capabilities of machines, but others, like sewing, are undertaken manually for no other reason than to celebrate tradition. It takes 20 minutes compared with a machine’s three, but that is the price the brand is willing to pay in service of preserving heritage.

Worth noting is how the stitching itself draws inspiration from the art of Neapolitan tailoring (and likely Terreni’s own Italian roots), known as “punto a mano”. This style of tailoring was created in protest to stiff English fittings, and favours soft, flowing lines — a consistent throughline for the new Toric’s identity. On the visible side, a tiny, 1mm stitch alternates with a larger 4mm gap, while the reverse side follows an opposite sequence. This unconventional pattern, executed at the specific request of Parmigiani Fleurier, was apparently a first for the contracted strap manufacturer. The strap itself comprises six carefully shaped and glued layers, each executed by hand, and requiring a full two days per strap.

Even here, subtlety is key. Rather than the usual gloss of alligator leather, the straps are given a nubuck treatment to deliver a velvety texture. This effect is achieved through light abrasion — essentially sanding — applied with just the right amount of pressure, a delicate balance honed through years of practice. The result? A strap that feels as luxurious as it looks, with every step — amounting to some 20 manual operations — telling a story of dexterity and dedication.

Continues Terreni: “We aimed to break free from traditional constraints, creating a watch that embodies a nuanced, serene, and versatile elegance, meticulously crafted to resonate with the refined essence of today’s discerning individual.” Long live the dress watch.

TONDA PF GMT RATTRAPANTE

Parmigiani Fleurier has something of a tradition when it comes to the Rattrapante, which you will certainly recall from the Tonda PF Minute Rattrapante and the GMT Rattrapante (opposite). Well, all these watches have something in common but it is not the complication, of course. Our favourite happens to be the GMT Rattrapante, possibly because we are partial to dual timers of all sorts. Something about knowing the time at two locations, one of which is clear only to the wearer, is exciting. Parmigiani Fleurier recognised this sentiment and came up with a value- add that heightens the discretion value: two overlapping hour hands that separate on demand to track time in two different zones. That is where the Rattrapante bit comes in for this Tonda PF model.

Here is a brief primer on the GMT Rattrapante from our own story on it in 2022: This is a fuss-free two-time zone watch, with the additional function of being on-demand. Using the pusher at 8 o’clock moves the white gold hour hand forward by one hour, while revealing a second hour hand in red gold. This red gold hand will remain tied to home time while the white gold hand now indicates local time; using the pusher at 3 o’clock gets the white gold hand gliding across the dial to once again take its position over the red gold hand, where both then move forward as normal. This is perfect for those who only want their complications in their faces when they want to use them. In practice, or practical terms, we think this works best when trying to manage times in two countries or time zones for short periods, from the moment you arrive to the moment you leave.

While it seemed a bit naughty at launch at that time, with the Minute Rattrapante still a year in the future, the GMT Rattrapante too speaks precisely to the brand’s preference for classical restraint. We are quite hopeful that we will see a version of this model in the Toric collection as it makes a good fit.

PHOTOGRAPHY CHING@GREENPLASTICSOLDIERS
STYLING GREGORY WOO

This article first appeared on WOW’s Festive Issue #76

For more on the latest in luxury watch reads from WOW, click here.

The post Parmigiani Fleurier Delivers The Gold Standard of Dress Watches appeared first on LUXUO.

Tiktok is the realm of newness and novelty. Every week, something new emerges and it’s always something that I simply need to know about. A novel way to style my hair for maximum impact, a new homegrown brand I should shop from or just a fresh meme that will take over the Tiktok community—and Gen-Z digital marketing strategies—for the next month.

But it’s not every day that a trending topic on Tiktok forces me to rethink what I thought I knew. It all started with just one video that looked just like any other. A talking head, describing Tiktok’s latest beauty fixation: facial contrast. 

@alieenor My favourite glow up tip is playing with contrast to get more confidence #contrastlevel #mediumcontrast #highcontrast #emmawatson ♬ son original – Alieenor

In the video, French beauty content creator Alieenor, as she is known on Tiktok, presents the photos of three familiar faces: Anne Hathaway, Emma Watson and Taylor Swift. Each celebrity is then given these titles: high contrast, medium contrast and low contrast, respectively. She goes on to detail how determining your facial contrast level might just be the next sure-fire way to find your signature makeup style.  

The concept of contrast is, by no means, new. Film noir is characterised by its stark, high-contrast lighting. Renaissance artists employed the artistic technique of chiaroscuro, blending the Italian words for “bright” and “gloomy”. For his Fall/Winter collection in 1965, Yves Saint Laurent famously drew inspiration from the colour-blocking works of Dutch painter Piet Mondrian. The result was a striking collection that highlighted both the artist’s and designer’s refined use of contrast in colour. 

But how does that translate to makeup routines?, you might be wondering. Alieenor says that facial contrast is but just one practical application of the concept; it is all about creating harmony on the face. By taking the time to understand your facial contrast level, you’ll be wearing your makeup, not the other way around—your face, but better. She alludes that mastering facial contrast theory can not only help you find your signature beat, but it can also help to give a more balanced appearance.  

Mastering it is simple, according to the Tiktok creator, who created a filter on the app just to determine your contrast level. First, situate yourself—devoid of makeup—in soft, natural light, before selecting your skin tone on the Tiktok filter. Is your skin light, medium or dark? Then spend some time comparing the relative darkness and lightness of your features, using your facial skin as a benchmark. 

If you have dark hair and eyebrows on fair skin, like Hathaway, you belong to the high contrast category. By comparison, if your hair and skin are of similar values, your face probably falls under the low contrast category. If there exists some contrast but it’s not exceedingly obvious, you would probably fall in the medium contrast group.

@alieenor Réponse à @Ashleyvdk The best way you can feel like yourself when wearing makeup is understanding your contrast level #contrastlevel #highcontrast #annehathaway #maralafontan #inestazi #monicabellucci #highcontrastmakeup #darkhair #contrast #colorseasonanalysis @Mara Lafontan @INES TAZI ♬ son original – Alieenor

In her video, Alieenor also reveals certain makeup dos and don’ts for each category. The Tiktok content creator purports that people with lower contrast should steer clear of intense colours on the face. That means no bold lips, and minimising dark, smoky eyes. Instead you should opt for more minimal, “no-makeup” makeup. Think natural tones and lip glosses that will not pull focus from your features, as well as shimmers and glitters (with a restrained hand, of course). Those who belong in the high contrast category, on the other hand, can—and should—embrace strong makeup looks. If you do prefer a more natural beat for the everyday, Alieenor says that high-contrast individuals can diffuse a strong red multi-tasking product on the lips and cheeks, for a more blotted finish. 

With the filter in hand, I conducted an inspection of my face. With light skin set against the backdrop of my ash-coloured hair, it seemed like medium contrast was the right group for me. That is, until I took a better look at my eyebrows. The deep tones from my dark brown eyebrows seemed to push me into high-contrast territory. Naturally, I was left confused about which was right. After all, I didn’t want to commit any cardinal makeup sins. 

Alieenor’s original video and filter has racked up close to 12 million views on Tiktok, and there seems to be throngs of people on Tiktok who swear by the theory and its claims. But surely, I couldn’t be the only person who was struggling to work out my facial contrast level. I quickly found out I wasn’t alone. I stumbled upon videos of other people attempting—and unfortunately, failing—to determine their facial contrast. 

Filtered Out 

The limited success of the filter lies in its overt simplicity. With just three skin tones to choose from and only one point of comparison (which comes in the form of a cartoon face), the filter presents a finite number of potential outcomes. In the absence of other key factors, the filter quickly generalises a wide spectrum of faces, sorting them into three umbrella groups that lack clarity. 

Therein lies the confusion that users are faced with. Singaporean makeup artist Kat Zhang attributes this uncertainty to our phones. 

“A lot of different factors are not reflected on our screens,” says Zhang, who is also the founder of Singapore-based creative management agency Suburbs Studio. With black hair but very light brows, the filter proposes that she is probably someone with medium contrast. But Zhang says that a filter can only do so much. A number of external factors, such as lighting, the clothing we wear when using the filter and even the angles at which we hold our phones, can have monumental effects on the accuracy of such Tiktok filters. 

And it’s not just the filter. Zhang suggests that the overarching theory of facial contrast may be oversimplified. “It removes the element of colour and tones, focusing solely on contrast between the features,” she contends. “Yes, it does help narrow down the spectrum of looks [that might flatter you], to determine how flexible you are in terms of how much makeup your features can carry. However, it doesn’t determine what’s best—that is subjective.” 

Blind Spots 

No matter how carefully we examine ourselves, a 2D image cannot capture the depth and dimension of human faces. According to Gwendolyn Janelle Tan, the principal colour consultant and founder of Style Forth, a local image consulting agency, facial contrast is but a small part of determining one’s most flattering look. 

“The effectiveness of facial contrast theory may be limited because it doesn’t account for undertones, which play a significant role in determining suitable colours for makeup and clothing,” says Tan. The professional image consultant says that understanding facial contrast alone is not sufficient, it’s vital to take into consideration other tools such as colour analysis. 

For her, colour analysis is absolutely essential. “Colour analysis identifies the colours that best suit an individual’s natural features, such as skin undertone, eye colour, and natural hair colour,” she says. “This is done through draping techniques to observe how different shades reflect on facial skin, categorising each person into a palette that enhances their appearance.” 

For those unfamiliar, the process of colour analysis can be extremely thorough, more often than not taking hours and a seasoned professional, not unlike a sacred spiritual experience. As a trained colour analyst, Zhang says, “There are blind spots when you don’t have a trained eye or flair for understanding what suits you.”

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Professional colour analysts can acutely distinguish one’s complementary colours and makeup looks with more accuracy and impartiality. These sessions are a far cry from the subjective self-assessments that Tiktok filters often call for.

The basic results of colour analyses typically splits the population into three major skin tone categories—cool, neutral and warm—before analysts take a deep dive into the different hues that complement one’s skin. In recent years, colour analysis has only grown in popularity, with more beauty brands using labels like “warm” or “cool” to differentiate shades of the same product, especially so in the foundation and lipstick departments.

A clear example of colour analysis takes shape in the form of the red lipstick. Who among us hasn’t carefully swiped on a red lip, only to find that it just looks wrong, before banishing it to the furthest corners of our vanity tables? Well, the good news is that not all reds are created equal. Even in a classic red lipstick, there exists a myriad of undertones that impact its final colour payoff. A warm-toned individual may find that reds with an orange undertone sit better on the skin, while those with cool-toned skin will likely see more harmony in their complexion when using a blue-toned red.

What’s more, colour analysis doesn’t stop at the three foundational classifications. What sets colour analysis apart from the more simplistic theory of facial contrast lies in the Munsell Colour System. Conceived by American painter Albert Henry Munsell in 1913, the system looks at colour in three dimensions: hue, value and chroma. These attributes allow us to not only identify colours by a clear standard, they also allow us to define colour in relation to one another with more accuracy.

Author Carole Jackson tapped into Munsell’s Colour System, to write her 1973 book Color Me Beautiful, which served as the foundation for many later adaptations of colour analysis. Jackson broke the science of colour analysis down further into the four natural seasons: Spring, Summer, Autumn and Winter. The colour analyses of the 21st century now typically render 12 different results, with three subcategories per season. While nothing is inherently wrong with Tiktok’s obsession with facial contrast, it’s important to note that contrast is just a small piece of the puzzle when it comes to achieving facial harmony when applying your makeup.

Butterfly Effect 

In addition to colour analysis techniques, one must also make sense of visual weights in order to truly grasp the concept of facial harmony. Visual weight refers to the prominence of one’s features—predominantly the eyes, lips, nose, and eyebrows—in proportion to the face. The placement, size and shape of these features are just some of the factors that can influence one’s visual weight.

Are your eyes and lips pronounced? Do you have high cheekbones and a sharp nose? If your answers to these questions is “yes”, you most likely have high visual weight, meaning your features allow you to carry off bolder makeup styles, like dramatic winged liners and vibrant lip colours. Conversely, if your facial features are softer and less defined, your visual weight is low. Makeup techniques for people with lower visual weight consistently lean into softer, more natural colours. Leave your black liners behind, and instead, reach for a dark brown that will bring attention to your eyes, rather than overwhelm them.

“Facial harmony is about optimising your features, [allowing them] to complement each other without one overpowering the others,” says Zhang, who regularly employs visual weights when dolling up her celebrity clients. When you correctly utilise colour analysis and visual weights in tandem, you’ll notice that your features appear more radiant and youthful.

Even with these methodical analytical tools, bear in mind that other elements may nevertheless complicate the process of finding your “best look”, as Tan shares. “Ageing, for instance, can alter skin texture, brightness, and pigmentation, which may change how colours appear on the skin. Hair colour—especially if it turns grey or is dyed—and changes in personal style can also influence the perception of contrast and harmony.”

@warnerbrosmx Porque ustedes lo pidieron… versión extendida del análisis de color de Robert. #Mickey17 – 6 de marzo, solo en cines. #RobertPattinson #BongJoonHo #Peliculas ♬ sonido original – WarnerBrosMX

Feeling Good 

Ultimately, as much fun as these filters are, they are, quite simply, just preliminary online tools to bolster our knowledge. These theories and instruments, such as Alieenor’s video on facial contrast, serve merely as foundational guides formulated to untangle the growing complexities that exist within the beauty industry. “Online trends revolving around beauty offer frameworks to understand your features and preferences, making it easier to navigate beauty and style decisions. They are not absolute rules,” says Zhang. They are definitely not devised to define you or take away from the pleasure of experimenting with your own makeup.

This sentiment is shared by Tan, who says that the goal should be to enhance your natural features in a way that feels authentic to you, rather than completely transform yourself to match current trends. And when the trends that circulate online leave you with more confusion than clarity, it might just be the time to take a step back and focus on what fuels your confidence instead.

I often find myself at this crossroads: being constantly bombarded by beauty trends that offer seemingly simple solutions, but which often leave me feeling even more uncertain. On the surface, online beauty theories appear so effortless and easy to grasp, but in my experience, I usually walk away with more questions than answers. So after spending years dissecting countless theories, each promising to reveal beauty’s biggest secrets, I’ve put an indefinite pause on following these fleeting trends. In seeking the beauty industry’s “best” advice, I’ve realised that no one right answer exists.

Rather than spend my life trying to achieve perfection with online beauty hacks, I’ve decided to venture headfirst into the unknown. Instead of shying away from experimentation in beauty, I’ve elected to give in to every whim and fancy that catches my eye. No hair colour is too wild, and no lipstick too dramatic.

Don’t get me wrong, I’ve definitely made mistakes. I used to rock a deep plum shade on my lips every day in school, even though the sultry shade dramatically aged my appearance, by way of highlighting the grey undertones in my skin. But in the wake of each mistake lies a lesson that eventually guided me towards a deeper understanding of the colours and styles that truly flatter me.

By shifting my focus away from online filters, this personal journey of trial and error led me to a DIY colour analysis of sorts. Albeit more time-consuming, this undertaking has been immensely rewarding. Its intimate nature has allowed me to amass a wealth of tailored knowledge—one that will only become more refined with time. While trends and online theories may come and go, the enduring sense of fulfilment that stems from shaping your own beauty journey remains.

This story first appeared in GRAZIA Singapore’s February 2025 print issue and on Grazia.SG

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Halcyon Gallery’s audacious new exhibition dubbed “Sacred & Profane” offers a contemporary reimagining of religious iconography. Situated at 148 New Bond Street, the exhibition will feature a dynamic range of works by renowned artists including Mitch Griffiths, Andy Warhol, David LaChapelle, Robert Montgomery and emerging talents such as Graceland London and Dominic Harris.

For centuries, religious art has played a central role in society, conveying moral narratives and spiritual messages through paintings and sculptures. “Sacred & Profane” revisits these time-honoured traditions, blending the sacred and the secular to explore how ancient symbols and religious themes can be reinterpreted to address the pressing issues of today. The result is a collection that not only invites reflection on spirituality but also challenges our perceptions of culture, faith and contemporary life.

At the heart of the exhibition is Mitch Griffiths’ dramatic oil painting Shrine (2022), which presents a modern-day Madonna crowned with a drone, symbolising the impact of unmanned warfare in the digital age. Griffiths’ work — which draws inspiration from the Baroque tradition of Caravaggio — takes a bold step by tackling issues such as social media’s dangers, environmental threats and consumerism through the lens of religious art.

In the lower gallery, the exhibition brings together powerful works by David LaChapelle and Graceland London, as well as a haunting photograph of Warhol taken by LaChapelle in 1986. Warhol’s iconic silkscreens of skulls are juxtaposed with LaChapelle’s surreal depictions of celebrity fame, and mortality, while Graceland London’s pieces bridge the legacy of Pop art with Christian iconography, further exploring the intersection between the sacred and the profane.

Santiago Montoya’s vibrant murals offer a unique political dimension to the exhibition, with his use of banknotes from around the world to create art that speaks to issues of national identity, power and politics. Meanwhile, Robert Montgomery’s conceptual sculptures — which take inspiration from church altarpieces — blend the sacred with poetic verse, offering a renewal of the spiritual through contemporary language.

Spanish artist Pedro Paricio reinterprets works by “Old Masters”, blending classical motifs with his kaleidoscopic, dynamic style. His vibrant canvases invite a fresh look at traditional religious themes, set against a backdrop of modern artistic innovation. Digital artist Dominic Harris — returning to Halcyon with his immersive interactive environments — uses technology to create pieces that engage directly with art history, offering a contemporary take on timeless themes such as birth, life and death.

Kate Brown — creative director at Halcyon — reflects on the significance of the exhibition stating, “At Halcyon, we represent artists whose work interacts with art history in incredibly nuanced and powerful ways, both in homage to the past and as a way to highlight what is distinctive about the contemporary period. In directly addressing our time, their work is incredibly poignant for a modern audience.”

“Sacred & Profane” made its debut to the public on 27 February at Halcyon, 148 New Bond Street. The exhibition promises to be an unmissable exploration of how artists continue to push the boundaries of religious art, making it relevant to today’s world.

For more information, visit www.halcyongallery.com.

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