Jewellery
Photography: Judith Lieber at Couturelab; Courtesy of Van Cleef & Arpels; Eyevine; Nick Welsh, Cartier Collection
Unlike regalia of yore, today much high jewellery looks like you could slip it on and skip down the Champs-Élysées on a summer’s day. This increased wearability is due to two things: the first is clever and painstaking construction, using techniques that vie with the Eiffel Tower for engineering complexity. Miniature hinges, articulations and hidden supports allow maximum movement and sit lightly on the body. The second is a heightened interest in unusual stones and often in unexpected colours, such as soft grey or powder green sapphires or burnt orange topaz or the vivid tableau of opals. Meanwhile, the penchant for gobstopper-sized solitaire diamonds is on the wane, and more original and thoughtprovoking combinations of stones are in vogue. Think of jewellery like music, the notes are all there but they are singing a different tune. Shaking up the traditional hierarchy of high jewellery, rough chrysoberyl beads, morganites, spinels or the sunset pinky orange padparadscha variety rub shoulders with diamonds, pearls and emeralds. A good example of daring combinations of stones can be seen chez Cartier, where a white opal shot through with a neon burns moodily alongside purple sapphires and a shimmering cascade of diamonds. My favourites are the fruity hues of padparadscha and peach coloured sapphires surrounded by swirls of diamonds, and all held on the neck by a thick rope of dozens of strands of miniature natural pearls the colour of baby’s fingernails. Or take the famous 1948 Maharajah of Patiala’s necklace, Cartier’s largest single commission. Today Cartier has given this famous design a new twist, and though it strings up a hefty 50ct yellow Top: Van Cleef & Arpels earrings Top right: Wild Cat and Zebra clutch bags from Judith Lieber Above: chic feather brooch from the Plumes de Chanel collection Left: the ceremonial necklace of the Maharaja of Patiala, given a new twist by Cartier in 2002
diamond, the necklace has been engineered to leave you feeling at ease and not on parade, as the diamonds are singing a more laid back tune. “The glamour of both haute couture and fine jewellery go hand in hand,” says Chopard co-President, Caroline Gruosi-Scheufele. “Whilst jewels used to be much more traditional and uni-coloured for big events, mainly designed and set with diamonds, more and more colourful precious and semi-precious gemstones have made an appearance in the past few years. “Sometimes mixing and matching can be fun and liven up an outfit, but it needs to be styled carefully. For instance, a beautiful evening gown does not always need a serious dramatic piece of high jewellery. It is important, though, to dress the celebrities in jewels and gowns that suit their style and personality best.” Coco Chanel knew how to mix couture and diamonds, and in 1932 she hosted the opulent Bijoux de Diamants exhibition in Paris. The high value of the pieces raised a few eyebrows in this time of deep financial crisis. Though the jewels were dismantled, what remained was Chanel’s fresh way to sport the aristocracy’s favourite stone. And from the 2010 Plumes de Chanel high jewellery collection, I can think of nothing more chic to wear with that very special dress than the replica of the original 1932 feather brooch. About the size of your hand, the diamond feather is, dare I say, as light as a feather, and is articulated so you can wear it draped over a shoulder, at the hip or even in the hair like a tiara. If it’s va-va-voom you’re after to spice up an outfit, then Victoire de Castellane’s jewellery at Dior is the place to go. From the Coffret de Victoria collection, the outsized ring sets an intriguing scene. Inspired by Bollywood, a bright green enamel and diamond snake slithers over sky blue turquoise stones set off by spangled, glossy red lacquer to reach a bulging pomegranate. If there was one piece I’d take from Harry
Steinway & Sons | ISSUE two 2010
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