Houses big and small went bigger and bolder than ever with their high jewelry collections — especially when it comes to stones.
creation studio director Patrice Leguéreau expanded the themes of the moon, the sun and the comet into a further 76 designs, many of which included transformable gemset motifs.
The Japanese high jeweler was presenting “Radiant Sky,” the fifth Atelier high jewelry collection of creative director Prabal Gurung, rife with sizable turquoises that looked like fluffy clouds had brushed their surface, a rainbow of gemstones and, of course, pearls. Inspired by the sky under changeant conditions, it felt like a metaphor for the jewelry industry’s reconfigured business environment.
He credited these good results to strong brand equity and increased customer loyalty, but also to increased interest in the“In order to [make] our operation successful, we really need more high-ticket pieces, [high ticket] customers,” he explained.trend toward investment pieces “What interested me and the beauty of it is that when it’s vintage, you know there is only one,” said Maria Cristina Buccellati, the house’s global communication and marketing director and granddaughter of founder Mario.
“King of diamonds” its founder may be, but it was all manners of rubellites, aquamarines, tourmalines and colorful gems that stood out in Harry Winston’s “Majestic Escapes” collection. There were also semiprecious stones like green chiroprase and even rock crystal for the “Frozen Capture” set. However, it wouldn’t be De Beers without, like the 20.1-carat pear-shaped diamond, one of its Natural Works of Art set of gemstones, that completed this set’s necklace, or the smaller but no less precious 1.13-carat fancy intense pink diamond, starring as a detachable pendant on the transformable “Dusk Reflection” choker that can be separated into two bracelets.
It takes pride of place on the Akh-Ba-Ka necklace, a 2,550-diamond piece that took some 1,000 hours to make. “It’s not so much reacting to expectations or constraints, it’s really that we are in a world [where] it makes more and more sense to be [as] open and transparent as we can,” he continued. These diamonds have therefore been distributed across the “25 Mystery Set Jewels” of the first chapter of the Legend of Diamonds collection, which amply uses the house’s mystery setting that gives stones pride of place.
“A collection should be joyous. That’s a side that is important to me, these little side steps, this playfulness that [balances out] being a major high jeweler, being very ancient, very serious and doing the very beautiful but expected designs befitting a high jeweler,” the Chaumet CEO continued, noting that these more humorous pieces opened the door to “another public” that could include male clients, despite the fact that “it wasn’t [Chaumet’s] destiny to work men in high jewelry.
Hardy therefore recast traditional stone cuts and “near historic” shapes into graphic impressionist interpretations: a golden whip with a glittering blue imprint; the house’s “Chaîne d’Ancre” supplemented by inky duplicates; rings with rough-cut stones sitting on matching pavé-set pools, or rows of green gems appearing to float, connected only by their slate gray shadows outlined in gold.
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