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Haute Joaillerie presentations at Fashion Week were inspired by travel through time and space. In this second chapter (the first appeared on July 27), gemstones explore the thousand nuances of nature.
Here, the Maisons pay tribute to humanity’s most fragile and ephemeral companion: nature. The impermanence of things – a very strong Japanese concept – is used here in creations that are all the more breathtaking for their reminder of the urgent need to preserve the biodiversity that makes our planet so rich. We’re talking flora and fauna, minerality and the cycle of the seasons.
As early as 1780, Chaumet‘s ancestor, Marie-Étienne Nitot, signed his letters with the words “joaillier naturaliste” (“naturalist jeweler”). Since then, Chaumet has continued this journey into nature.
The Les Jardins de Chaumet collection invites us to stroll through the undergrowth with, for example, a necklace whose delicate branches of frosted mistletoe shelter an intense emerald, or a tiara of ferns veined with diamond drops.
Other jewels take you through fields of golden wheat stirred by the wind, or vine leaves composed of a magnificent set of rubies and studded with diamonds and calibrated stones. The grace and lightness of these pieces are yet another hallmark of Chaumet’s style.
Piaget imagines a generous, lively nature in “Metaphoria”.
41 jewels and 11 watches bring oceans, mountains and forests to life, evoking the trickle of a waterfall or the radiance of the sun.
With its glacier blue hues, the Mineralis set seems caught in the swirls of a river in winter, while the Alata set, vibrant with warm light, recalls the Maison’s tradition of precious marquetry: a skilful superimposition of diamond leaves, white or gold mother-of-pearl and hand-engraved gold with the Palace motif. “The most complicated part was to create a harmony of shimmer in an asymmetrical design,” explains the marketing director.
At the confluence of East and West, living between Paris and New York, Anna Hu is an astonishing artist.
Her culture and Chinese origins draw her to the poetry of nature, which she interprets with gold as well as titanium, enamelled brass or satin-brushed silver, enabling her to transcribe the colors and vivacity of nature. The pink and blue titanium petals of her orchids seem to wither before our eyes, enclosing dewdrops in briolette diamonds.
The wings of a butterfly cut directly from two large turquoise stones are crossed by ribbons of aluminum and silver, while another butterfly (a recurring theme for Anna Hu), all in white and yellow diamonds, is divided into 3 parts to be worn together or separately. The pieces are cut and chiselled to set them in motion and achieve the vibrant, unsettling effect that enchants us. Giving life to her creations, as close to nature as possible, has always been Anna Hu’s essential signature.
De Beers interprets nature through the 4 seasons of diamonds: spring with a flower from South Africa, where many of the House’s diamonds come from, summer with ammonite fossils in yellow gold, autumn with foliage in fire enamel, winter with blocks of ice (diamonds) on frozen lakes.
Twenty pieces are transformable. A special mention goes to a butterfly ring on 3 fingers (in summer) that opens in two to release a sublime yellow diamond. Metamorphosis features exceptional diamonds from the De Beers Natural Works of Art collection, including a 2.78 ct Fancy Intense Pinkish Purple diamond, a 7.61 ct Fancy Vivid Yellow diamond, a sublime 8.49 ct pear-cut white diamond and a rare Fancy Vivid Orange Yellow.
Although Japan’s Tasaki is not a fashion house, it does not hesitate to call on fashion designers to capture and render movement and suppleness.
Her Nature Spectacle collection is the perfect illustration of this quest for curves and volutes. Inspired by the spectacle offered by the meeting of sun and moon, reflecting their majestic beauty in the waters of the sea, it marries the luminous orient of pearls with shades of solar or nocturnal stones. With its contrasting hues, the Ocean Light sautoir illustrates the moon’s nocturnal reflection on the ocean, with long strands of asymmetrical pearls held by an open choker set with black South Sea pearls, blue zircons and yellow tourmalines.
Read also > > Le voyage enchanté des joailliers pendant la Fashion Week (Chapitre 1/2) – Quand la joaillerie explore le temps
Featured photo : © Press [/vc_column_text][/vc_column][/vc_row][vc_row njt-role=”not-logged-in”][vc_column][vc_column_text]
Haute Joaillerie presentations at Fashion Week were inspired by travel through time and space. In this second chapter (the first appeared on July 27), gemstones explore the thousand nuances of nature.
Here, the Maisons pay tribute to humanity’s most fragile and ephemeral companion: nature. The impermanence of things – a very strong Japanese concept – is used here in creations that are all the more breathtaking for their reminder of the urgent need to preserve the biodiversity that makes our planet so rich. We’re talking flora and fauna, minerality and the cycle of the seasons.
As early as 1780, Chaumet‘s ancestor, Marie-Étienne Nitot, signed his letters with the words “joaillier naturaliste” (“naturalist jeweler”). Since then, Chaumet has continued this journey into nature.
The Les Jardins de Chaumet collection invites us to stroll through the undergrowth with, for example, a necklace whose delicate branches of frosted mistletoe shelter an intense emerald, or a tiara of ferns veined with diamond drops.
Other jewels take you through fields of golden wheat stirred by the wind, or vine leaves composed of a magnificent set of rubies and studded with diamonds and calibrated stones. The grace and lightness of these pieces are yet another hallmark of Chaumet’s style.
Piaget imagines a generous, lively nature in “Metaphoria”.
41 jewels and 11 watches bring oceans, mountains and forests to life, evoking the trickle of a waterfall or the radiance of the sun.
With its glacier blue hues, the Mineralis set seems caught in the swirls of a river in winter, while the Alata set, vibrant with warm light, recalls the Maison’s tradition of precious marquetry: a skillful superimposition of diamond leaves, white or gold mother-of-pearl and hand-engraved gold with the Palace motif. “The most complicated part was to create a harmony of shimmer in an asymmetrical design,” explains the marketing director.
At the confluence of East and West, living between Paris and New York, Anna Hu is an astonishing artist.
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Haute Joaillerie presentations at Fashion Week were inspired by travel through time and space. In this second chapter (the first appeared on July 27), gemstones explore the thousand nuances of nature.
Here, the Maisons pay tribute to humanity’s most fragile and ephemeral companion: nature. The impermanence of things – a very strong Japanese concept – is used here in creations that are all the more breathtaking for their reminder of the urgent need to preserve the biodiversity that makes our planet so rich. We’re talking flora and fauna, minerality and the cycle of the seasons.
As early as 1780, Chaumet‘s ancestor, Marie-Étienne Nitot, signed his letters with the words “joaillier naturaliste” (“naturalist jeweler”). Since then, Chaumet has continued this journey into nature.
The Les Jardins de Chaumet collection invites us to stroll through the undergrowth with, for example, a necklace whose delicate branches of frosted mistletoe shelter an intense emerald, or a tiara of ferns veined with diamond drops.
Other jewels take you through fields of golden wheat stirred by the wind, or vine leaves composed of a magnificent set of rubies and studded with diamonds and calibrated stones. The grace and lightness of these pieces are yet another hallmark of Chaumet’s style.
Piaget imagines a generous, lively nature in “Metaphoria”.
41 jewels and 11 watches bring oceans, mountains and forests to life, evoking the trickle of a waterfall or the radiance of the sun.
With its glacier blue hues, the Mineralis set seems caught in the swirls of a river in winter, while the Alata set, vibrant with warm light, recalls the Maison’s tradition of precious marquetry: a skillful superimposition of diamond leaves, white or gold mother-of-pearl and hand-engraved gold with the Palace motif. “The most complicated part was to create a harmony of shimmer in an asymmetrical design,” explains the marketing director.
At the confluence of East and West, living between Paris and New York, Anna Hu is an astonishing artist.
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