MOJEH JEWELLERY & WATCHES ISSUE 1 by MOJEH

TREASURES

of our

Time

HIRE LOUIS FOURTEEN TO BUILD YOUR CLOSET FOR THE NEW SEASON.

Chairman SHAHAB IZADPANAH

EDITORIAL

PUBLISHING

Editor in Chief MOJEH IZADPANAH

Publishing Director RADHIKA NATU

Associate Editor SHERI IZADPANAH

Publishing Assistant DESIREE LABANDA-GAVERIA soheil Najafian razavi

Content Editor KELLY BALDWIN

Subscription Assistant gracelyn gabriel

Digital Assistant Editor Jake Hamilton

Paris Representative GHISLAIN DE CASTELBAJAC

Guest Fashion Editors Marco Mani

Senior Advertisement Manager Pamela Bayram Cleave

Fashion Writer susan devaney

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Digital Editorial Assistant Christopher Prince Junior Editorial Assistant CHarlotte codd

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Editorial Contributors Naomi Chadderton Laura Binder

LOUIS FOURTEEN FOR MOJEH

ART

Concierge Service Management ASSMA AHMED

Producer LOUIS AGENCY

Head of Lifestyle OLGA KOVALCHUK

Art Director AMIRREZA AMIRASLANI

Corporate Manager JUBRAN HAMATI

Digital Strategy LOUIS AGENCY

Manager IT Division Ali Roman

Contributing Photographers Oleg covian Nicolas menu sarvenaz hashtroudi

Senior Stylist MARIAN GIRGIS

Cover photographed by Nicolas Menu, featuring Chimera Diana bracelet, GIAMPIERO BODINO

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WWW.MOJEH.COM Louis Fourteen for MOJEH Follow us on Twitter @MOJEH_Magazine MOJEH Swiss Representative Office: Rue de Rive 4, 1204 Geneva, Switzerland For the UAE printed by Emirates Printing Press LLC. Distribution- UAE: Al Nisr Distribution LLC. Qatar: Dar Al Sharq. Bahrain: Jashanmal & Sons BSC (C). Oman: United Media Services LLC. Lebanon: Messageries Du Moyen-Orient The publishers regret that they cannot accept liability for error or omissions contained in this publication, however caused. The opinions and views contained in this publication are not necessary those of the publishers. Readers are advised to seek specialist advice before acting on information contained in this publication which is provided for general use and may not be appropriate for the readers particular circumstances. The ownership of trademark is acknowledged, therefore reproduction in whole or in part without written permission is strictly prohibited. All credits are subjects to change. Copyright HS MEDIA GROUP FZ LLC 2011

Daily Luxury Jewelry MarliNewYork.com Available at Bloomingdale’s – Dubai, The Dubai Mall

30 38 42 54 58

Changing Faces: Biennale des Antiquaires As one of the biggest events on the jewellery social calendar, we showcase the latest artistic offerings from the Biennale des Antiquaires in our photoshoot and edit.

Haute Jungle

contents

Have you taken a walk on the wild side? We look at why fine jewellery’s fascination with the animal kingdom is ever-growing.

Feeling Fine From Giorgio Armani to Andy Warhol, fine jewellery designer Wilfredo Rosado has played protégée to the world’s greats. We speak to the man behind his own luxury offerings.

Generation Watch It’s no longer an older generations’ game. We discuss why the young generation are playing their part in the rising trend of watch collecting.

The Colour Comeback Will you be adorning yourself in pink, purple or orange? Pick from a kaleidoscope of shades as colour is set alight in the world of gemstones.

Tiffany&Co

82 100 104 112 124 Venetian Gems

The history of Venice has us captivated, we rediscover its link to the east and its love affair with jewels.

Sweet Dispositions Satisfy your sweet tooth with our photoshoot featuring sugar-coated delights – from watches to make-up - to fully accessorize any outfit.

A Journey in Time If you’re planning on capturing the spirit of adventure in 2015, our edit of the best timepieces for him will endure any weather or terrain.

The Women’s Movement As 2015 looks set to be the year of the woman for watch trends, we delve into the reasons why the market is turning female-focused.

Once Upon a Time… The art of storytelling has long been captured in high jewellery collections. As it looks set to continue, we discuss why this emotionally charged love bond always captures our heart.

CARTIER

Redefining

Luxury

Photographed by OLEG COVIAN

Mojeh Izadpanah Editor in Chief

When work first started on MOJEH back in 2010, it was in response to a burgeoning set of women with a keen appreciation for luxury. Luxury that comes packaged with precision, expertise and a story to tell. The jewellery and watch section is where this beauty, in its many facets, rings most true. From exclusive looks at new collections to interviews with the industry’s most gifted creative directors, readers love to immerse themselves in the small but opulent section. Similarly, once MOJEH Men followed suit in 2013, the same ripples were felt. Followers range from young males at the very early stages of watch collecting, to seasoned pros whose vaults ooze with every type of complication and mechanism. We’ve observed as the fine and high jewellery and timepiece industries have grown from strength to strength in recent years, evident in the influx of international brands increasing their presence in the region and often crafting exclusive pieces with us in mind. In turn our taste for these fineries has become even more precise. But what I find most intriguing is not only in the way that we invest, but more so in the way we wear them. No longer are they locked away until the ball of the year or a family wedding surfaces. Instead, in just the same way that we hang a rich and fabulous painting on our wall for all to appreciate continuously, we’re leaning toward high jewellery and exceptional time pieces to complement any outfit, day or night. These pieces are no longer kept separate, but instead add to our sartorial choices, redefining the way in which we appreciate real luxury. For our special edition we’ve stepped inside this poetic world of finery, offering you everything from the Biennale des Antiquaires one-of-a-kind jewels and Dior’s latest timepieces to a walk through a high jewellery jungle and a colourful exploration of gems. Bringing me back to the reasons we’ve launched our special edition: to travel with you on this voyage of vibrant and artistic discoveries. Follow me on Twitter and Instagram @Mojeh_I and write to me at editor@mojeh.com

Editor’s Letter

THE DUBAI MALL, GROUND FLOOR, GRAND ATRIUM, TEL +971 4434 1570

Stand-out gems light up the room while pastel hues create a precious contrast against sparkling diamonds. Break away from conventional jewels and embrace a little innovation with Marli’s ear cuff. Piaget’s piece creates a fine line between high jewels and horology – is it a watch or is it a bracelet?

H I G H L I G H TS

Photographed by Amber Gray

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TOP

BVLGARI

CLASS

Go back to school with Bulgari’s accessory algorithm. The basic maths combines the angles of the pieces with the dazzle of the diamonds to come out on top. The Diva collection will add to your total outfit score so don’t be tardy when it comes to this arithmetic lesson.

LA COLLECTION PRIVÉE

High jewellery seems to have taken inspiration from horticulture in recent seasons, with the popular flower trend now coming into full bloom. Reaching new heights, rings come oversized as they rival brooches and earrings. Can you tell what La Collection Privée’s floral jewel is?

Floral fantasy

style notes

design a n d technology.

luminor 1950 10 days gmt automatic (ref. 533)

PANERAI BOUTIQUES DUBAI - The Dubai Mall - +971 4 339 8444 ABU DHABI - Avenue at Etihad Towers - +971 2 681 8660; The Galleria at Sowwah Square, Al Maryah Island - + 971 2 491 9748 pa n e r a i . c o m

Emerald Ambition Take a trip to the Emerald City as the classic gemstone becomes the hottest ticket in town. The runways exploded with colour making gemologists sit up and take note. A rainbow of multicoloured stones is slowly stealing the show away from crystal clear diamonds as emeralds lead the pack as the colour of adornment - the new barometer of chic.

DAMAS, Jawaher bracelet.

style notes

Sapphire and diamond Grape necklace, set with four Sri Lankan emerald cut sapphires

A T h e

L i st

Design director Anne-Eva Geffroy tells the tale of Graff’s exceptional Grape necklace. Diamonds and gemstones are a precious gift from Mother Nature - they are not made-to-order so as such, we never know when a large or rare stone will be uncovered. Graff’s beautiful Grape necklace is a celebration of the brand’s stone-led and design-led jewellery designs; showcasing intricate pavé leaves intertwined with 14 captivating sapphires inspired by the Delaire Graff Estate and its exotic and intoxicating gardens and vineyards. Incorporating four exquisite Sri Lankan emerald-cut sapphires of rich colour and depicting the beauty of nature in gemstone form, vibrant clusters of sapphire beads are entwined with pavé diamond leaves and stems. Every jewellery piece is created by hand from start to finish in our London-based design studio and workshop using only the finest quality stones. This sapphire necklace exemplifies our expertise when sourcing the most precious stones to ensure the highest quality jewels. The design process begins when I am presented with a tray of diamonds and rare gemstones. I will study them very closely for their individuality, nuances and unique magnificence. When the time comes to put pen to paper, I draw on the natural beauty and brilliance of each contour and facet. I believe that when we draw, our emotions are laid on the page and they add a unique authenticity to a piece. Embracing a timehonoured and skilled tradition, we then paint the design in the finest gouache, transforming the design into a work of art. This feminine design is a perfect example of how each individual jewellery piece requires a steady hand and exact precision. As such, our master craftsmen often spend many months working on just one piece.

Exceptional Jewels

t T h e

Wa ch Escale Worldtime, Louis Vuitton

A brand as synonymous with travel as it is with luxury, Louis Vuitton’s Escale Worldtime watch invites us to explore the world in 60 seconds.

While circumnavigating the globe in 80 days may have gained Phileas Fogg international acclaim, Louis Vuitton has managed to bring the world to our own wrists with its Baselworld showcase of the Escale Worldtime watch. Reminiscent of the brand’s personalised trunk - an icon of luxury travel - the Escale Worldtime encapsulates all the colours of the continents set within a 41mm white gold case. Spanning all 24 time zones, the watch boasts a 38hour power reserve and a lithe 9.75mm thickness ideal for jet-setting between borders. Specifications aside, the Escale Worldtime provides as much visual stimulation as the inner workings

of its composition. The vivid face requires more than 50 hours of hand painting utilising over 30 colours, applied by craftsmen in the La Fabrique du Temps watchmaking workshop. Drawing on heritage monograms used on vintage Vuitton luggage, the face showcases a roster of names from cities around the world. The Escale Worldtime’s ingenious configuration allows for local time to be set in alignment with the watch crown, ensuring that the yellow arrow will always point to the owner’s home city. It’s a chance to possess the whole world in your hands, or in this case, on your wrist – what more could you want?

Style Note

JevveJ

of the Desert Ibtissam Saab moved to the Middle East just over a decade ago and introduced a new spirit and edge to the fine jewellery landscape with La Collection Privée. We discover what inspires her in both her career and her life.

Ibtissam Saab, photographed in her home.

When Ibtissam Saab invited us into her home and introduced us to her life as well as her impeccable fine jewellery collections, we didn’t quite know what to expect. Having already seen a select few pieces from La Collection Privée adorning some of the region’s fiercest tastemakers, we were entranced by everything from the boldly-fixed gold coin and Grecian chain bracelets to the perfectly placed rosecut diamonds set within delicate flower mouldings. As such, it was difficult to decipher how the one creative mind behind such dynamic and successful collections would think. ‘I want to offer something different, something alternative, so I design a strong mix of classic and on-trend pieces that inspire people and grab attention,’ she says. Ibtissam grew up in Monaco and studied gemology in her early twenties before a successful stint at Chopard where she gained a vast amount of knowledge about the industry and what it is that women want from their jewels. ‘A lot of my life is still in Monaco and I keep my workshop there because of the talent. Many of my clients are there and I could never leave them,’ says the designer. On the day of our shoot, her style transitions between classic Chanel tweeds to edgier Azzedine Alaia dresses in sultry hues. These sartorial choices are reflective of

both her European up-bringing and her years spent in the Middle East and similarly - with a strong focus on art and sculpture from around the world - her home draws inspiration and influence from this lifetime of exploration and discovery, These elements are all apparent in her designs, which focus on compelling colour ways and impressive forms. While one set of earrings presents a mix of emeralds and amethyst intermittent with delicate round-cut diamonds, the layer upon layer of brilliant-cut gems in the next set of earrings give the impression of beautiful crystal formations. Each is stately in its form and still somehow entirely intimate to the wearer. It’s this enviable ability to design a plethora of pieces – each taking on a special form with each new wearer - that is pushing Ibtissam and La Collection Privée forward as one of the region’s most sought-after designers. ‘I love gems and jewellery. When I’m buying stones or working on a piece I can forget everything else in the world,’ she says. ‘As a designer you get discovered by people who then start to trust you and your designs. I’m careful to make sure that the quality of my stones never falters and I’ve now opened my own store so that I have more of a presence for my clients.’ Across the pages that follow, Ibtissam shares with us her designs and just some of her many inspirations.

‘Each person is different so when I’m working on a bespoke piece I get to know the woman and what her collecting habits are and what other pieces she has in her safe. Some clients believe certain stones, colours or cuts may bring them good or even bad luck, so I’m often adapting pieces to suit their style and needs.’

‘This is one of my favourite pieces; it’s so dominant and commanding. My husband is in the finance business and so for us, the bull stands for strength, power and prosperity.’

‘I like the idea of duality. Each of us has an element of good and an element of evil but I find the good will always win. I have a painting in my house illustrating this and also two marble statues of sisters - I sometimes play with this idea of pairs and personalities in my work, too.’

‘Every year I meet with those clients who have been with me since the start; they love coming back to see how my work is evolving and each time they invest in a few more pieces. I’m still tough on myself and try to learn from every small mistake as it’s an on-going process but I’ve dedicated myself to my craft since the start.’

D e s i g n e r I n s p i r at i o n

‘Clients especially love my bigger pieces; I think it’s because they have more power and presence. I keep everything eclectic and once a woman wears one of my designs I find that her sister, daughter, friends and mother come looking for something different. I love designing collections where there’s something interesting for each of them and I try to make everyone happy.’

‘I acquired this piece in one of Paris’ art districts which, for me, fuels its power since it’s in fact a depiction of India and its culture as seen through the eyes of a Parisian. I love the colours and I too like to play with them in my work by mixing coral with tanzanite, emeralds and so forth.’

‘First I sketch and then I use a design program which guarantees accuracy in all my pieces. It also means my designs are stored in case a client wants to revisit something. Women today want special and unique pieces that aren’t seen on everyone else and this is what I will continue to work on in the future – ensuring my pieces are kept distinctive yet sacred.’

‘A lot of the inspiration for my designs is drawn from the world around me. The first time I visited Capri I fell in love with the coral and then the nature surrounding it, especially the sea. My designs often feature elements taken from the environment or animals.’

Sonia Gaydamak

DNA

Hear the name Gaydamak and what first springs to mind? The notion of the stunning hand bracelet, a first for the fine jewellery market, of course. We explore the new depths that these young designers are reaching today. ‘What matters to us is that our ambassadors recognize the DNA of the brand in each piece of jewellery,’ say Sonia and Katia Gaydamak, the sisters behind the European jewellery house. ‘Like the interlacing on the Koral collection or the fine lines of the Wave collection, details are always added to cater to strong personalities.’ The duo set up their line, Gaydamak, in 2009 and first caught the attention of tastemakers and editors through their novel bracelets. Designed to adorn the hand rather than the wrist, they were crafted from stunning combinations of gold and diamonds. The designs were seen on

some of the world’s most stylish trendsetters from Salma Hayek to Natalia Vodianova, each championing the new young brand. ‘All of these women are special. Entering a restaurant or an event and seeing someone wearing our hand bracelets makes us very happy,’ say the sisters. While breaking away from such a career-defining piece can prove difficult for young talent, the pair continue to push boundaries with strong and statement new creations. Their impressive background in Gemology Studies at New York’s Gemological Institute of America paved the way for this continued success.‘Gaydamak

I n s i d e Th e At e l i e r

“

We enjoy searching for semi-precious

“

stones like tiger eye or opals that mix ideally with precious stones like diamonds and rubies and enhance our jewels.

jewellery is the result of our passion for stones. We have been brought up in an environment where one could draw and imagine each piece with their own personality,’ they say. ‘We enjoy searching for semi-precious stones like tiger eye or opals that mix ideally with precious stones like diamonds and rubies and enhance our jewels.’ The sisters come armed with the same fearless attitude that many of their peers possess and that very attitude has seen the fine jewellery industry move toward new and experimental depths where crossovers between vintage and costume jewellery are felt. ‘The beauty of this market is to enhance creativity with knowledge,’ they say. Take the Kiara earrings for example - a solid square framework swamped by pink and white diamonds then curved and bent like a rapturous spider’s web. Similarly the Karess ring which hides an opal-shaped topaz behind spiked gold and diamonds. ‘Women want to feel unique and special. Our jewellery allows her to be edgy and very in touch with the world she lives in,’ say the sisters. Splitting their time between Paris and London and drawing inspiration from everything around them, the duo has built up a strong client list across Europe. More recently however they have staked their claim in the Middle East, particularly Lebanon and Kuwait. ‘What is amazing about women in the Middle East is their beautiful complexion and sense of style - yellow and white gold stand out beautifully on them. Our designs are very much inspired by the Henna tattoo - but a diamond version of them.’ This link can be seen in some of Gaydamak’s first pieces where diamond-encrusted white, rose and yellow ribbons of gold were woven around the hand and completed with an emblem of strength such as a snake, iguana or full-bodied feather. No-one can deny the solid foundation that Sonia and Katia have set for themselves through the introduction of the hand bracelet, but if the pieces that came after are anything to go by then it’s only chapter one of their story. ‘We enjoy working together because we find that our designs reflect our amazing relationship as sisters, business partners and best friends. We think of a theme that would be exciting to work on and then we create a mood board. Once we feel like it’s time, we’ll start the sketches and search for the stones,’ they end. We can’t wait to see what the future holds for this dazzling duo.

Katia Gaydamak

T h e

Colour C

Bac

Bright, bold and beautiful gems are having a moment in fine jewellery.

reen-with-envy emeralds adorn Mila Kunis’ décolletage like sublime scales to a snake in Gemfields’ latest campaign. Elsewhere, Kate Middleton’s wedding finger sparkles with an oval, inkblue sapphire and on the red carpet, Oscar nominee Amy Adams’ shock of red hair is upstaged only by her Tiffany&Co, rhodochrosite, lapis and turquoise stone earrings. The necklines, hands and ears of the hottest A-list stars are all making the same statement: colour is back. If some of the world’s most-photographed women aren’t proof enough of the jewellery world’s current celebration of colour, the catwalk surely confirms it. The AW14 shows gave star-studded spectators a new reason to don their over-sized sunglasses – the rocks parading down the runways were vibrant enough to warrant their own eye protection. Flamboyant floral necklaces bloomed at Dolce & Gabbana and the glare of coloured crystal collars gripped onlookers at Givenchy while Gucci’s sixtiesstyled models accessorised with candy-coloured crystal bracelets with gems as bright as powder-pink bonbons. Put simply, you’d have to be blind to miss jewellery’s colour revival. ‘Jewellery has certainly become more fun and whimsical,’ observes Net-a-Porter’s fine jewellery buyer, Sasha Sarokin. ‘This allows for more colour in new designs.’ While fashion followers expect to see clothing styles change from season to season, the timeless world of high and fine jewellery is more inclined to stand the test of time. It’s only over the past couple of years, then, that jewellery connoisseurs have observed – no doubt with a magpie-like eye – a departure from the minimalist and a brave embrace of the bright and the bold. ‘Coloured diamond prices have been going up since the 1970s but there has been a major increase over the past five years,’ observes Christie’s senior international jewellery director, David Warren. ‘The market is driven by rarity and beauty.’ While the well-heeled are busy bidding for the vibrant and voluptuous, contemporary designers have been creating wild, wonderful designs using gems that transcend the traditional colour trio of sapphires, emeralds and

rubies. Instead, the gem landscape has been harvested with garnets, opals, tourmaline, topaz and spinel for a kaleidoscope of colour. Just look at Van Cleef & Arpels’ Pierres de Caractère Summer Cocktail ring - a design that teams white gold and diamonds with pink gold, clashing coral, mauve sapphires and oval-cut pink spinel. However colour is not being used merely for the sake of it; beautiful and original creations have a new rock ‘n’ roll attitude too. Take Van Cleef’s glorious clash of coral and mauve – while colours jar, textures have toughened up with designers increasingly using hard stones. Turquoise, onyx and lapis lazuli are now taking centre stage – rocks that haven’t been seen in mainstream since the 1970s. ‘Definitely the 70s [has influenced the trend for colourful jewellery],’ comments Sarokin. ‘It was a time where colourful stones were set against bright gold. That vintage aspect is still present but it’s now more modern.’ Along with this marriage of clashing colours and tough textures, the use of popular translucent stones to showcase tones and textures is increasingly apparent. It’s a combination that Parisian fine jewellers Messika can be seen channeling in its latest designs. ‘I’m working on a new Queen V ring right now with a 2.46 carat blue diamond pear shape,’ tells Messika’s creator, Valérie Messika. ‘This ring appears like a rock crown jewels. It’s combining the ‘Rock & Chic’ trend with the historical form of tiaras. This magnificent design sublimates women, making them modern princesses.’ Middle East TV presenter Joelle Mardinian – known for her style and beauty as much as her Damas jewellery collections – says she is captivated by the colour revival. ‘I do love colourful gems … I’m drawn to them,’ she tells us while sporting a Pasquale Bruni butterfly ring, a piece encrusted in a rainbow of champagne, green and fuchsia gems that she says she couldn’t resist. ‘Sometimes classic is good – such as a solitaire ring – but I like pieces that look like pieces of art, like Roberto Coin. I like unique and different designs – my bags and shoes are the same.’ With a shift in attitude favouring colour, vibrant gems are refusing to play second fiddle to the clear and classic diamond. Look to London’s David Morris, for example, where you’ll find 56-carat Burmese sapphire rings and

Design in Focus

The Cherry On Top, photographed by Lionel Koretzky, MOJEH issue 4.

By Laura Binder

Costume Ball was staged at the Winter Palace, the empress commissioned a necklace. ‘Fabergé’s instructions were to use some of the most beautiful stones in the Imperial Collection, mainly emeralds from the Ural Mountains and Brazilian diamonds. She wore the Fabergé necklace with an enormous emerald weighing 250 carats suspended from it at the ball.’ Fast forward to the 21st-century and modern-day royalty can be seen gracing the red carpet in Fabergé’s ever-famous emeralds. ‘Naomi Watts wore the exquisite Fabergé Devotion Emerald Ring featuring an ethicallysourced, 14.50-carat Gemfields Zambian emerald on the red carpet,’ says Shugaeva, ‘while Mila Kunis has worn the exceptional Fabergé Romanov emerald and diamond necklace as well as the Fabergé Anastasia emerald watch.’ Of course, modern day life may not be conducive to wearing a 250-carat emerald which is no doubt why Fabergé’s colourful creations have moved with the ages. ‘The new Fabergé Rococo collection, pavé-set with multicoloured gemstones, offers a more discreet, every-day way of wearing Fabergé colour,’ affirms the brand. What won’t waver is the design house’s marriage to colour as he adds that ‘contemporary Fabergé collections continue to celebrate a wealth of colour nuances, from vivid emeralds and rubies in the Devotion collection to pastel enamel egg pendants.’ Contemporary fine jewellery designer Valerie Messika is committed to the colour cause too, saying it ‘gives another style and a different energy to a piece.’ As for its place in a woman’s jewellery collection, ‘the demand is not really for engagement rings,’ she admits. ‘I think the classic clear diamond still takes precedence. However, we have noticed an increase in requests for coloured diamonds for all other jewellery; diamonds are no longer limited and people want colour – yellow, blue and pink diamonds have been very popular in recent years.’ With jewels such as these, their wearers can’t fail to captivate onlookers too. ‘Oprah! I want her earrings,’ laughs Joelle. ‘She always wears beautiful, big pieces and makes bold choices. I’ve seen her in fancy pink and fancy yellow. I also love Kate Middleton’s engagement ring - the blue sapphire which once belonged to Princess Diana, incredible. Then there’s Elizabeth Taylor who’s known for her love of emeralds.’ Whatever the catalyst for colour, the Middle East is embracing the bold and the beautiful. ‘Fabergé High Jewellery has aficionados all over the world,’ affirms the maison, ‘but the Middle East market in particular has an affinity for extraordinary pieces and exceptional gemstones.’ With the Pantone colour of the year as Radiant Orchid, jewellery experts predict more amethyst and purple tourmalines, sapphires and spinels in 2014. Ask Christie’s David Warren and collectors should be poised for pink, too. ‘On November 11th 2014, Geneva’s Magnificent Jewels sale will offer some exquisite coloured diamond lots, highlighted by a Bulgari Masterpiece: a spectacular pair of pear-shaped coloured diamonds set with a 6.95 carat Fancy Vivid Blue diamond and a 6.79 carat Fancy Vivid Pink diamond,’ he says. The estimate is set at $12 to $15million. ‘Pink will also be honoured with a pear-shaped Very Light Pink diamond necklace of 40.48 carats from the Property of a Private Collector… and a kite-shaped Fancy Pink diamond ring of 15.62 carats from the Property of a Lady of Title.’ Whatever your chosen colour, the future is most definitely bright.

Design in Focus

The Cherry On Top, photographed by Lionel Koretzky, MOJEH issue 4.

Colombian emerald designs with price tags that, a few years ago, would not have been acceptable for anything other than a diamond. Of course, marry the two – colour and diamonds – and you have hit the fine jewellery jackpot, as a recent auction at Christie’s Geneva shows. Its May 2014 Geneva Magnificent Jewels broke the day-old record for a jewellery auction with a sale total of $154.1 million. It’s an eye-widening total that was vastly helped by one shining star: The Blue. The largest, flawless fancy vivid blue diamond in the world – totalling 13.22 carats – sold, to the highest bidder at a cool $23.8 million. The figure simultaneously hit a new world record for a price per carat for a blue diamond, coming in at $1,799,953 per carat. Six months ahead of The Blue, another coloured diamond broke records as David Warren recalls. ‘The top lot of Christie’s Week was The Orange, the largest fancy vivid orange diamond ever offered at auction (14.82 carats), which achieved $35,540,612 ($2.4m per carat), a world record price for an orange diamond,’ he says. While fine jewellery enjoys its current love affair with colour, other high brands are continuing a life-long romance. Take Bulgari, for example: its famously bold creations have long been lusted after by the likes of Elizabeth Taylor, Sophia Loren and Claudia Cardinale who was pictured in Vogue Italia 1966 in a red, green and blue Bulgari necklace. It was further back still – in the tasselswinging twenties – that Bulgari first fell for colour during a time when French fashions tugged at the purse strings of European women. This prompted Bulgari to work with precious stones that not only included diamonds but coloured gems too. From sparkling sapphires to deep-red rubies, icons of the silver screen were unable to resist. ‘Bulgari was really central to the whole Dolce Vita period,’ says the maison’s chief curator Amanda Triossi. ‘Rome became the centre of the international film industry in the late fifties and sixties, so all of the film stars were shopping at Bulgari.’ Rather than stop there, Bulgari swung into the seventies with colourful and playful pop-art pieces – think diamond-encrusted ice cream brooches or USA-inspired stars and stripes – while the eighties saw the ‘bigger is better’ attitude as the perfect fit. ‘Coloured gemstones have always been popular with jewellers around the world,’ notes Warren. ‘Coloured diamonds were thought of as oddities of little value until about the late 1970s when they began to take on more value. Since then they have gone steadily upwards.’ One brand to have championed the bold and the beautiful throughout its existence is Fabergé. ‘Colour is at the heart of the Fabergé design DNA,’ Fabergé Design Director, Natalia Shugaeva told us. ‘The House of Fabergé historically perfected the art of colour through expert coloured gemstone combinations and pavésetting techniques but also, through the innovative use of enamelling of an unprecedented calibre, ever since Peter Carl Fabergé took over the family business in 1882.’ It’s an approach that hasn’t budged an inch since. ‘Today, Fabergé preserves this legacy with contemporary jewelled creations using exceptional, ethically-sourced coloured gemstones and innovative designs,’ she adds. Indeed, despite over a century having passed, Fabergé fans still seem to covet the same coloured jewels, as the brand’s spokesperson explains: ‘Fabergé was appointed Goldsmith to the Imperial Crown of Russia in 1885 and was a favourite jeweller of the Empress Alexandra Feodorovna, who loved emeralds.’ When the 1903 Russian

V By Naomi Chadderton

for

Collier orgris rhodie and pendants dâ&#x20AC;&#x2122;oreilles

Victory

The fifth high jewellery collection presented by the Parisian maison Louis Vuitton, Acte V is a tribute to both the Art Deco era and the brandâ&#x20AC;&#x2122;s signature ideogram.

s Louis Vuitton opened the curtain on its newest fine jewellery collection at Paris Haute Couture Week earlier this year, it was hard to believe that only six years have passed since the French fashion house launched its first line of jewels. Despite being relatively new to the business, Vuitton has gained a reputation for its bold use of the highest quality, unusual gemstones and with its stunning opals, Burmese sapphires and kite-cut Afghan emeralds, the new Acte V collection is certainly no different.

The story doesnâ&#x20AC;&#x2122;t begin with just the jewels, however, as with Louis Vuitton it always comes back to the heritage and history of the house. When digging into the inspiration for Acte V, we must look back to the early twenties: a time when the Art Deco philosophy may not yet have had a name but it could certainly count a fervent follower. As director of the family brand and a talented craftsman as well as a keen collector with an eye for all things beautiful, Gaston-Louis Vuitton was at the heart of the movement. Representing the third generation

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of Vuittons, his vision of travel and desire to progress with the times made him a key figure in the development of the movement. This was a particularly exciting time for the maison, who then counted Barbara Hutton, Greta Garbo and Douglas Fairbank among its distinguished clients. His close relationship to the artisans, artists and architects of the time, as well as his chairing position on the new Exhibition of Modern Industrial and Decorative Arts committee in Paris, fuelled his passion for creativity and innovation and led him to create legendary travel sets, luggage and vintage bottles that were particularly popular in a time when women were breaking free and beginning to travel. It was also during this time that Vuitton introduced bespoke monogramming in precious stones and gold, paving the way for the launch of the brand’s high jewellery collections almost a century later. The Art Deco period also saw the creation of his brand new monogram for the house – the iconic V symbol that today remains striking in its simplicity with its combination of white, red and blue. Back to present day and it’s Acte V’s turn to shine with this signature motif at the heart of the collection. Fitting in more ways than one – V is also the roman numeral five to denote the maison’s fifth high jewellery collection – the distinctive shape is consistent throughout, recreating the avantgarde geometric shapes that were popular during the Art Deco period. A collection of 36 breathtaking pieces, Acte V is divided into three unique themes – Genesis, Metamorphis and Apotheosis that come together harmoniously in gemstone rings, asymmetric necklaces and broad cuff bracelets – the most popular form of jewellery back in the 1920s. When it comes to high jewellery, Louis Vuitton is famous for picking the highest quality of gems prior to designing the collection and in this case, the stone that sits at the heart is an 87.92 carat triangular Australian black opal. Fittingly shaped into a V form, this stunning jewel is surrounded by Vuitton’s signature star-cut diamonds in Acte V’s leading lady – the white gold Genesis necklace. Not to be outdone, mesmerising red Tanzanian spinel and a blue grey Burmese sapphire, both weighing over 20 carats, as well as kitecut Afghan emeralds were also meticulously selected for their size, colour and brilliance. Time and time again the iconic V shape is traced subtly in diamonds and combined with these stones, coming to the fore on pieces such as the Apotheosis bracelet in onyx, diamonds and tsavorite. Boasting other rare stones including a 20.94 carat blue grey Burmese sapphire extracted from the Pen Pyit mine in Mogok valley, Louis Vuitton is proving to the haute joaillerie world that, while it may well be a newcomer, it is definitely one to watch and for that, Gaston-Louis Vuitton would be proud.

As an internationally sought after-actor and a man who is often celebrated for his red-carpet style, Clive Owen knows a thing or two about good taste. We met up with the Jaeger-LeCoultre connoisseur to take a look inside his watch collection and discuss movie roles, past and present.

What does ‘elegance’ mean to you? To simply be classy yet understated. As an international actor, you must be exposed to a wide range of luxury products and watches. What makes Jaeger-LeCoultre different? I realised how beautiful and exquisitely made they were. They really are like works of art. I visited the Jaeger-LeCoultre factory in the Vallée de Joux and saw for myself how much work goes into making their amazing watches. It was refreshing to see the process is still done by hand. What was your first experience with fine watchmaking? Do you own a personal collection? I do have a collection of watches. I have always loved watches and owned a few but I only got serious when I discovered the quality of Jaeger-LeCoultre. It started with a love of the AMVOX range and grew from there. My first serious watch was a

What are your favourite pieces? I am fortunate enough to own a few Jaeger-LeCoultre watches and will often wear an AMVOX during the day and then in the evening my current favourite is the Gyrotourbillon. You already have a rich career with more than 20 years of experience. When was the moment you knew you wanted to be an actor? I did a school play aged thirteen and knew I wanted to act. It was the only thing I ever wanted to do and luckily it worked out for me. It was never about the glamour, it was to do with truthful storytelling and eventually I fell in love with the craft of acting. What is the biggest challenge of being an actor today? The only challenge for me is the amount of travelling and being away from home so much. The reward? I consider myself extremely lucky and privileged to be in this business. You started your career on television which appears to be becoming more and more attractive for actors and directors. Can you tell us about your project The Knick from Steven Soderbergh? I did a lot of TV when I was younger but in the last few years have been more focused on movies. I wasn’t really thinking about going back to TV but I was sent a fantastic script set in 1900 New York and based around the world of medicine - with Steven Soderberg directing. It’s due to air on Cinemax in the autumn. Generally speaking, what are the main differences between acting in a single

MOJEH Profile

Photo credit: Lorenzo Agius

Your discrete yet charismatic elegance is often highlighted. How does it affect your watch taste? I love to wear a watch that is beautifully made and very elegant but also understated.

vintage 1930s bought for me by my then girlfriend (she later became my wife).

Jaeger-LeCoultre Friend of the Brand Clive Owen wears a Master Grande Tradition Minute Repeater.

How important is timing in an actor’s career? Do you remember a special moment that really changed your life? Time is very important in any actor’s life. Making movies is all about the timing: timing of your lines, your energy and concentration. There is so much waiting around so it’s all about being ready to deliver in the few moments you are actually in front of the camera. I think the special moment for me was winning a place at The Royal Academy of Dramatic Art at the age of 19. Three years of quality theatre training which I am still benefitting from.

movie and shooting an entire TV series with 10 episodes, for instance? Generally speaking TV is much faster than film. On The Knick we would often shoot up to twelve pages of dialogue a day. It’s hard work but does give you the opportunity to really develop a character over time. What is your favourite motto in life? Always treat others how you would want to be treated and the right person in the right place at the right time makes all the difference.

You often said you could never leave London, what is so special about it? It’s home. London is an amazing city full of great restaurants and great shopping. When not working on a movie, what’s your favourite pastime? Without question, just being able to spend time with my family! If you weren’t a talented actor, what field would you have pursued? I have no idea! I only ever wanted to be an actor so I’m very lucky it worked out that way.

The Waiting Game, photographed by Riccardo Vimercati, MOJEH MEN issue 4.

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Generation W atc h

As the rise in watch collecting among the younger generation in the Middle East gathers pace, we take a look at new buying trends and more discerning spending habits.

statement piece of bling or a finely and aesthetically constructed marvel? The luxury market in the Middle East has undergone a transformation. What was but a decade ago a market largely characterised by swift purchases based on the decadence of an object, is now saturated with discerning and careful luxury buyers whose main focus is on the craftsmanship, history and beauty behind the creation that they purchase. We can use the market of luxury timepieces as an example of this change. ‘Clients don’t just go to the store and buy the latest model like they used to,’ says Frederic Watrelot, Christie’s specialist for watches and jewellery. ‘People are becoming more educated with their purchases.’ Perhaps it is the result of a growing market for luxury goods in the Middle East or simply a buying group that now has more experience in selecting their purchases but both of these statements ring true and both are pertinent when looking at the buying habits of young watch collectors in the Middle East. The clientele in the Middle East has changed. As Watrelot points out, there is also a new generation of spenders – local Emiratis who have been educated in Europe and the US who have different tastes from the Oriental ones they grew up with. ‘People are increasingly being more discreet with the watches that they wear,’ he adds. ‘You see a lot less of the ‘bling’ watches people normally associate with Dubai. They still collect them – such as a Rolex DayDate with a stone dial and diamonds, or what you call a Stellar with a lacquered dial, but these watches now have become more a collector’s piece than an object to just wear.’ This statement points to the development of more sophisticated tastes. A younger generation is now collecting high-end watches in the Middle East. ‘When we started to hold

watch sales in the region, we only offered a small selection of 50 watches,’ says Watrelot. ‘Today, we offer 150 watches to respond to the growing demand for unique and out-of-the ordinary timepieces. A watch needs to provide complications and be either from a very limited-edition or vintage family. This can be from any of the well-established watchmakers.’ Relevant launches at this year’s SIHH include A. Lange and Söhne’s Grande Complication, Audemars Piguet’s Royal Oak Offshore Grand Complication in titanium and ceramic and Jaeger-LeCoultre’s Master Ultra Thin Minute Repeater Flying Tourbillon. An increase in more sophisticated tastes is also responsible for the expansion of the market for vintage watches in the Middle East. ‘Residents and local Emiratis now understand that vintage is more fashionable than it used to be,’ says Watrelot. The market for vintage watches is predominant in major world cities such as New York, London, Geneva and Hong Kong. ‘Vintage is not a mere subculture or trend anymore; it’s a lifestyle choice,’ says Tariq Malik, the owner of Momentum, a concept store for vintage and classic watches in the Dubai International Financial Centre (DIFC). ‘We see people appreciate more and more things from the past, be it in design, in pop culture or in luxury,’ says Malik. ‘There is now an interest and demand for vintage cars, fashion and accessories, especially handbags; and of course watches.’ Watrelot agrees: ‘A year after the regular watch auctions were relaunched in Dubai, we have been able to observe an even deeper interest for unique watches with complications as well as a growing interest for vintage styles,’ says Watrelot. ‘It is fantastic to see the high level of enthusiasm and knowledge when discussing with Middle Eastern collectors the individual lots they might be interested in acquiring.

The Waiting Game, photographed by Riccardo Vimercati, MOJEH MEN issue 4.

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Another new phenomenon is that collectors, who have seen a watch at a retailer or through a dealer, turn to us for our opinion and this level of confidence between a collector and specialist is something very special and gratifying.’ Such actions signal that the market is changing – or deepening, as many would say. A ’deeper’ market means one that has more weight, depth, substance and most importantly, sophistication. ‘Watch auctioneers like Christie’s and Antiquorum have shown that more and more buyers are putting big money into the ticking gems, especially into vintage pieces,’ says Malik. Among the younger generation of male watch collectors in the UAE, brands such as Cartier, Hublot, Patek Philippe and Audemars Piguet are proving to be the top labels. Such brands are also creating a variety of watches that appeal to a younger crowd through technicality, aesthetics and the lifestyle choices of the wearer. Today’s young men are adventurous and fearless and they want watches to match. At this year’s SIHH, Cartier launched its Calibre de Cartier Diver watch and in Dubai, the brand chose Emirati entrepreneur and master diver Yousuf Al-Hashimi as one of its two ambassadors from the Middle East. ‘My family has bought and collected Cartier watches and jewellery for a long time,’ says Al-Hashimi. ‘Emiratis love jewellery and precious items – a passion that is evident in our history of pearl trading.’ Launched in 2010, the Calibre de Cartier watch combines sophisticated lines with sportsmanship. It features a powerful aesthetic and a rugged case, thus highlighting an essential masculinity. It is the kind of watch that can be worn anywhere, from the depths of the sea to an everyday function or a lavish wedding. It is not often that a brand is able to seamlessly create a timepiece that is so versatile, equally at home in the realms of luxury apparel and high-impact sports yet Cartier has succeeded in marrying the two.. ‘I have always loved Cartier’s timepieces,’ he continues. ‘I find them perfect. When I saw the diver’s watch, I knew that the synergy was a great match. It is a watch I wear every day. It is elegant and sporty – exactly what I need.’ The watch is water-resistant up to 300 meters and has a unidirectional bezel, with hands and dive-time indicator in Super-LumiNova. Other brands have also jumped on the bandwagon by launching new diving watches that evoke the elegance of their 1950s and 1960s predecessors, while at the same time featuring the latest highend technologies in line with the market’s needs. Tudor, the sibling brand of Rolex which is due to be re-launched in the UK later this year, has been taking the watch world by storm with its recreation of past classics. The Heritage Black Bay, an evocation of the 1950s classic diving watch, boasts historically

inspired features such as gilt lettering on the dial and the original ‘snowflake hands’ – details that would excite any collector of fine timepieces. Tudor’s Pelagos, the first diving watch to boast a ceramic bezel, is characteristic of the new generation of diving watches that revert back to the earlier models and combine them with the technical feats that are possible in watchmaking today. All of this to appeal to a generation that has a love of sport, wishes to make a statement and also desires to maintain an elegant appearance at all times. A similar recreation of past feats combined with present day technicality is found in JaegerLeCoultre’s Memovox Deepsea timepiece, one of the underwater icons of the 1960s. This watch used an audible alarm to signal the end of a dive, while newer models are making use of the latest technology from Swiss company Del West. Hublot is also catering to the more modern-day need of dual functionality: to serve as diving tool as well as part of the holiday wardrobe for the well-dressed man. Hublot launched the Oceanographic 4000 Cheval Blanc Randheli, a popular diver’s watch available only at the Cheval Blanc Randheli resort in the Maldives. While it’s a watch that can most certainly be found on a subaquatic professional given today’s tastes it will more likely be seen adorning the wrist of a man relishing in the sunset while sipping an elegant drink at an exotic resort far far away. These new diving watches underline how things have changed in the watch world. Dozens of iterations of the classic diving watch mean that it is now popular to wear a model that is big and sporty, but also has brand identity and aesthetic prowess. What’s more is the need to go back in time and define the watches of the present. From Cartier’s Calibre de Cartier Diver to the Jaeger-LeCoultre Memovox Deepsea, each of these timepieces has reverted back to past prototypes in order to achieve present day recognition. Moreover, they can be worn everywhere. ‘I can wear it for both every day and extreme conditions,’ says Al-Hashimi of his Calibre de Cartier Diver watch. The timepiece is emblazoned with the maison’s design codes including Roman numerals and a flanged bezel – two traits that identify it as a Cartier model. ’It is important to understand that not every expensive watch increases in value,’ adds Malik. ‘A watch is expensive if it is manufactured in a precious material with a diamond setting or because of the craftsmanship of the movement. A few more points to consider are brand, model, provenance and history.’ So like vintage, which is also on the rise for the Middle Eastern collector of high-end timepieces, a piece of provenance, whether in an antique creation or present day re-launch, is very much a necessity.

feeling fine He found his mentors in some of the world’s most acclaimed artists. The former fashion director of Giorgio Armani, Wilfredo Rosado has entered the realm of fine jewellery with a wealth of vision behind him. We speak to the man behind these latest luxury offerings. ‘

henever I worked on a project with Andy Warhol he would always shout behind me: “make it glamorous, make it glamorous!” I have been following his directive ever since’, says Rosado. With over twenty years’ experience in the fashion world, he now fuses the glamorous aesthetic of fashion with jewellery. ‘Launching a fine jewellery collection had always been a secret ambition of mine; there’s something very appealing to me about the idea of taking something precious like diamonds and creating something sexy, streetwise and different. I loved the idea of transforming ideas that one generally finds in the

Inside the mind

fashion world and bringing them to the jewellery world’, he continues. Now with five jewellery collections to his name, his vision and dream has most definitely been realised. It was during his studies at the University of New York that Giorgio Armani first noticed Rosado’s talents. He soon began working at the first U.S Armani store on Madison Avenue and after the completion of his studies, he joined the Armani design team in Italy. ‘No one pays more attention to quality and craftsmanship than Mr. Armani. Working side by side with him for so many years meant I was able to refine my eye and taste level’, he adds with gratitude. ‘I have incredible respect for a designer who has built a global brand without compromising his vision or attention to quality. I mean, who has better taste than Giorgio Armani?’ he poses. For this reason, on returning to New York City in 1994, Armani appointed him as fashion director for his acclaimed brand. Armani wasn’t the only major influence on Rosado’s footing into the creative world; Andy Warhol the über famous American artist known for his work in pop art - also offered Rosado a position with him on Interview Magazine. ‘Working with Andy gave me an inside view to a world that was truly artistic and without boundaries’, explains Warhol’s protégé. ‘It opened my eyes to understanding and accepting things that were out of the ordinary, to true creative spirit. To be fully immersed in that world and in that time frame formed the person I am today’, he says nostalgically. Today, Rosado is still being influenced by the art world’s greatest. Edwin Parker ‘Cy’ Twombly, an American painter known for his graffiti-style work, was the major inspiration behind Rosado’s latest collection. ‘I have always been attracted to the passion and energy of Cy Twombly’s work and I have a vision of how this energy could be interpreted into jewellery’, Rosado says. ‘Art and artists have always been at the core of my work and deeply influence how I see the world. Artists have the power to reveal beauty and awe in

“

the most unexpected of places and to make us see things differently’, he explains. Like any true artist, Rosado is inspired by everything around him on a daily basis: ‘I am always intrigued by an element of surprise and newness. Each day I look forward to what will surprise me, what will pique my curiosity and how it will find itself in my work. I am driven by the challenge of putting that inspiration into a beautiful piece of jewellery’, he says. Rosado’s AW 14 collection comprises of an array of beautiful pieces. Divided into three collections – Bakkheia, Rapture and Alhambra – each draws inspiration from different areas of Twombly’s work. Bakkheia looks to his famous ‘scribbled’ paintings - a pair of large hoop earrings with gold thin strips containing multi-coloured diamonds is a prime example of his influence. The almost wovenlike pieces from the Rapture collection take from Twombly’s large marking paintings during the seventies while the splendour of Moroccan mosaics is a focal point for Alhambra as sapphires, rubies and emeralds build a bold structure for many of the pieces. Describing his own creative process and methods behind a collection, Rosado says: ‘I find inspiration in so many different things. It can be something as simple as a certain mood that is in the air and I rely greatly on my instincts to help develop these ideas,’ he explains. ‘I travel so often and am exposed to so much art, beauty and concepts that it takes quite a few conversations with my atelier to bring these ideas into fruition.’ With such a wonderfully varied career between fashion and jewellery, Rosado must have many-a moment to pick from as his favourite. ‘I am fortunate to have enjoyed so many experiences these past few years that have been filled with so many wonderful moments. It is always exciting to see cultural icons such as Rihanna, Julia Roberts and Mariah Carey wearing my jewellery and I find great pleasure in seeing discerning clients around the world try on my designs and have them meet their aesthetic expectations. To me, it’s an affirmation of my vision for jewellery

To be fully immersed in that world and in that time frame formed the person I am today’, he says nostalgically.

today’, he says with great pride. Described by him as ‘poetic, lyrical and passionate’, Rosado’s latest collection exemplifies his vision for jewellery today. With many great artistic pieces to choose from, his fifth collection is for ‘someone who is unique, confident, likes to be noticed, walks into a room and stands out instantly. She is a woman who appreciates beauty and has a high regard for quality’, he says. When citing his greatest lesson from artist Andy Warhol, he notes: ‘To always think outside the box and not let anyone or anything set limitations to my work.’ Without these limitations, Rosado’s jewellery is artful in every way.

MY HEART Whether in ceramics, rose gold or statement silver, chained accessories have gradually been creeping back onto our radar. As stylish and surprisingly subtle offerings from fine-jewellery favourites start to take hold, make a statement by wrapping Chanel’s Première watch around your wrist or embracing Tiffany & Co.’s latest design, the Tiffany T links. 1. TIFFANY & CO, Tiffany T collection | 2. VHERNIER, Chain in rose gold and white gold | 3. BOUCHERON, Serpent Boheme earrings | 4. CHANEL, Prèmiere watch | 5. NIKOS KOULIS @stylebop.com, 18kt yellow gold star earrings with white diamonds | 6. BVLGARI, Diva necklace | 7. RALPH LAUREN, Chunky Chain bracelet | 8. IPPOLITA, Glamazon chain

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Adelya Bakhtiyarova and her mother Ilmira Gabbascova, photographed in their home.

A Commitment

to Finery Many families have a commitment to jewellery collecting, but not all proceed to craft their own exceptional pieces. Meet designer Adelya Bakhtiyarova and the world that has inspired her.

C o ll e c t o r s

Yellow gold flower rings with mixed stones.

‘My main inspiration is always my mother, she has always set a very strong fashion statement and example to both my sister and I,’ says Adelya, creative director of Adelya Jewelery. ‘I also travel a lot which inspires my collections, especially the Bounded collection which is a combination of baroque pearls and semi-precious stones set with diamonds. It’s a new concept which is very on trend at the moment’, she says. In just a few sentences Adelya sums up a world of inspiration – a precious up bringing around a mother who gravitated towards well-made items and the same affinity to travel that many her age have – that’s led to the conception of her jewellery line. Adelya Jewellery explores new paths in fine jewellery making where traditional stones and diamonds are offered new and interesting settings. A meeting of tradition with modernity that only a designer with such rich experience with jewellery at a young age could offer. ‘I have always been exposed to beautiful jewellery – being the first granddaughter in our big extended family, I was quite lucky to be spoiled by my grandmother. She had a big collection of antique pieces and some form the soviet times,’ says Adelya. ‘I quickly learned to appreciate jewels and this led to my hobby, turning into a profession. My designs appeal to many ages as each collection has a different story behind it. I love using semi-precious stones in a variety of colours.’ Her mother, Ilmira Gabbasova, is also a fine jewellery connoisseur boasting her own collection of timeless pieces, of which the inspiration can be seen in Adelya’s designs. ‘Throughout my life I loved to collect different pieces of jewellery from different countries, we used to travel a lot and therefore my collections, have overtime, also become beautiful collections of memories,’ says Ilmira. ‘The perfect piece for me is one that accentuates the beauty of the wearer and is comfortable to wear at any time.’ It comes as no surprise then that she is an avid fan of her daughter’s designs, and often leans towards the sugar coloured, sublimely moulded, avant-garde pieces. ‘I love wearing pieces from Adelya’s collections, as do a lot of my friends, and I feel especially proud when I’m approached by strangers who ask me where the jewels are from. I like bold, statement pieces, especially here in the Middle East where there is always an occasion to dress up.’ Here we journey through Adelya’s designs and some of the heritage family pieces that have acted as inspiration over the years.

Bounded collection hand bangle with Tahiti pearls, aquamarine and diamonds in white gold.

Lady Marmalade collection in yellow gold and mixed stones.

Envy and Baroque collection with tsavorites set in 18k gold black rhodium.

Baroque ring with apatites set around a morganite with diamonds and white gold.

Baroque pink pearl earrings set with rose gold and diamonds.

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Fancy coloured diamond necklace in yellow gold, from her Ilmira’s personal collection.

Diamond and white gold earrings, from her Ilmira’s personal collection. 200 year old antique brooch with flower design and set in yellow gold, from Ilmira’s personal collection.

A Couturierâ&#x20AC;&#x2122;s

Construction We take a glance at the journey of Archi Dior, the latest high jewellery collection from the creative director of Dior Joaillerie, Victoire de Castellane. Photographed by Pol Baril

Making of

Christened from a double entendre for the French shorthand for ‘architecture’ and the colloquial term for ‘extreme’, Archi Dior encompasses all the ideals of Christian Dior’s historic couture house in a finite 44-piece high jewellery collection dripping in diamonds and precious stones.

‘Every piece in the Archi Dior Collection has borrowed the name of an iconic line or gown, translating the very distinctive movements of the material into the language of high jewellery,’ explains Victoire. Emblematic of this fantasy is a collection brought to life in white gold.

The Ailée Emeraude necklace possesses the dramatic aesthetics of such designs, coiled and flounced like that of Dior’s iconic silhouettes within the 1947 Corolle collection. Crafted in Dior’s Parisian workshops, this statement stunner incorporates bespoke architecture with the decadence of high jewellery.

Set within a ribbon of cascading diamonds, the Ailée Emeraude necklace perpetuates Dior’s notion of femininity. Central to the design is a pendant crafted from tsavorite garnets, emeralds and blue-green tourmalines evocative of the cinched waists and jutting peplums associated with the house of Dior.

The multi-faceted hues of the necklace are reflective of Victoire’s vibrant design aesthetic. ‘Archi Dior is more about colour shading and toneon-tone effects: sometimes there are only one, two or three colours, whereas previously I was more into multi-colours.’

Sprinkled with precious stones in frilled formations, the Ailée Emeraude pendant translates the motion of dance with that of the sculpted gowns present in many of Dior’s collection. The necklace itself marries the delicate ripples of fabric folds with an elaborate display of bevelled diamonds.

Making of

Within the Archi Dior collection, each design encapsulates a specific gown or presentation from the archives. Spanning over half a century, the language of Dior has adapted drastically to fit a new mood and meaning; just as couture calls on hours of workmanship, so too does high jewellery.

‘It took 2,500 hours to accomplish the Corolle necklace, which had to be cut into 160 sections to allow the setting of over 300 individually recut ‘baguette’ diamonds. 560 hours were necessary to complete the setting of the 4,500 stones on the ‘Bar’ bracelet,’ says Victoire of other pieces in the Archi Dior collection.

Compliant with Raf Simons as the house’s current guardian, Victoire’s vision ensures a synergy between the new and the old. The spirit of the Dior woman is modern but the very definition of the house is rooted in history. So too is Archi Dior.

Ailée Emerald Necklace. 750/1000 white gold, diamonds, tsavorite garnets, emeralds, blue-green and green tourmalines and demantoid garnets

Haute ungle By Laura Binder

MOJEH takes a walk on the wild side to explore fine jewellery’s obsession with animals through the ages.

I ROBERTO COIN, Animalier brooch

VAN CLEEF & ARPELS, Peau Ane Foret Peu Peu clip

t’s 1975 and Mexican actress María Félix – considered one of the most beautiful actresses of her time – is sauntering into the Cartier boutique in Paris with a rather unusual shopping companion in tow: a crocodile. Yes, the eccentric Miss Félix has arrived at Cartier’s door with just a fish bowl containing her pet baby crocodile and one request: for a bespoke, diamond-encrusted necklace to be created inspired by her reptilian muse. The result? Two interlocking crocs totalling some 524.9 grams of gold – the first covered with 1,023 yellow diamonds and the other dressed with 1,060 circular-cut emeralds. A reptile had never looked so good. It’s hard to say which of the two Félix was most passionate about: her jewels or her baby crocodile. Either way, her request was not such a wild one when raised in the exotic world of fine jewellery. Of course animal origins in jewellery date further than the glitter ball era of the seventies yet centuries ago, our feathered, scaled and furry friends had a more symbolic purpose. Egyptian times saw modest, animal-inspired trinkets worn as amulets; a necklace created not to dazzle but to help bestow its wearer with a desired power or gift, be it love, fertility or prosperity. ‘[Animals] are a representative subject that have been used since time immemorial for inspiration in all kinds of art forms,’ comments Daniel Calvo, design director of Magerit – a brand (available exclusively at DAMAS) whose own necklaces include the lion and sleeping cubs for her and the puma and shark for him. Such early symbolism is not lost on contemporary designers who continue to explore the animal’s allure in their works. ‘Each animal has its own meaning; its own significance; from the serpent representing a creative life source to the butterfly representing the soul in Greek mythology and prosperity through growth,’ comments fine jewellery designer Cindy Chao. ‘We identify with nature and the beauty it bestows upon us. Wild animals are one of these beauties. They are exotic while still making a connection with society and speaking to our heritage through their symbolism.’ Before we reach the Cindy Chaos of the present day, the gem-studded history books reveal how the animal leapt from ancient times to become an icon of some of the world’s most timeless jewellery houses. Reptiles slithered into the world of Cartier as early as 1910, when the jeweller brought the snake’s lithe form to life through necklaces and bracelets - some taking months or even years to assemble. Not to be left out, María Félix commissioned a serpent diamond necklace made entirely of platinum and white gold and encrusted with over

J e w e ll e r y O b s e s s i o n

178 carats of diamonds. But over time it’s the panther that has become Cartier’s signature creature. While everyone from Jay-Z to Cameron Diaz and Eva Mendes have been photographed wearing a Cartier panther ring, the first motif – then merely onyx spots – reared its head in 1914. Three years on and it had grown, courtesy of Louis Cartier, into a wild and powerful yet graceful feline which he placed on the vanity case of Jeanne Toussaint, a woman whose love of animals is thought to have propelled the panther theme we see today. The cat has gone on to captivate influential females such as the Duchess of Windsor who historically purchased a panther clip brooch that saw a wild cat poised atop a 152-carat Kashmir sapphire cabochon, its pear-shaped yellow diamond eyes peering out. While Cartier also used wild cats from Africa, sacred species from Ancient Egypt and chimeras from China, it looked to the sky and seas too with dolphin bracelets, ladybird brooches; fireflies, butterflies, birds of paradise and kingfishers creations. Even a famous flamingo – its plumage alive with emeralds, sapphires and rubies – landed on the lapel of the Duchess of Windsor after her duke placed a special order in 1940. This era marked a key moment in fine jewellery history for Italian design house Bulgari too when the Serpenti was born. Wearers of the signature snake read like a who’s who of high society and glamour. But it was the 1960s when the Serpenti became an emblem of Bulgari thanks to a certain style goddess: Elizabeth Taylor as Cleopatra. Bulgari’s bold, golden, diamond-encrusted Serpenti pieces snaked around any bare piece of Taylor’s skin that they could rest their scales upon, so much so that Taylor reportedly said wearing such pieces was the best part of her job.) It’s a love affair that continues to this day: ‘The serpent should be on every finger and all wrists and all everywhere…’, proclaimed American Vogue’s former editor-in-chief Diana Vreeland last year, when Bulgari’s Fifth Avenue flagship celebrated the Chinese year of the Water Snake by showcasing the Bulgari Serpenti Collection. Artist Fabien Illou was even commissioned to adorn the store’s façade with a giant, glittering snake which draped over its doors and lit up like a Times Square Christmas tree. Elsewhere we have witnessed Van Cleef & Arpels’ lengthy love affair with birds’ wings and plumage, Boucheron’s assorted menagerie – so regarded by the design house that each animal is affectionatelynamed from Hans, the Hedgehog to Shibli, the lion cub and Pégase, the horse – and the Middle Eastern launch of Gaydamak that saw fish and snakes cling to women’s wrists in inventive bracelets. ‘David Webb’s animal bangles are the ultimate iconic investment,’ says Neta-Porter’s fine jewellery buyer Sasha Sarokin on this must-have item. ‘Their entire archives have been created by David Webb himself so it’s the purist form of design. He is certainly the icon of multi-coloured animal cuffs, which are as chic today as they were when they were first created in the forties.’ Indeed, the trend for the scaled and sublime shows no sign of dying out. When Chopard celebrated its 150th anniversary late last year, it did so with a one-off Animal World collection. Interestingly, the collection showed that co-president and head of jewellery Caroline Scheufele’s imagination was not only captured by classically beautiful creatures – see Cate Blanchett in a dove diamond necklace at this year’s BAFTAS – but the creepy and crawly too: fish, fowl, insects and rodents all caught a slice of the limelight, most notably in a diamond necklace of conjoined rats, each reaching for a romantic heartshaped rubellite as though it were a chunk of cheese. This creation incidentally went on to capture the heart of singer Lana Del Rey). ‘The trend definitely won’t die out as animal pieces are icons,’ comments Sarokin. ‘Whether you decide to wear your grandmother’s piece or a brand new one, it’s still very relevant.’ As for why women choose to become part of the animal pack, Magerit’s Calvo says ‘it is possible that high jewellery brands use

CARRERA Y CARRERA, Ecuestre earrings in yellow gold, amethyst and diamond

TIFFANY & CO, Flamingo brooch

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Wearers of the signature snake read like a who’s who of high society and glamour.

BVLGARI, Serpenti necklace

animal motifs because people like to transmit some of its qualities through the ornaments – strength, courage, intelligence, power and so on. It is a kind of symbolism.’ It’s a theory that’s supported by the fashion industry, which has long sent animal prints roaring down the runways. But it’s the fierce and feline features of the leopard print that has made its mark as a timeless classic. Look back and everyone from the glamorous Elizabeth Taylor (pictured in 1963 in a leopard print coat and matching hat) to classic Jackie Kennedy who was photographed in the wild cat’s spots has enjoyed an animal affair. In the First Lady’s case, an Oleg Cassini leopard print coat, worn with one of her style signatures: long gloves. Flash back to the present day and the print appeared at the autumn/winter 14 shows championed by Chloé, Sportmax and Carven. At Givenchy meanwhile, amazon-like models sashayed down the runways with a gazelle-like poise, sporting fierce furs and exotic snake skins. It’s perhaps this love of wild designs that has Roberto Coin’s female clients sharpening their claws for his Animalier collections. ‘I made a cat and it was sold out. The day after I made a dog and it had the same fate. Very often women choose Animalier jewels to adorn themselves, I think it reminds them of a side of their character they are more proud or more curious of.’ With the wild animal captivating women everywhere, Coin believes channeling the creatures in fine jewellery is an essential part of the timeless package: ‘For international brands, the Animalier collection is a must,’ he tells MOJEH. ‘Usually it is considered as the collection that will be mostly remembered in the future.’ The creation of such pieces creates a challenge for even the most time-honoured craftsman too, as Coin explains: ‘It represents the challenge that designers face when creating a small, super-precious and iconic jewel that has to

J e w e ll e r y O b s e s s i o n

Tiffany&Co, Koala brooch

CARTIER, Panthère bracelet

respect the real features of a living creature…the design of animals is quite difficult as it usually means to recreate real features of an animal in a small and static jewel. The research and manufacture have both to be as perfect as they have to be particular, unexpected. That is why in my zoo of creativity, a snake looks sweet. Details can enable a jewel to express emotions and to look real.’ As Chopard’s anniversary collection shows, it is the animal’s movement as much as its beauty (or, in the rat’s case, lack thereof) that inspires modern-day designers. Such is the case with Cindy Chao’s newly-launched Ballerina Butterfly brooch - a collaboration with actress Sarah Jessica Parker. ‘It wasn’t until I went to the ballet in Paris that the decision to make a butterfly was taken,’ Chao tells MOJEH. ‘I had the privilege of being shown an old rehearsal studio at the Palais Garnier where, to my surprise, I saw the walls were adorned with hundreds of carvings of butterflies. I was told that ‘a ballerina should be as light as a butterfly’. The brooch – an 18-carat gold body, offset with a cushion-cut fancy brown diamond, three rough brown diamond slices, conch pearls and some 4,698 diamonds and fancy-coloured diamonds – was auctioned just last month at Sotheby’s Hong Kong Magnificent Jewels and Jadeite Sale at a sale price of $1.2million. ‘[The butterfly’s] natural, whimsical form and array of colour allow me to not only express the beauty in their movement but also use a plethora of stones to bring their colour palettes to life,’ says Chao. Indeed, whether it’s a Cartier wild cat you covet or a sleek ‘60s Serpenti, animals look set to roam the fine jewellery world for some time to come. ‘Next year I am going to create something very special for the Arabic world; the Falcon,’ reveals Roberto Coin. ‘It will be launched during the Vicenza show in January and completed for the Baselworld 2015 edition.’ We say cage a classic while you can.

LYDIA COURTEILLE, Snake 18kt blackened gold multi-stone earrings

Changing Faces: Biennale Des

Antiquaires The most fabled antiques and haute joaillerie event on the social calendar, the Biennale Des Antiquaires is blurring the lines between art and fine jewellery. By Naomi Chadderton

obody turns out to support the decorative arts quite like the French do and every two years, the beau monde of Paris gather under the Nave of the Grand Palais for the Biennale des Antiquaires. An event which has rolled into the City of Light every two years since 1962, this year saw the 27th edition of the luxury showcase which took place between September 11th-21st with stunning haute jewellery collections from the likes of Graff, Van Cleef, Bulgari, Cartier, Piaget and Dior, to name a few. As the early autumn sunshine streamed through the domes of the expansive Grand Palais and added a little extra sparkle to the mass of jewels and diamonds on display, a Chanel-clad international crowd including Danielle Steel, Christine Schwarzman, Natalia Vodianova and Terry de Gunzburg swanned through the promenades, this year designed by beloved French interior designer Jacques Granges. His vision was a ‘free interpretation of the gardens of Versailles’, erecting the feel of the Palace’s lush greenery to the glass-domed exhibition centre. A member of the Légion d’honneur, Granges brought this spirit to life with tromp l’oeil trellised booths layered with flora and fauna in what he described as a mixture of thirties architecture and seventies graphics. ‘I was inspired by the groves and the arabesques,’ he said of his final product, which included carpet reminiscent of flower beds, topiary art placed in pots and an oval stone fountain that was fragranced by Paris-based perfumer Maison Francis Kurkdjian, replicating the scent of lush, freshly cut foliage and a hint of rose The Biennale des Antiquaires was established in 1962 by the Syndicat National des Antiquaires with the dream of the founder to ‘create an event where the beauty of objects displayed would rival that of the women who would visit the exhibition.’ Over the last fifty years this has certainly rung true and this year, there was a surprising swell of newness in the air with fine jewellery steadily pushing antiques out of the limelight and taking centre stage. Once a fair for exceptional objects and works of art from the

world’s finest dealers, haute jewellery was introduced in 1964 and injected the event with a dose of sparkle and lustre that would only intensify in years to come. Opulent antiques such as the Kraemer Galerie’s sumptuously inlaid and gilt-mounted long case clock still impressed but what was once the backbone of the Biennale, arts and antiques are now making way for luxurious global jewellery brands who uncover their newest collections while presenting unique and handmade pieces which are works of art in their own right. In the early years, it was French haute joailliers like Boucheron and Van Cleef & Arpels who led the way. In recent years, the presence of jewellers has increased steadily from seven in 2010 to 10 in 2012 while this year, 14 high jewellery houses graced the stage with new comers Giampiero Bodino, Graff Diamonds and Alexandre Reza joining Boucheron, Bulgari, Cartier, Chanel, Chaumet, Dior, Piaget, Siegelson, Van Cleef & Arpels and Wallace Chan. In fact both Graff and Alexandre Reza both returned after a 12 and 14 year absence respectively, with the former showcasing its exquisite creation, Royal Star of Paris, which is the most valuable brooch ever created featuring two stones with a combined weight of 271.33 karats. ‘Slowly the Biennale has imposed itself as the big gathering of haute joaillerie houses for a few reasons,’ said former president of the Syndicat National des Antiquares Christian Deydier. ‘First it is the concentration of the biggest collectors who come to the Biennale because they are attracted by the exceptional gala dinner or the VIP opening. Secondly the Biennale’s rhythm is perfect for jewellers. Two years are required to create a new collection, to find the rare stones and to assemble them in the ateliers. It would be impossible to create new collections each year.’ As the lines between art and fine jewellery are increasingly merged and the Biennale looks set to shine even brighter in years to come, we look back at the defining haute joaillerie moments from the last decade.

Jewel Personality

The Jewellery

Evolution 2 0 0 6 The 23rd edition of the fair marked its return to the Grand Palais after extensive renovation works rendered the dome closed in 1992. The final result lived up to high expectations thanks to stunning scenography by decorator Franҫois-Joseph Graf. 2006 also marked the introduction of fine jewellery lines from renowned fashion houses with debuts from both Chanel and Dior.

2 0 0 8 That year saw a record number of exhibitors with visitors reaching a peak of 80,000. Jewellers began to create unique pieces exclusively for the fair – a trend which would become the norm in future years. ‘If the visitor comes to the Biennale and sees the same jewellery as in Place Vendôme, there is no point to the event,’ Deydier pointed out.

2 0 1 0 Debut collections from Vuitton and Piaget graced the 25th edition of the fair, the former a newcomer to the world of haute joaillerie. The renowned fashion house presented two collections: L’Ame des Voyages and La Malle aux Tresors, all designed by the increasingly high profile jeweller Lorenz Baümer.

2 0 1 2 The 50th anniversary was a truly extravagant affair playing host to 150 exhibitors; nearly double the 86 present in 2010. As a Biennale veteran, Cartier displayed the largest stand at the event which featured a staggering 150 jewels from its new Depaysement collection. Bulgari made its debut with a collection bursting with the colour and class for which the Italian powerhouse is known for while the Syndicat invited Hong Kong Based fine jeweller Wallace Chan to exhibit, too – the first Asian artisan to take part.

2 0 1 4 A record 14 jewellers were selected by organisers this year, with newcomer David Morris adding to the sparkling spectacle with an impressive D colour 60.15 carat diamond – the top grade for colourless diamonds. Graff and Alexandre Reza also made an impressive comeback after a long hiatus while Piaget, who was celebrating its 140th anniversary, pulled out all the stops with a collection of watches and jewels that exploded with colour.

PIAGET, Extremely Piaget collection white gold earrings with blue sapphires and diamonds

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Photographed by NICOLAS MENU

Wonders in Blue necklace with sapphire, jadeite diamond and aquamarine, WALLACE CHAN

Mherulisa necklace with diamonds, pearls, yellow gold and rubies, VAN CLEEF & ARPELS

PerlĂŠ TE necklace with yellow diamond, troidia diamond and diamonds, set on white and yellow gold, ALEXANDRE REZA

Fleur de la Dynastie Tang brooch in yellow diamond, pink sapphire, tsavorite garnet, emerald and diamond and Her Splendid Smile ring in sapphire, ruby, emerald, diamond, yellow diamond and pink sapphire, WALLACE CHAN

Necklace in yellow sapphires, beads and motifs of topaz, golden pearls, set on yellow gold, earrings in yellow sapphires, set on yellow gold and ring in yellow sapphires, set on yellow gold, all LumiĂ¨res dâ&#x20AC;&#x2122;Eau collection, CHAUMET

Trembleur Ruby earrings in rubies and diamonds, set on blackened white gold, ALEXANDRE REZA

Perles dâ&#x20AC;&#x2122;Eclat necklace in white sapphires, diamonds and unpolished rock crystal, set on white gold, BOUCHERON

Winter 4 Season Mini Collection necklace with diamonds, set on platinum, BVLGARI

Chimera Diana bracelet with diamonds, set on white gold, GIAMPIERO BODINO

CafĂŠ Society Bubbles watch with diamonds and carved onyx, set on white gold, CHANEL FINE JEWELLERY

Set design and art direction: Joan Dastarac Re-touching: Pascal Hirsch Local production: ELVIS Paris Production: Louis Agency

PrĂŠcieuse Rose ring with diamonds, fancy yellow diamonds, sapphires, emeralds and pink sapphires, set on white gold, DIOR FINE JEWELLERY

Dior Grand Soir watch, DIOR TIME PIECES | My Dior earrings | Miss Dior ring | Gourmande Libellule ring, DIOR FINE JEWELLERY

A V i v i d

Epoch Photographed by OLEG COVIAN Styled by MARCO MANI

La Mini D De Dior watch, DIOR TIME PIECES | My Dior earrings | Miss Dior ring, DIOR FINE JEWELLERY

Dior VIII Grand Bal Plisse Soleil pink gold watch, DIOR TIME PIECES | Pre Catelan ring and necklace | My Dior cuff, DIOR FINE JEWELLERY

La D De Dior Precieuse watch, DIOR TIME PIECES | Bagatelle earrings and rings, DIOR FINE JEWELLERY

Dior VIII Grand Bal Piece Unique, DIOR TIME PIECES | Pre Catelan earrings and ring | My Dior necklace | Gourmande Pastel ring, DIOR FINE JEWELLERY | Dress, DIOR

Dior VIII Montaigne watch, DIOR TIME PIECES | Bois De Rose earrings | Miss Dior ring, DIOR FINE JEWELLERY

Dior VIII Montaigne watch, DIOR TIME PIECES

La D De Dior, DIOR TIME PIECES | My Dior necklace | Nougat ring and earrings, DIOR FINE JEWELLERY

Model: Ana Neborac at Karin Models Paris Hair stylist: Alexandra Tshiteya Make-up artist: Ismael Blanco at Agence Aurelien Paris Photographerâ&#x20AC;&#x2122;s assistant: Bertrand Drussart Production: Louis Agency

Storytelling and high jewellery have become synonymous. As this bond between the two looks set to continue, we take a closer look at the emotion behind these beautifully exquisite pieces. VAN CLEEF & ARPELS, Peau dâ&#x20AC;&#x2122;Ă&#x201A;ne Collection

J e w e ll e r y Ta l e s

VAN CLEEF & ARPELS, Peau d’Âne clip

t’s common knowledge that little girls like fairytales. Whether it’s the thrilling moment when Sleeping Beauty awakes from her slumber or Rapunzel lets down her long luscious hair to welcome her prince, they’re captivated by this fictional world. In France, Charles Perrault’s enchanting fairytale Peau d’Âne (Donkey Skin) is read to girls from a young age. The story tells of a princess who flees her home for the forest after her father becomes crazy due to the death of her mother. Originally published in 1694, the story has been recreated and retold time and time again. Now, it finds itself as the inspiration behind Van Cleef & Arpels’ latest haute joaillerie collection. The French luxury jewellery house has an esteemed reputation for creating dream-like jewels. Van Cleef’s CEO Nicolas Bos said: ‘We wanted to give another 21st century interpretation using our own art - exceptional stones and the magic of our workmanship - to recreate the magic and poetry of the fairytale.’ Comprising just over 100 pieces, the collection retells elements of the story in jewel form. The Peau d’Âne clip represents the moment the little girl flees through the forest. White

and pink gold, square-cut and pear-shaped diamonds surround her. Rose-cut pink and grey diamonds adorn her dress and loving animals comfort her. Similarly, the light colours evoke her sense of innocence. Another dreamy addition is the Robe de Couleur du Temps earrings that recreate the celestial sky-coloured dress from the tale. Paraiba-like tourmalines, pear-shaped diamonds and sapphires sealed in white gold dangle and change from baby blue to aquamarine as they move. The definition of a good storyteller is one who is able to build an alternative universe for their readers. They are transported to another world as they escape from reality and it’s what compels us to continue delving further into a story – we connect. Luxury jewellery brands have tapped into this concept with great success. ‘Each brand is different and has its own story to tell. If the consumer can identify with these emotions and engage with the design and production process, the story is even more compelling’, says Maria Doulton, founder of The Jewellery Editor. Fairytales are universally told stories and therefore have mass appeal so if we connect with the story, then desire is fuelled. Our emotion stems

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Designers, like every other members of creative industries, like to share their

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sources of inspiration – what fuelled their emotions and desire in the first place.

from desire, which in turn leads us to buying that ring, necklace or timepiece. It’s not a necessity, it’s luxury – and we have to have it. In short: it needs to be love at first sight. As it goes, in stories lies history. Wearing jewellery is an historic act in itself as mankind has adorned themselves in beads and other decorative resources since primitive times. ‘They are not just stories; they are the history of the house and a testament to their endurance and commitment. A brand like Patek Philippe or JaegerLeCoultre has a history of technological innovation that allows it to develop its own movements and new complications. This doesn’t happen overnight,’ says Doulton. The Rêves d’Ailleurs (Dreams of Elsewhere) collection is an international journey through the history of Boucheron. The Boucheron family was well accustomed to travelling – often returning to the city of Paris with treasures they’d found. By revisiting five chapters - Treasure of Persia, Shores of Japan, Splendors of Russia, Flowers of India and Chinese Ink Brush - the collection focuses on the emotion felt after returning from somewhere wonderful and longing to return.

CHAUMET, Lumières d’Eau ring and necklace

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FABERGÉ, Multi-coloured Emotion ring

FABERGÉ, Rococo Lace Diamond ring

Within the Shores of Japan, the delicate and exotic nature of Japanese prints, flowers and animals serve as muses. The country has long been a welcoming inspiration to the maison as the archives from 1910 delightfully illustrate. The Rivage (seashore) necklace builds on the inspiration founded for the Vague tiara which was designed in 1910 and based on Japanese artist Katsushika Hokusai’s famous wave painting. With a wave of sapphires fringed by a diamond spray, it curls around the neck of the woman who loves to wear it. Created using the chahuté technique (invented by the Maison Boucheron), a setting of 533 stones of varying size and colour edge the wave. The necklace now holds a special story of its own as it was the last piece of high jewellery made by the hands of the longest serving of Boucheron’s master jewellers who spent more than 34 years at the maison. The superstar of the Joy ring is a 21-carat sapphire cabochon – an ode to simplicity and a stone for which Boucheron has become known for throughout history. It’s not just a marketing tool, though. Designers, like every other members of creative industries, like to

share their sources of inspiration – what fuelled their emotions and desire in the first place. It’s a continuation to the consumer. ‘People like to know more about the product they are buying, particularly at the higher price points,’ says Doulton. ‘They like to engage with the brand and understand the often complex manufacturing process and how the design relates to their history and often their extensive archives,’ she concludes. Chaumet’s Lumières d’Eau high jewellery collection celebrates water in its myriad forms. Divided into twelve suites – the symbolic number of the maison which was founded in 1780 and located at number 12, Place Vendôme in Paris - the collection allows us to enter a wonderfully watery world. Think frozen icicles to tidal waves, the Chaumet Lumières d’Eau ring in platinum and frosted rock crystal and set with diamonds and a cushion-cut 2.54 diamond is like a frozen crystal found in the Arctic. With 53 exceptional pieces to choose from, the collection also features the Lumières d’Eau necklace in platinum white gold which is adorned in frosted rock crystal diamonds that hang like asymmetrical stalactites, finished with two pear-

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When we buy a beautiful piece of

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fine jewellery, we’re buying into a lot more than we care to imagine.

shaped drop diamonds. The entire collection draws on Chaumet’s stalactite tiara that was created in 1904. Often, a luxury jewellery brand’s art for storytelling defined it more than others. ‘Van Cleef & Arpels stands out in its ability to tell stories through jewels, as does Cartier. Hermès is unflatteringly true to its tradition of exquisite workmanship. These brands excel in their ability to communicate their history through their products,’ says Doulton. Last year, Cartier’s high jewellery collection L’Odyssée de Cartier Parcours d’un Style told of a journey around the world in jewels. The theme behind the story formed an emotionally-charged and visually-indulging collection. The journey of the creator is evident and each piece stands out individually like the white gold ring set with a 33.42-carat brown tourmaline and obsidian, edged in diamonds. The glowing stone captures the raw landscape of Africa and its rising heat. The rest of the collection journeys across the globe and as Cartier travels from Africa to China to India, we move with them. The collection is consistent in its deliverance of dazzling stones and fine cuts while tribal-inspired

BOUCHERON, The Rivage necklace

BOUCHERON, The Joy ring

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VAN CLEEF & ARPELS, Robe de Couleur du Temps transformable earrings

CARTIER, Parcours d’un Style ring

pieces are prevalent and the colour combinations are mesmerising. As always, Cartier explores and dabbles with new colours, stones and techniques and just like the act of travelling, Cartier opens our eyes to a whole new world. Each piece is a story unto itself. Such pieces of jewellery provide the wearer with confidence and sheer joy every time it’s worn – that’s the result of investment. Fabergé’s Emotion collection fuses intense colour abstract compositions to entice emotion and feelings from the wearer - it’s a little Bohemian, a little Impressionist. This best-selling collection comprises of seven rings, each comprising of over 300 gemstones. The Multi-coloured ring is a favourite, made from white diamonds, round rubies, tsavorites, emeralds and an array of coloured sapphires (ranging from orange to purple to blue) all set in yellow gold. The ring is a bold expression of the self. Equally as inspiring, Fabergé’s Rococo collection draws inspiration from the gold scrolls featured on the legendary Rocaille egg - the original Fabergé Easter egg created in 1902 for Russian heiress Varvara Kelkh which conveys the 18th century Louis XVI style and

the Rococo artistic movement. The regal flow and painterly expression can be seen in the Rococo lace diamond rose gold ring which comprises diamonds set in 18-carat rose gold. It’s exquisitely beautiful in its delicate craftsmanship. It is an inherent part of our nature to treasure and care for something. When we buy a beautiful piece of fine jewellery, we’re buying into a lot more than we care to imagine. We buy an investment piece in the hope of still cherishing it year after year, generation after generation. Ultimately, it’s desire and emotion that charges us to treasure a specific piece. Necessity does not play a part in the process. Storytelling in high jewellery is extremely distinctive. ‘Think of Van Cleef & Arpels new Peau d’Âne collection that tells in jewels a French fairytale that also invokes the heritage of craftsmanship of the house,’ says Doulton. The lure of a fantastical story is only the beginning. As a story is weaved, so too is history and inspiration. With such strong themes, we are inevitably moved by emotion - we want to know the history behind a brand, the face behind the creator and the story of the piece.

Insiderâ&#x20AC;&#x2122;s Look

Diamond

Skies In a nod to Coco Chanel and her upper-crust bohemian friends who basked in realms of extravagance, we look at Chanel’s Café Society collection.

‘To me, the sunset necklace clearly evokes the avant-garde aesthetics of cubism or constructivism, with delicate yet precise smaller parts assembled to create a whole,’ international director of Chanel fine jewellery Benjamin Comar tells us. Cushion, oval and fancy-cut padparadscha and pink sapphires combine like vibrant gold, orange and dusky pink sun rays traveling out into a sheer blue sky. Lit up by 2000 brilliant-cut diamonds all held together by delicate lines of white and pink gold, the necklace is showcased across our pages. This new and exceptional high jewellery piece from Chanel’s Café Society collection is exquisite and complex in both making and meaning. The pieces appear broken up, fragmented and reassembled, quite like the early 20th century’s Cubism art movement led by Georges Braque and Pablo Picasso. In just the same way that those artists depicted their subjects from a multitude of viewpoints, the Sunset collier arguably also holds greater meaning within the entire collection, which comprises 87 high jewellery pieces that were unveiled during the 2014 couture shows. In art form its construction imitates that of Picasso et al yet in connotation, the fragmented and reassembled pieces could each represent a different member of high society – more precisely, the New Bohemia’s of the early 20th century who the collection was inspired by. Here we tell their story and how it led to Sunset as well as other pieces from Chanel’s Café Society. ‘We chose the theme of the Café Society first and foremost as a nod to the unique spirit of freedom which animated this group of exceptional people, to which Gabrielle Chanel belonged,’ explains Comar. ‘After disobediently disrupting the social conventions of the time by allowing themselves to be together and form a circle while they came from very different origins, they also created together and instigated some of the most noticeable new, disrupting artistic movements of the early 20th century.’ Here he speaks of a set of revolutionaries and creatives – including aristocrats, poets, musicians, artists and of course, designers – who in the wake of the cultural rupture brought about by Stravinsky and Picasso, sought out ways to celebrate and

Photographed by Sarah Moon

Insiderâ&#x20AC;&#x2122;s Look

bask in the glory of life, day-after-day. ‘A red curtain rises to the festivities that shake up all of France and drives the crowd wild,’ wrote Jean Cocteau in 1909. The sun sets, the red curtain rises and the upper crust Bohemians bathed in the realms of possibilities while living out their dreams, uninhibited and free. From balls, concerts and parties to dinners, cocktails and artistic endeavours, their lives resembled an endless voyage of discovery and amusement. Refused to be chained by the realities of normal life, they instead broke away and lived as though life was one long artistic journey. ‘Our creation and design studio wanted to experience this breaking away from the codes, to open new horizons for Chanel high jewellery designs and explore beyond our traditional icons, while remaining faithful to the philosophy of creation we inherited from Gabrielle Chanel in maintaining the femininity, fluidity, lightness and suppleness that characterise Chanel fine jewellery,’ explains Comar. From the Sunset pieces to Midnight or Bubbles, each set epitomises those novel and brilliant design practices that magnify Mademoiselle Chanel’s ambitions, while painting a chapter in the story of high society life. The fluid and circular aspect of Cruise – in white gold set with brilliant cut aquamarine and diamonds and finished with aquamarine beads and black spinels – represents the long boat journeys taken by the new Bohemians through Venice or along the French Riviera. In Bubbles we see a satirical nod towards nights spent dancing and enjoying life: diamonds and carved black onyx on white gold rounds circle each other and elevate themselves, like little and large bubbles floating through a flume. Midnight - the time when the artists, visionaries and literatures would gather together, vowing that their night was not yet over. For this chapter, brilliant-cut diamonds, onyx beads, carved onyx and white gold are set in formations tighter than any other pieces, curling around one another like dancers in love. ‘Our biggest challenge was to find all the technical solutions to achieve the exact designs produced by our creation studio, for example the suppleness and easiness to wear, thanks to the incurved jointing for the Sunset necklace, the Sunrise cuff or the Bubbles necklace,’ says Comar. ‘Even if we had already experienced these techniques, they were part of a whole new adventure with these new designs.’ Adventure: a concept that could have been created by Gabrielle Chanel. And of course, like any other Chanel collection, the spirit and beliefs of the designer ring true throughout. Never one to wear a piece of exceptional jewellery simply because it was brought for her by a male companion, or because she was told that it could be the only pièce de résistance of any outfit, she chose jewels as an extension of herself – her dreams, her passions, her beliefs and her adventures. ‘Gabrielle Chanel is the living symbol of all things luxury and all forms of extravagance of the époque,’ said George Auric at the time. ‘Firstly she is beautiful. More than just beautiful - she is glorious with infinite charm.’ She existed beyond fashion and style, making statements and carving new paths for women whether wearing a sailor’s garb for a colonial ball or by dressing the ballet dancers in Le Train Bleu. ‘The same spirit was embodied by Gabrielle Chanel who always proclaimed her freedom from existing codes and conventions. This emancipation of codes is the breath of inspiration for this collection,’ says Comar. Café Society is not meant to be worn as decoration but instead as declaration. Used to express personality, progressions and ease, the pieces can be styled with only a plain white tee or a dress from the normcore movement – in just the same way that Gabrielle would’ve worn diamonds with flannel trousers. Back to Sunset and our ideal personification of this collection. ‘It has been produced in our workshop because it requires specific techniques and, more than any other piece, a constant interaction with our design and creation studio,’ says Comar. The piece marries both new technologies such as CAT - used by Chanel to achieve perfect regularity in the neck part of the necklace – and gifted hands-craftsmen to create the smaller front pieces. In line with high society’s Cubism movement, seven different techniques including chiselling, engraving and diamond-setting were employed. ‘And of course, the precise work of assembly to achieve the exact design while ensuring comfort and suppleness, as the piece is completely articulated. Over 2,500 hours of work were needed to produce the Sunset necklace.’ All that so we can wear creations that reflect the spirit of freedom, liberation and high Bohemia? It couldn’t be more Coco if it tried.

The colour purple is often associated with the qualities of wisdom, magic and royalty. As lilac experiences a high jewellery revival, we look at its transcendence through history and its stake in the modern day.

L o v e ly

Cartier

Colour moment

lac The semi-precious amethyst stone, a violet variety of quartz also known as ‘the rock crystal’ has become a muchloved gemstone the world over. With its deep grains and instant chameleonlike colour change ability, its popularity continues to soar. A stone first adopted by the Egyptians, it is said to protect its wearer from seduction and for thousands of years, Princes’ coveted the amethyst stone – one of the most stunning representatives of the quartz family. As it moved into the modern day, it became a constant fixture for Hollywood’s elite choice of adornment. Elizabeth Taylor – one of the greatest actresses of Hollywood’s Golden Age – was as famous for her love of extremely exquisite jewellery as for her silver screen roles. What’s more, her distinctive dark blue eyes were often described as violet or lilac. In 1973 as a 9th wedding anniversary gift, her husband Richard Burton presented Taylor with a triphanes necklace adorned in amethyst beads, oval-shape kunzite, diamonds and yellow gold from Van Cleef & Arpels. This stone became synonymous with Taylor

and her love of the colour purple. In 1999 when Taylor was awarded the Academy Fellowship from the British Academy of Film and Television, she collected the accolade adorned in this necklace. Hailing from multiple mines in Brazil, the stone is an exotic emblem. With the gemstone’s inclusion within a number of high jewellery collections this winter, it’s hard to go unnoticed. While many hold diamonds in high esteem, a lovely lilac stone can be just as mesmerising. Incorporating the stone within a pair of Art Deco-style earrings, Cartier shows how the lilac touch can become the focal point instead of the traditional clear-cut diamonds. With a matching bracelet, the fusion of silver, diamonds and light purple is subtly alluring. Inspired by the Italian cinema stars of the fifties and sixties, Chopard’s 2014 Red Carpet Collection also turns to the amethyst as pear-shaped cuts are surrounded by multi-coloured sapphires and diamonds. This is a stone that knows how to take centre stage so why not shake up your jewellery collection this season and look to the power of purple.

Chopard

leaving

Mark

Many jewellery houses are highlighting their heritage pieces as way to emphasise their past and cater to an increasing interest in vintage trends. We delve deep into the history books.

CHOPARD, First Happy Diamonds watches with the Baden-Baden Golden Rose, 1976

CHOPARD, Golden Diamonds earrings, 2002

It’s official: heritage jewellery is back in style. As customer preference for vintage designs quickly increases, jewellery houses are taking note and beginning to revisit their past. Luxury jewellery maisons - think Cartier, Van Cleef & Arpels, Audemars Piguet and Bulgari - are increasingly staging pivotal exhibitions and launching heritage collections that highlight their vintage offerings. In addition, these brands are assigning top historians, craftsmen and experts to command over their rich jewellery and watch archives as well as provide restoration services for antique pieces and old family heirlooms. So why this sudden emphasis on reviving elements from the past now? ‘Vintage jewellery with heritage – these are essentially pieces with an important or interesting provenance,’ explains Amanda Triossi, the jewellery historian responsible for curating the first major retrospective exhibition dedicated to Bulgari at Rome’s Palazzo delle Esposizioni in 2009. As we know, owning a piece of vintage jewellery is like owning a piece of history, the same way many women prefer antiques because they have more character or a romantic history. ‘Our heritage collection is not only a precious archive but also a source of inspiration for new collections,’ says Lucia Boscaini, Bulgari’s Brand and Heritage Curator. In support of this trend, the House of Bulgari has gone so far as to buy back some of

Th e H i s t o r y B o o k s

CARTIER, Barbara Hutton’s Tiger ear clips, 1961

CARTIER, María Félix’s Crocodile necklace, 1975

its most prestigious and beloved pieces as a way to inspire new collections. ‘We continually scout the market to find new examples that are particularly representative of the Bulgari style in different epochs,’ says Boscaini. ‘One of the periods we are most interested in is the 1950s and 1960s when the Bulgari style broke away from stylistic conventions for jewellery. Private collectors and auctions are therefore preferential sources through which we can pick out the missing pieces for the jewellery ‘fresco’ that we would like to create and maintain.’ Today the market is rife for Bulgari, particularly for this period to which Boscaini refers and its heritage pieces have done exceptionally well at recent auctions. At Christie’s Important Jewels Sale in London in June, for example, a striking enamel and diamond snake wristwatch made in 1965 fetched $1,086,615 from an estimate of $295,000-$410,074. Other pieces included a 1962 necklace in platinum and emeralds that was one of Elizabeth Taylor’s most treasured possessions. The necklace, which was a wedding gift from Richard Burton, serves as a mesmerising insignia of one of the most celebrated and stormy love affairs of all time. As Triossi states, these are jewellery pieces with a past – it’s remembering that past that is crucial for high jewellery brands with centuries of history. The past can also be revisited through large-scale retrospectives that celebrate the heritage and current creativity of a jewellery brand. In 2009, on the occasion of the 125th anniversary of Bulgari, the maison held its exhibition Between Eternity and History: 1884-2009, 125 Years of Italian Jewelry at the Palazzo delle Esposizioni in Rome. Dedicated to the House of Bulgari and its mesmerising creations, this same exhibition was held in 2010 in Paris at the Grand Palais, at the National Museum of China in Beijing in 2011 and then at the Aurora Museum in Shanghai in 2012. A significant exhibition of Italian culture, art and the heritage of jewellery-making, its global tour sought to further emphasise the brand’s history as well as share it with the rest of the world. ‘Themed exhibitions are a precious occasion in which to showcase our brand creativity and history well beyond the in-store product assortment,’ adds Boscaini. ‘They signify a full immersion into the world of the brand,

VAN CLEEF & ARPELS, Twist necklace, 1963

its history and creative soul.’ Bulgari isn’t the only jewellery house to revisit its past. In 2006, in response to popular demand, Van Cleef & Arpels launched its Heritage Collection – a celebration of vintage pieces from the 1920s to the 1980s. A few years later in 2011, the maison also put on a major exhibition, Set in Style: The Jewelry of Van Cleef & Arpels, at New York’s Cooper-Hewitt Smithsonian Design Museum which showcased the brand’s creativity through masterpieces from its museum and private collections. The exhibition revealed how the maison acted as an early proponent of Art Deco style by mixing geometric and animal motifs within its larger aesthetic repertoire. ‘The Heritage Collection reflects Van Cleef & Arpels’ distinctive style and its evolution over more than a century of creation,’ says Alban Belloir, Managing Director for the Middle East and India. ‘The collection is unique in that it sets the maison apart from the high jewellery universe.’ In Dubai, on the occasion of the re-opening of The Dubai Mall boutique, a stunning collection of creations from the collection will be featured, including a magnificent ring from 1958 which reveals an ‘old mine’ emerald from Colombia. As Belloir explains, these are emeralds that are typically of considerable size and cut in an antique manner. The collection will also feature a wide variety of high jewellery sets which are particularly rare to gather and find. When asked why the brand seems to be actively trying to buy back its pieces as well as create new ones for its Heritage Collection, Belloir responds, ‘the Heritage Collection is aimed at offering timeless designs, exceptional stones and an infinite variations of aesthetics. The world of fine connoisseurs is increasingly attracted by the investment value of our creations which always ranks very high at auctions.’ For example, an impressive Art Deco piece can go for anywhere from around $200,000 up to $1 million. Auction houses such as Christie’s and Sotheby’s are picking up on the investment as well as emotional value of these heritage pieces. The same Christie’s London

Th e H i s t o r y B o o k s

BVLGARI, Snake bracelet-watch in gold and polychrome enamel, 1965

BVLGARI, Watch in yellow gold with diamonds, 1940s

sale featured a 1960s Van Cleef & Arpels gold poodle brooch with an estimate of $3,000 – $5,000. A time period that has been greatly underexplored for the brand, it is precisely creations from this era – sumptuous clusters of gems set out with oriental-inspired medallion pendants in a rainbow of jewels such as turquoise, pink tourmaline and carved coral and onyx – that are trendy today. As many specialists will agree, brooches, especially animal brooches, are a good way to start a heritage collection as they have an incredible provenance, are not too expensive and are quite simply stunning. Cartier has also recalled its past through its recent Panthère de Cartier collection, once again highlighting a motif that has been crucial to the house since the early 20th century. The first panther motif was created in 1914 and featured no more than simple onyx spots. However just three years later and the motif had transformed into a complete animal – one that was graceful, wild and strong. As the story goes, Louis Cartier had used it on a vanity case that he had designed for a woman he had recently met, Jeanne Toussaint. She in turn became a close colleague and further developed the panther symbolism into the Cartier emblem. The 56-piece Panthere de Cartier collection was launched on 1st September this year to celebrate the 100th anniversary of this iconic feline. It boasts bracelets, necklaces, rings and earrings that show off the panther in a variety of different moods including angry and triumphant. While each creation is different, every panther has the maison’s signature emerald green stones for its eyes. As these creations go back in time to tell a present day tale, so it seems that high jewellery houses have reverted to the beauty of their historical pieces in order to reinstate their brand values and further appeal to a growing audience. However this revival of the past through heritage collections and creations poses another question altogether: what ultimately makes a piece of high jewellery sell? Is it its history, provenance, celebrity affiliation or its beauty? It is the latter that seems to reign true. Yet another, perhaps more philosophical, thought to ponder is just how this beauty is created. ‘These collections are also about fashioning those vivid connections between the present and the past that Bulgari is so renowned for,’ says Boscaini. As the Roman Senator Marcus Tullius Cicero once said: ‘Not to know the past before you were born is to remain forever a child.’ Remembering a brand’s heritage today is as crucial as creating a new collection all in its own right.

Leading the way

In December 2014, the DFS Masters of Time gala and exhibition held at the Four Seasons in Macau will showcase 400 masterpieces from world leaders in luxury jewellery and watches. Jaquet Droz stands out among a sea of finery for its dedication to time innovation and expertise since the house’s early days in 1721. The Lady 8 and The Bird Repeater, timepieces designed especially for the exhibition, are just two outstanding examples of the brand’s knowledge and know-how. However after the exhibition ends, these and many others will continue to add legacy to an already notable house. Marc Hayek, President and CEO of Jaquet Droz, tells us how he keeps a 300-year-old brand famous in the modern day world.

Jaquet Droz was launched in 1721. What does it stand for today? Today, as in the past, we pay tribute to the craftsmen and to their precious know-how. The main evolution is the adaptation of the old technique as. Jaquet Droz is a contemporary brand inspired by the past.

In what ways have men’s buying habits changed since you joined the house? They change, they read blogs and go on social media, becoming more and more educated to the watch industry in general. They also change their style of watches more often. But either way, it is still an emotional act of purchase.

Over the years the company has had to grow, change and expand to meet the needs of a new generation. How do you ensure the original codes and beliefs still live on? The Jaquet Droz style is so unique and elegant that you can recognize the timepiece among all others. We always keep the DNA of the brand at the centre of our collections and the result is timeless and fits all audiences and generations. A good example is the Grande Seconde Collection - a timepiece designed in steel that is also available in gold and sublimated with gemstones. Everyone will find their perfect match.

What makes your mechanisms so special? The movements are elaborated by Jaquet Droz and made by the manufacturer, Blancpain. They are part of the best mechanisms in the watch industry and since 2014 we have begun to integrate silicon in all the movements which shows we aim to offer the best to our customers.

W at c h F o c u s

In design, what’s most important to you? It is important for us to mix tradition and modernity in our timepieces. If you only keep to tradition then the design becomes dated and if you focus only on the modernity then you lose the DNA of the brand.

Jaquet Droz pays tribute to tradition through new collections and one of the best examples today is The Bird Repeater. Taking inspiration from the automatons of the past, we decided to integrate this incredible technique within a watch. It explains why we chose this piece specifically for DFS. We’ve heard about the Haute Horology workshop. What goes on inside there? With this workshop, we are trying to show our customers how their timepieces are precious and unique. They see all the work that is required to create just one dial and realise the complexity of the timepiece. In what ways do you consider timepieces to be art? The craftsmanship is the first element. This is followed by the uniqueness and the timelessness of the piece which also need to be taken into consideration. Jaquet Droz has provided watches for some of the most prestigious people and families the world over such as the Emperor of Beijing. In your opinion, what makes Jaquet Droz such a sought-after and celebrated brand? We’re celebrated because our founder was a visionary. In order to sell timepieces, he first needed to amaze the public. Nowadays our customers still know it all started with the famous automatons. Through the timepieces, the spirit of their creator continues to live on. Why have you chosen to be a part of the DFS Master of Time? To promote our brand among the best in class. Can you tell us about the pieces you created for the exhibition? It was really important for us to promote two timepieces with a strong identity. The Lady 8 Shiny refers to the figure eight - Jaquet Droz’s lucky number - and is a symbol of balance and perfection. It plays on the curves of a woman who appreciates the sensuality of time. The timepiece reveals a dial in gemstones with grey gold and diamonds, proof of the jewellery workshops’ extraordinary technical mastery. But the most surprising is at its summit, which features a pearl of diamonds measuring 1.4 carats that the owner finds herself irresistibly drawn to. The Bird Repeater is literally a masterpiece which was naturally linked to the DFS Master of Time. Featuring two blue tits and their young, the automated movement has been exposed making The Bird Repeater an ultimate expression to date of the Jaquet Droz spirit. It merges historic watchmaking tradition and avant-garde design. How do you think the Middle East luxury collector will respond to these pieces? People from the Middle East are very refined and sensitive to art; they will appreciate all the work that goes into these timepieces. Where do you plan on taking Jaquet Droz over the coming years? We will continue to explore our past and look for new inspirations while continuing to promote watchmaking.

The Women’s

As luxury watchmakers concentrate on the female market for the first time, 2015 is set to be feminine-focused. These days it’s women who are changing the hands of time.

uring Baselworld and Salon International de la Haute Horlogerie (SIHH) this year – arguably the biggest annual showcases for luxury watch brands – it was women who were at the forefront. The once male-dominated industry was presenting watches that were of an equal pairing between aesthetics and mechanics, with multiple complications for the lady who loves luxury. It is no great secret that the watch industry has always cared to cater for men. Traditionally, the male market has sparked the most interest; those who demand that their watches encompass every mechanic, complication and engineering marvel in full view. For women, the complete opposite has been true. Theirs are watches that focus mainly on the aesthetic design: diamonds, gemstones and more jewels. Things really began to change in 2013 at SIHH when Vacheron Constantin boldly decided to only present ladies’ watches.

According to industry experts, women account for 35% of the high-end watch market. In 2015, brands will have started implementing higher sales targets as they aim to move this figure closer to 40. This marketing change has occurred due to brands recognising the buying power of women. Hind Abdul Hamied Seddiqi of Ahmed Seddiqi & Sons, the largest distributor of Swiss watches in the Middle East, explains this transformation: ‘Nowadays, the younger female clients are paying more attention to movements and complications when purchasing a watch. However the more mature ladies who have not been exposed to the world of watchmaking are still going for big brand names and jewelled watches’, she explains. ‘As a result, we have seen several brands such as Patek Philippe, Richard Mille and IWC focus on female collectors by launching a specific range of complicated watches for ladies’, she concludes. It’s a

i n d u s t r y i n s i gh t

foregone conclusion that the days of women waiting for a man to make their watch purchases are long gone – women are buying watches by themselves, for themselves. With women now representing 12% of the global ultra high-net-worth population, this comes as no surprise. Women are earning more and are looking for quality when deciding where to spend their money. In 1980, the Swiss watch industry started to use quartz movements in women’s watches because of their slimness and aesthetic appeal. Mr. JeanMarc Wiederrecht of Agenhor, an independent watchmaking company in Geneva that he founded with his wife Catherine, has been making mechanical modules for luxury watch brands since 1978. ‘[In 1980] it was said that women didn’t appreciate mechanical movements and the necessity of winding them. It was also thought, until quite recently, that women were only interested in the visible part of the watch and its diamonds,’ he explains. ‘Complicated women’s watches were rare and they were generally just copies of men’s complicated watches – only a little bit smaller’, he concludes. It was around the Millennium that watch faces

started to show great change and due to a new way of thinking, ‘complicated watches’ emerged. These watches incorporated ‘a normal movement and the dial - the necessary parts to add new complications or displace the normal positions of the habitual or supplementary hands. These new mechanisms are often able to display their information with hands, making less than one turn for one complete cycle called retrograde display’, explains Wiederrecht. For once, this engineering marvel allowed for mechanics and beauty to co-exist in harmony and a watch design no longer preceded the watch movement. It was during this time that Wiederrecht observed that ‘men continued to prefer technical, astronomical or ‘useful’ watches while women started to become very interested by different and new watches based on mechanical movements.’ Thus, a change was set in motion for the market. Van Cleef & Arpels undoubtedly led the way in 2006 with its Poetic Complications luxury watchmaking line which created ‘designs that tell stories’. It was Wiederrecht who developed some of these mechanisms that form them. Embossed with a fairy whose wings count the hours and wands count the

Hybris Artistica Collection Master Gyrotourbillon I, JAEGER LECOULTRE, Arceau Lift Chevaux en camouflage, HERMES

minutes, the timepiece is built around the retrograde movement (backward motion) where her hands look like they’re dancing as they trace an arc, before they return to their starting position. Like magic; she waves her hand again. ‘This watch was followed by many successful others such as the Pont des Amoureux’ and the Poetic Wish – another very complicated watch. These days a lot of other brands design these kinds of watches with huge success’, says Wiederrecht. Chanel’s award-winning Premiere Flying Tourbillon fuses complications with beauty. The tourbillion was created during the 19th century by Abraham-Louis Breguet to try to achieve better timekeeping. Chanel has taken the tourbillon and added glamour with the ceramic dial featuring an openwork camellia flower which appears simple to the eye while behind lies the tourbillon complication. It’s engineering at its finest. It’s all in the artistic details. At Chopard, the Happy Sport Tourbillon Joaillerie boasts a gem-set tourbillon bridge. This creation represents the merging of traditional watchmaking with the femininity of beautiful piece of haute joaillerie. Jaeger-LeCoultre has also included women’s watches in its new series

of twelve masterpieces, the Hybris Artistica, which combines the technical with the artistic. The series pays equal attention to fusing the two together for both men and women. Inspired by the brand’s silk carré, the Hermès Arceau Lift Chevaux en camouflage is complicatedly delicate. The artistartisan begins by sketching the horses which serve as the base for tiny gold wires. After enamelling, the horses are painted in an array of colours. The flying tourbillon movement spins inside a carriage topped with a double H symbol, paying homage to the lift in the historical boutique at 24, Rue du Faubourg SaintHonoré in Paris. Switching the rotor from back to front in figurative forms is something Cartier has been doing with aplomb. The Panthère au Clair de Lune displays a diamond-studded panther draped lazily over its jewelled jungle branch which is both playfully pleasing and structurally sophisticated. Similarly the Ballon Bleu de Cartier Flying Tourbillon has a blue-enamelled hand and is certified by the renowned Poinçon de Genève. In recent months, the Duchess of Cambridge Kate Middleton has been photographed wearing Cartier’s more modest design – without the diamonds. Known for their

Happy Sport Tourbillon Joaillerie, CHOPARD, Premiere Flying Tourbillon, CHANEL

i n d u s t r y i n s i gh t

Ballon Bleu de Cartier, CARTIER, Poetic Complication Collection Lady Arpels Feerie, VAN CLEEF & ARPELS

ultra-thin movements, Piaget has recently launched the world’s thinnest diamond-set skeleton watches which are delightfully delicate to the eye yet contain complicated compositions underneath. At the end of October 2014, the Grand Prix d’Horlogerie de Genève (GPHG) - the watchmaking industry’s equivalent to the Academy Awards will present an award to what it deems the most impressive watch. The foundation pre-selects 72 watches that are all contenders to win the Aiguille d’Or prize for exceptional craftsmanship. From analysing the list, Wiederrecht has noticed one or two changes from previous years: ‘It’s very interesting to see that four out of the six pre-selected watches in the ladies’ category are mechanical watches. What is even more interesting is that a new category has been created this year called ‘Ladies’ High-Mech’ and the six pre-selected watches presented in this category are really amazing.’ Caroline Scheufele, artistic director and co-president of Chopard, has previously stated that ‘despite the fact that complicated watches are often regarded as a masculine domain, there is a growing desire among women to invest in watches that are aesthetically beautiful but also technically

advanced.’ Women want to use their money for an investment: a luxury watch. If the watchmaking industry has learnt anything over the past few years it’s this: women care about craftsmanship and quality is now paramount. However they also want to see a piece of engineering. The once neglected female market has gained momentous focus. Wiederrecht predicts that ‘words like poetry, philosophy, originality, certified quality, art refinement and roots - all related to mechanical - will describe an important part of women’s watches throughout the next decade.’ This change of direction, design and desire is what women want and will get. The market is keeping in two with the self-assured style of the modern woman. ‘I believe that mechanical watches for women have a great future. I’m really happy to be alive now because such watches are very difficult, compelling and challenging to make – but also very fulfilling’, he concludes. For 2015, style and substance go handin-hand for women’s watches. Gone are purely decorative embellishments and instead women are welcoming mechanically complicated ornaments. The future of watchmaking is making women tick.

Journey in Time Defined by the spirit of adventure with elements crafted for the ultimate extremes, we showcase the best timepieces for him, from Baselworld to the SIHH.

The Naval Watch Audemars Piguet Royal Oak Offshore Selfwinding Tourbillon Chronograph Reworked from Audemar Piguetâ&#x20AC;&#x2122;s original 1972 model inspired by British naval battleships, the Royal Oak Offshore Selfwinding Tourbillon Chronograph balances precision time with experimental techniques. Encapsulated within a forged carbon frame, this luxury masterpiece is both lightweight in composition and efficient in practice.

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The Pilot Watch Breitling Chronomat 41 Airborne Devised in homage to the 1984 Chronomat, Breitling’s 41 Airborne showcases a utilitarian approach to fine watchmaking. Updated with military numerals and a hardwearing rubber bezel set within a steel case, whether you’re flying high or hitting the ground running it’s an ideal timepiece for active pursuits.

The Racing Watch Richard Mille Lotus F1 Team Romain Grosjean Providing timepieces for the Lotus F1 team since 2003, Richard Mille’s take on the ergonomic drivers watch incorporates the exact NTPT carbon material found in the Formula 1 car chassis. Dedicated to racing driver Romain Grosjean, the Lotus F1 exemplifies the speed and power of a well-oiled motor.

The Formula 1 Watch Chopard Grand Prix de Monaco Historique As official timekeepers of the Grand Prix de Monaco Historique since 2002, it seems only fitting that Chopard would debut a watch dedicated to life in the fast lane. Crafted in titanium and steel, it draws inspiration from classic single-seaters from the 1970s and is finished with a seal of approval from the Monaco Automobile Club.

The Traveller Watch Rolex Oyster Perpetual Sky-Dweller Originally launched in 2012, the reworked Rolex Oyster Perpetual Sky-Dweller combines the spirit of adventure with the technology required to keep track of time. Presented in white gold, this fine piece of craftsmanship boasts a scratch-resistant sapphire lens and a dual time zone system, ideal for extensive expeditions.

The Marine Watch Panerai Table Clock While you wonâ&#x20AC;&#x2122;t be able to sport this fine piece of engineering on your wrist, Paneraiâ&#x20AC;&#x2122;s Table Clock offers a whole new perspective on timekeeping, wherever you are at sea. Crafted with a steel cradle exterior, the Table Clock is as robust in stature as it is in functionality.

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The Deep Sea Watch Longines Heritage Diver Offered in both chronograph and three-hand compositions, the Longines Heritage Diver showcases a throwback design to the traditional timepieces worn by divers in the 1970s. As a tribute to pioneering feats, it guarantees water resistance of up to 300 metres, contained in a slick satin-finish case with a functional rubber wrist strap.

The Aviator Watch Zenith El Primero 410 Replicated from an archival 1970s prototype for elite aviators, the Zenith El Primero 410 achieves a typically modern faรงade with the soul of a vintage timepiece. Featuring an integrated moon phase clock and a 12-hour register, its mechanics are purposefully built for in-flight motion.

Invest in a staple watch this season and youâ&#x20AC;&#x2122;ll also invest in a piece fit for all aspects of your life; from sport to eveningwear and everything in between.

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Sportsâ&#x20AC;&#x2122; fans can trust in Bulgariâ&#x20AC;&#x2122;s OCTO Finissimo watch. The waterproof piece boasts a record-breaking title of being the thinnest watch in the world offering purpose, comfort and style.

BVLGARI, OCTO Finissimo watch

Switch up your scent as you move through the day. Whether you choose Tom Ford or Narciso Rodriguez, they all add to the masculine air of this Parmigiani watch.

PARMIGIANI, Fleurier Pershing watch | GUERLAIN, Homme Intense | NARCISO RODRIGUEZ, For Him | TOM FORD, Black Orchid

M e n O n W at c h

Revel in the luxury of Louis Moinetâ&#x20AC;&#x2122;s stunning stingray-skin wristwatch, with the radiant dial made of authentic dinosaur bone. Perfect for that special event or to keep as a collectorâ&#x20AC;&#x2122;s item, this is a sure-fire investment piece.

LOUIS MOINET, Jurassic Tourbillon watch

Dispositions While you may choose an accessory based on your outfit, itâ&#x20AC;&#x2122;s important to pay close attention to the finishing touches. A dusting of make-up and a spritz of scent keeps your look polished but a statement watch is what really pulls it all together.

Beauty Moment

GRAFF, Butterfly watch | CHANEL, Les Exclusifs de Chanel1932 | DIOR, Vernis in Lili

Let Graff shine a light by complementing your beauty with a pretty palette. A subtle scent from Chanel or a neutral nail from Dior will complete the diamond dazzler, leaving you polished to perfection.

BVLGARI, Diva watch

Delicate and beautiful like a rose; Bulgariâ&#x20AC;&#x2122;s Diva jewellery watch will take you from day to night. Leave the watch as your focal accessory - there is no need for you to crowd this bloom.

Beauty Moment

BACKES & STRAUSS, Berkeley watch | LANCÔME, Oud Bouquet | LAURA MERCIER, eye shadow in Gold Seduction | GUCCI, eye shadow in Iconic Gold | CHANEL, eye shadow in Admiration

Bring out the subtle tones in this bold Backes & Strauss timepiece. A glimmer of gold will add sophistication and glamour to an evening event. Turn to Lancôme or Laura Mercier to complete this look.

CRYSTAL Black Tourmaline is used to protect from negative energy and intent. Championed by actress and United Nations ambassador Angelina Jolie, it is said to encourage its bearer to become more relaxed and neutral by discharging tension and relieving stress.

‘Every time we leave, we check passports, wallets, money and crystals. We carry around crystals. I usually have a heart with me, Rose Quartz or Fluorite. We don’t go anywhere without them,’ Kate Hudson.

Accessory Focus

Gutter credit - Image courtesy of Dimitrios Kambouris/Getty Images, Gutter credit - Image courtesy of Rob Kim/Getty Images

HEALING From Rose Quartz to Black Tourmaline, it has long been believed that crystals hold healing properties. But where as these stunning stones and their soothing powers were once exclusively the fascination of spirit healers in far flung places, recent years have seen these beliefs working their way into the mainstream. Keep crystals close to your heart with stunning jewellery pieces as tried and tested by the likes of Victoria Beckham and Heidi Klum.

Gutter credit - Image courtesy of Pascal Le Segretain/Getty Images, Gutter credit - Image courtesy of Anthony Harvey/Getty Images

Famously worn by supermodel Heidi Klum, Rose Quartz is known for its healing properties related to your heart. Used to protect from pain and disappointment, it is said to bring unconditional love and wisdom.

1. IPPOLITA, Lollipop 18kt gold, quartz and diamond necklace | 2. KIMBERLY MCDONALD, 18kt gold, quartz and diamond earrings | 3. MELISSA JOY MANNING, 18kt gold, rose quartz and moonstone earrings | 4. BIBI VAN DER VELDEN, 18kt gold, rose quartz and diamond necklace, all @net-a-porter.com

â&#x20AC;&#x2DC;If I told you my backstage rituals and was honest, you would think I was a little weird. I carry my crystals with me, which some people might think as odd but it works for us,â&#x20AC;&#x2122; Victoria Beckham.

Change In recent years, consumers have questioned the ethical sourcing of diamonds and gold. Until now, little has been known about the sourcing of the raw materials that make up our gemstones.

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Image courtesy of Giuglio Gil/Hemis, Corbis

Mining for

Image courtesy of Ken Lucas/Visuals Unlimited/Corbis

s the sun’s rays begin to peek over the muddy, red clay mountainous rubble, an ironclad shovel is lifted to the sky. One after the other, they line up - and lift. Beads of sweat sparkle across their brows and the chapped skin on their hands show the unwanted sign of friction. Overshadowed by a mine, they rise with the sun. A new day, a new hope of finding the big one. From a young age we’re told it’s important to ask questions. Over the past few years, we’ve started to question the ethics of fast fashion, cheap cotton and leather – and now our jewels. In the world of luxury, jewels are a constant. Knowing where a stunning emerald, ruby or amethyst has come from and under which conditions it was mined was a just a passing thought only a mere ten years ago. But today, everything is changing. Stones are big business. With coloured gemstones increasingly popular, the level of trade continues to soar. With household names of the diamond and jewellery industries consistently featured within Forbes’ annual list of the world’s billionaires, mining is a major money-maker. But the people who are paying the price are the miners. Subjected to harsh and inhuman conditions, these men (and children) are sent down into dangerous mines and work exhaustingly long hours in the hope of finding a hidden gem. Unbeknown to the miners is the value the

stone in their hands will fetch, but the real value is detrimental to humanity. Gemfields, a London-based natural resources company, has taken on the role of strongest leader in the fragmented world of coloured gemstones. With the knowledge of responsibly sourcing gems from mine to market being their mantra, the whole process is in their hands. By buying shares in emerald, ruby and amethyst mines, they are taking back control. The entire process - from mining and grading to cutting, polishing and selecting dealers and jewellers - is their choice. The company now operates an amethyst and emerald mine in Zambia and a ruby mine in Mozambique. Ian Harebottle, CEO of Gemfields PLC, believes this business outlook stems from the moral compass implanted within him from his youth: ‘My parents taught me to treat others the way you want to be treated and instilled in me a strong sense of values and morality since a very young age. These values are core to who I am today,’ he said. As Gemfields ‘set out to lead by example’, they are now the world’s leading producer of ethically-sourced rare gemstones.By collaborating with globally accomplished jewellery designers, they’re raising awareness of what was once thought of as impossible being possible. Having commissioned 36 designers (thus far) – from Fabergé to Mappin & Webb - to use their raw materials to create

gemstones come from; just as it is important to me that I know how and where they’re made. For me, my work is symbolic…even talismanic… a reference and deep respect for nature,’ she says. McDonald designed a beautiful pair of Zambian emerald earrings, encircled by dainty diamonds and collaborating with Gemfields was an easy decision for the ethically-minded designer. ‘I already knew that they had a reputation for ethically resourced stones but when I learned more about their social and community support programs in the areas where they have mining operations, I was sold!’ she says. ‘These programs range from a clean, safe workplace to the policy not to allow children under the age of 18 to work in the mines, to providing healthcare or employment contracts. They seek to create stability in these communities and help them to grow and flourish. I have the utmost respect for their program and plan to continue working with them whenever possible,’ she concludes. With thanks to popular culture, in recent years conscientious consumers have started to ask questions. In 2006, after the release of the Hollywood blockbuster ‘Blood Diamond’ – directed by Edward Zwick and starring Leonardo DiCaprio – a light was shone on the war-torn countries in which these gems are mined from and the horrific plight in which miners go through to obtain a stone. But why are people starting to question the process

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Image courtesy of Peter Johnson, Corbis

exquisite pieces, results have been met with critical acclaim. ‘They are able to create unique pieces of art in the form of jewellery using our gemstones. These designers have helped us to place coloured gemstones as an object of desire in the global arena’, says Harebottle. In 2013, the company appointed actress Mila Kunis as their ambassador and at the time, Kunis openly spoke of her belief in only endorsing products and working with companies she trusted. In an interview with Vogue UK, she discussed the reasoning behind her choice to work with Gemfields, saying: ‘that was absolutely the most important thing. Anything that has to do with stones I think you want to be a little cautious about.’ Kunis herself has visited their mine in Zambia to witness first-hand the work that the miners carry out and under which conditions. ‘They opened their doors wide and just said: ‘Go ahead’. It was great. They’ve been so great at letting me be a part of anything and everything I’ve been able to. I chose them in the same way that they chose me and I have honestly never worked for a better company,’ she said. One such designer is American Kimberly McDonald whose creations have adorned the necklines of everyone from actress Cameron Diaz to America’s First Lady Michelle Obama. The entire process of miners to craftsmen is an integral part of McDonald’s vision. ‘It is very important to me that I know where my

Image courtesy of DUCEPT Pascal/Hemis, Corbis

now? ‘I think that people are more aware now than ever. They want beautiful things but let’s face it - jewellery is not a necessity, it is a luxury. I think the more sophisticated the client, the more they want to know about the origin of the gemstones they’re buying and wearing,’ says McDonald. With the fashion industry constantly having to defend or change its policies - from manufacturing processes to underage models – only time will tell for the jewellery industry. Harebottle believes: ‘An increase in global communications means that people are more aware of what

is happening across the world and this, coupled with an ever-increasing desire to support sustainability and ethics, is driving a new trend which may eventually see the provenance of any specific gem.’ This new trend is allowing other organisations to play their part in supporting sustainability and ethics. Jewellery designer Bibi van der Velden travelled to Peru in South America to work with the Solidaridad network. This international civil society organisation ‘facilitates the development of socially responsible, ecologically-sound and profitable

work and they take care of the environment,’ she says. Like Harebottle, van der Velden sees the value and importance of raising awareness through mediums of communication. ‘[It is important] to tell the stories of the people mining, how unethical mining is and how destructive it is for the rainforest,’ she says. ‘A way to create awareness is to make sure good videos and photographs are available that show a true perspective of the situation. While I was in Peru on one of my travels for Solidaridad, two documentaries were made: one by a local Peruvian company and the

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Image courtesy of Julian Love/JAI, Corbis

supply chains’. She got to witness first-hand the hardship endured by the miners on a daily basis. ‘The conditions which the majority of the miners work under is horrible. They are being exposed to mercury on a daily basis which is extremely bad for their health, not to mention the environment,’ she explains. ‘Prostitution and child labour are also big issues as most of the mining villages are very secluded with no control whatsoever. The workers that work for the sustainable mines set up with the help of Solidaridad work in well run communities where they get a reasonable price for their

Image courtesy of Albert Lleal/Minden Pictures, Corbis

other by my brother Gugi van der Velden. Both documentaries gave a true overview of the different mining sites and their problems,’ she explained. Many designers, brands, consumers and companies are playing a part in this change. It will be a steady and slow process, but one which is vitally important. Gemfields actively works with non-governmental organisations. ‘Gemfields is a firm believer in the principle of partnership, holding firm to the belief that in business one plus one should always equal far more than two,’ Harebottle explains. Working with local communities or non-profit organisations allows for change. ‘We have applied this principle to the way we operate our mining licenses, always looking to work with local governments or individuals and thereby supporting and encouraging local ownership and maximum benefit for the host nations. We have applied this principle to the way in which we source our consumable supplies, the way we manage biodiversity and the way in which we work with our local communities,’ he concludes. Van der Velden sees future change by brands adopting similar mining methods. ‘The more brands start using ethicallysourced gold and other materials, the more it will become the standard,’ she says. ‘I make jewellery with beautiful materials but I do not want anyone’s blood on it. With jewellery, you mark the important moments in your life so it

is important that these milestones are ‘clean’. And not only for the sake of the miners but for the environment too,’ she concludes. For the future welfare of our planet and humanity, every aspect of the jewellery making process must be addressed – from design, to mine, – to production, to point of sale. While some questions may be uncomfortable to ask and confront, questioning the source of the jewel around your neck is becoming commonplace. As consumers become displaced by the inhuman conditions that miners are subjected to in jewel-havens of the world, companies and brands are taking an active role in bringing about change. Harebottle believes the motivation comes from simply knowing the difference between right and wrong: ‘Largely from an ever-increasing internal motivation within discerning consumers, they themselves want to do the right thing, simply because it is right,’ he says. Looking to the future generations and the condition of our planet in twenty years time is something to be taken seriously now. ‘The Amazons are the lungs of the earth - we need to keep and save them. We are privileged with the world we live in and it is important not to take it for granted and make a contribution. Not just for ourselves, but for our children,’ says van der Velden. Knowing how and where your jewels came from is something very rare and precious.

Broche Lion Solaire, CHANEL

Venetian

Gems We take a trip through the streets of Venice, a dreamy city on the Adriatic, to rediscover its link to the east and its continual love of jewels.

ulled by the waters of the blue lagoon and surrounded by old cobblestone streets, Byzantine art and the soft lapping waves of the canals, Venice has long been renowned as a port of trade and dialogue between the east and the west. It is also recognised for its dazzling jewellery creations and the Murano glass that has been used to craft them for centuries. Often referred to as ‘the jewel of the Adriatic’, Venice is strategically located in North Eastern Italy in a marshy lagoon which stretches between the mouths of the Po and the Piave rivers. The magical city immediately conjures up images of serene gondolas on gentle waters, pristine church cupolas and dazzling Renaissance and Baroque artworks set among the grace of a place where everything is done by foot or boat. Venice has mesmerised travellers for centuries. When the acclaimed English writer Henry James first visited Venice in 1869, he wrote

of his lack of enthusiasm for the city. There were no monuments akin to the grandeur of ancient Greece or the typical Renaissance architecture which one could find in Florence and other Italian cities. Instead, what he discovered was a city which carried as much eastern heritage as it did western innovation. This merging of cultures can be seen in the Doge’s Palace located adjacent to St. Mark’s Basilica which 19th century English critic John Ruskin said contained ’three elements in exactly equal proportions — the Roman, the Lombard, and Arab,’ in his first chapter of The Stones of Venice. What James saw was an aesthetic different to what he ever imagined thanks to Venice’s inextricable links to the east. In a short story he wrote a year later, James has the main protagonist describe himself as a ‘half-stupefied traveller to the age of a simpler and more awful faith. I had left Europe; I was in the east.” What James had experienced through was

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Gutter credit - Image courtesy of Angelo Cavalli/Corbis

the remnants of centuries of trade between the Venice and the Orient. In his 1832 novel Contarini Fleming, British politician and novelist Benjamin Disraeli mentioned that ’I stood upon Rialto; I beheld on each side of me, rising out of the waters, which they shadowed with their solemn image, three colossal and gorgeous structures raised from the spoils of the teeming Orient.’ While a dramatic statement, Disraeli had it right: Venice prospered through the east. The east also brought trinkets of many kinds, including jewellery. Long strains of beaded glass necklaces, bracelets and dangling earrings can be spotted at renowned local boutiques throughout the city as well as sold by the many tourist vendors. Venice’s renowned Murano glass is derived from a common thread in the city’s history too. As an art form, glassmaking originates in the Levant countries of Syria and Palestine as well as Venice, which had traded with these nations for many

centuries. Craftsmen arrived from the Middle East after the Fall of Damascus in 1400 and of Constantinople in 1435 and greatly influenced the nature of Venetian glass. By the end of the 15th century, it was increasingly produced with dark colours that were also decorated and painted with brightly enamels. The Venice of today is known for its extravagance, opulent hotels, luxury brands which populate its many calles (streets) and campos (piazzas) and its untimely, age-old beauty that remains constant even within a continually changing present. Venice is a city that seems to be lost in time and the Murano glass that appears in boutiques throughout the city recalls these historical origins. It also accentuates its present reverence for all things refined - what some of the most esteemed fashion and jewellery personalities of the last one hundred years saw in the city of Venice when they ventured its dreamy streets on the Adriatic.

and symbolises the power and dominance that the city of Venice had over the world during the Renaissance. A figure of power herself, Chanel was known to decorate her Rue Cambon apartment with statues of lions which also graced her couture designs on buttons, handbag clasps and brooches. One such piece from the collection is carved from rock crystal and sees the lion stand out proudly on a comet which flies above a yellow diamond in a dramatic necklace. In another piece, entitled ’Lion Rugissant’, the animal is ready to pounce, mounted on a ring that curves around the finger. The piece evokes the sumptuous Byzantine mosaics that Gabrielle Chanel discovered in both St. Mark’s Basilica and on the neighbouring island of Torcello. The collection, with its striking aesthetic reverence to the city, also includes the first jewel to be produced in Chanel’s very own high jewellery atelier – a feat for Venice and for Gabrielle Chanel indeed. The sparkling waters of the lagoon and pitter-patter of passersby within the city’s intimate ‘calles’ all point to its unmistakable romance. Venice has inspired numerous creatives for centuries with its enrapturing and mysterious beauty and honouring all art forms, the Venice Biennale comes in the shape of a celebration of dance, fine art, architecture and film. Now in its 10th year of sponsorship, Jaeger-LeCoultre is one of the main backers of the event that features 55 films competing for prizes from 71 countries of which 54 are feature film premieres. During a recent trip to Venice in September, we were whisked away by cinematic uproar of new movies, celebrity guests and of course, by Jaeger-LeCoultre. Known as La Mostra du Cinéma, the Venice Film Festival is one of Europe’s most innovative events. A 10-day celebration of glamour and filmmaking, JaegerLeCoultre was present throughout the festivities with the famous Golden Lion award ceremony during which the winners received personalised Jaeger-LeCoultre timepieces. The brand’s Glory to the Filmmaker Award was given this year to James Franco by Carmen Chaplin. Other celebrity appearances included Milla Jovovich, Clive Owen, Carmen Chaplin, Sarah Gadon, Al Pacino and Zhao Wei who all attended an extravagant dinner at the restored 1478 Scuola di San Rocco – one of the brand’s major projects over the last year. Amidst the palazzo’s many halls painted by Tintoretto was the display of the brand’s latest Hybris Artistica collection. Encased exquisitely, these superb timepieces shone throughout this wonderful Renaissance building’s recently revived walls. There we beheld the Jaeger-LeCoultre Cordonnet Duetto - a watch laden with more than 1,250

Th e J o u r n e y

Gutter credit - Image courtesy of Roberto Cattini/PhotoFVG/Corbis

It was in 1920 that Mademoiselle Gabrielle Chanel travelled to the city for the first time and Venice left a great impression on her life, especially given that at the time she was mourning the death of Boy Chapel, the great love of her life. Chanel’s most recent Sous le Signe du Lion collection is a tribute to the designer’s star sign of Leo and also the city of Venice. Launched in the summer of 2013, the collection comprises 58 big catinspired jewels influenced by the city’s rich gold tiles, church cupolas, the mesmerizing jewelled Pala d’Oro altar piece of St. Mark’s Basilica and the numerous lions that she spotted throughout the city. The lion is the symbol of St. Mark, the patron saint of Venice, whose relics also rest in the Basilica

Gutter credit - Image courtesy of Sylvain Sonnet/Corbis

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diamonds adorning its exquisite cordletstyle bracelet. The timepiece possesses two dials which can be reversed to show either one at whichever time the wearer so desires. On one such model, one side sparkles with lapis lazuli while the other encompasses natural mother-of-pearl - a striking jewel as stunning as the evening. The dinner festivities culminated with a trip on a motor taxi through Venice’s enchanting and ghost-like canals. Walking attentively through cobblestoned streets to St. Mark’s square, it is dusk and there is no one around except us. The golden mosaics from the cathedral shine out to us as if asking us to come forward, seemingly protecting us from a long journey to a place of safety and seclusion within neoclassical walls – those which Napoléon Bonaparte so defiantly erected and which are now known as the Museo Correr, the long arms that embrace the piazza through a robust order. Housed within these architectural arms is a selection of jewellery stores - some local places to buy gold, others dedicated to leading Italian and international brands such as Jaeger-LeCoultre, Nardi, Boncompagni and Roberto Coin. Other high-end brands such as Cartier, Vhernier, Bulgari and Dhamiani complete the city’s prime shopping area for luxury goods. There’s something magical about this string of glistening baubles set within

Venice has inspired numerous creatives for centuries with its enrapturing and mysterious beauty

a strong, historical structure that has existed for centuries. Buying a piece of jewellery here signifies something special – a memorable time when the past and present briefly reconnect through a current creation. Venice, like its famed Murano glass jewellery and sculptures, is a jewellery creation in itself. As Gabrielle Chanel and many before and after her have noted, the city’s ancient and modern past meet continually through its incredible artistic heritage. The city may now be but a mere geographical passing point striped of its former imperial glory, but through the many brilliant baubles that shine from stores amidst its cosy and intimate passageways, Venice remains a continual gateway to all things refined and to one of its prime spheres of influence: the east.

Reverso Cordonnet Duetto, JAEGER LE COULTRE

Messika brings a whole new meaning to pretty this season with an armour-like quality from its new Silk collection. The crystal clear, brilliant-cut diamonds whisper elegance and beauty while the bold and gallant bib shaped settings encourage strength and protection. For one statement piece, look to the oversized stunner that laces the brideâ&#x20AC;&#x2122;s dĂŠcolletage. Toughen up your big day with fine-jewellery pieces that mean business.

Silk collection, MESSIKA

Bridal Focus

L h

ove

FABERGE | IVY | PASQUALE BRUNI | DAMAS

finishing touch

Forget decking your fingers in dainty rings; be brave and bold by indulging in rocks that grab attention. Damas’ darlings work as well after dark as they do to jazz up your jeans. Create a strong statement with Pasquale Bruni’s amphibian adventure and be sure to hop on board - we promise you won’t look back.

One To Watch:

Bibi van der Velden

The artistic gene runs in her family. Dutch jewellery designer, Bibi van der Velden, is a woman of many talents. We speak to her about sculpting with her mother, the challenges she faces as an artist and her latest collection.

What was the starting point for your latest collection? My latest collection is the Scarab Collection. My production is done in Thailand so I go there often to design and work. On one of my last trips I saw scarab wings at one of the local markets and was instantly attracted to their amazing colour composition. I started looking into where these insects come from and it turned out that they are eaten as a delicacy in Thailand after which the wings remain. I always try to recycle materials whenever I can and am always looking for ways to incorporate sustainable life into my work. Therefore I love it when I am able to use materials from nature that would otherwise have gone to waste.

D e s i g n e r INSPIRATION

Image courtesy of Rahi Rezvani

Describe the woman who wears your designs in four words. Distinctive, style crusader and independent.

Do you have a creative process you always follow? The strangest angles often inspire me. Once I have found an angle I dive into it completely. For example when I make a collection based on a certain culture or era I look into their music, books or any other information that I can get my hands on so that I know as much as I possibly can. I find it extraordinary when little objects or a certain image inspires me. Afterwards I will make several sketches which turn into technical sketches which eventually turn into a piece of jewellery. Who inspires you on a daily basis? Every mother will give you the same answer: my little daughter inspires me every day. Charlie is two-and-a-half-years-old and she’s just discovering the world. Besides her, craftsmanship, nature and unconventional materials also always inspire me. I like the quest of finding a new material. I think a jewel should become a part of someone’s life and indicates milestones such as marriage, birth and birthdays. Have you always wanted to be a designer? Not really, I’m a sculptor by profession but I’ve always had an interest in jewellery. In my opinion, every jewellery piece is a miniature sculpture. Every step you take in the creative process is the same - only the outcome is slightly different. Your mother is a sculptor. In what ways does she inspire or encourage your career? My mother and I work together as an artist duo called Bibi Michèle and we have a very symbiotic connection. When we work together one will pick up where the other left off. We meet on an equable level where normal mother and daughter issues fall away. She always believed that I was able to do anything that I put my mind to and stimulated me whenever she could so I had every possibility to explore my talents. She wears every piece that I make extremely well and if I must name a muse, she would be mine.

Image courtesy of RVDA

Why did you decide to open a gallery together? A few years back we were looking for a space for us to work in both together and separately. After two years extensively scouring for a place we found White Space, which was a project all on its own. It turned out to be so much more than just a place for us to work that we also like to give other people the opportunity to be a part of this amazing place. Where do you hope to be in five years’ time? I can see an ever-growing family and me living somewhere outside where I can combine my work as an ambassador for sustainable gold mining with being a jewellery designer and sculptor. My brand will have grown further on a worldwide level and I will still be lovingly making inspiring and innovative jewellery.

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